Podcasts about Giant Records

This week, Justin was assigned the year 1990 and he selected No Depression, the debut album by Uncle Tupelo.25 Turning 25: The Best Albums of 1990 - https://figureheadsovpop.com/2015/09/21/25-turning-25-1990/Send your questions for an upcoming mailbag episode to punklottopod@gmail.com or our voicemail line 202-688-PUNKJoin our new $5 Patreon Producer Tier to get your name said on the show every week. You also get access to a Producer exclusive monthly bonus episode discussing a different EP, written content, outtakes, producer exclusive polls, and moreYou can also join our $1 tier to get access to all of our weekly bonus audio. We also have a $10 tier where you get to choose the album we discuss on an episode - patreon.com/punklottopodMajor Awards EP - majorawards.bandcamp.comMerch Shop  - redbubble.com/people/punk-lotto-pod/shopPodcast platforms and social media links at linktr.ee/punklottopodCall our voicemail line: 202-688-PUNKLeave us a review and rating on Apple Podcasts and Spotify.Song clips featured on this episode:Uncle Tupelo - Graveyard ShiftUncle Tupelo - That YearUncle Tupelo - Factory Belt

Part 2 of our conversation with Debbie Southwood-Smith, a seasoned A&R executive with a remarkable career in the music industry. Debbie has played a key role in the success of iconic artists like Uncle Tupelo, Blessid Union of Souls, D Generation, Monster Magnet, Queens of the Stone Age, and the Yeah Yeah Yeahs. She also shares a rich professional history with our host, having worked together at both Giant Records and A&M Records. A true music insider, Debbie got her start at the legendary college radio station WERS (Boston) in the early '80s. MusicThe Charms "So Pretty"The Dogmatics "I Love Rock N Roll"Produced and Hosted by Steev Riccardo

In this episode, we're joined by Debbie Southwood-Smith, a veteran of the A&R world with an impressive track record. Over the years, Debbie has worked with iconic artists such as Uncle Tupelo, Blessed Union of Souls, D Generation, Monster Magnet, Queens of the Stone Age, and the Yeah Yeah Yeahs. She also shares a professional history with our host, having worked together at Giant Records and A&M Records. Plus, Debbie was part of the legendary early '80s crew at WERS, making her a true insider in the evolution of modern music.MusicThe Charms "So Pretty"The Dogmatics "I Love Rock N Roll"Produced and Hosted by Steev Riccardo

We are back with our good friend Kenny Wayne Shepherd. Since the last time we interviewed Kenny, he has released a follow up album to "Dirt On My Diamonds, Vol 1" iornically titled, "Dirt On My Diamonds, Vol 2".  In addition to the new album, we talk about Kenny's experience actually playing Jimi Hendrix's "Woodstock" guitar and his upcoming tour, plus 2 new albums set to release in 2025.  Kenny is a five-time-Grammy-nominated guitarist. The new album was recorded  at the Legendary Fame Stuios in Muscle Shoals, Alabama. This project chronicles Shepherd's journey of musical evolution, touching on stories of loss, redemption, and memorable melodies. All crafted by an elite team of songwriters. Born in Louisiana, in 1977, Shepherd's own life has never followed the script. Steeped in classic blues and rock 'n' roll from an early age by his dad - a respected Lousiana radio personality and promoter - Kenny soon reached for his first Fender stratocaster and found he didn't require lessons to make it cry and wail. Long before Warner Brothers subsidairy Giant Records offered a deal, Shepherd had toured in clubs which he was too young to drink in.    Please also check out our precious KWS interview released: October 7, 2023.

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. About Jeff: Jeff started his career at Rick Rubin's American Recordings in 1996.  Later that year, he moved to Revolution Records, a rebrand of Giant Records, Irving Azoff's since-shuttered Warner-distributed label. In 1997, he began a seven-year A&R stint at Dreamworks Records. After the company was sold by Geffen to Interscope he worked as part of the IGA team. Over the next eight years, he worked with Wolfmother, TV On The Radio, Major Lazer, and The All-American Rejects. In his current role, he's signed and worked with critically acclaimed artists such as Mac Miller, Rufus Du Sol, Brandy Clark, Billy Strings, Nessa Barrett, Benson Boone and plenty of others.

Dagger Zine's Tim Hinely returns with a record that STILL gets him high after 37+ years. A turning point for D.C. Hardcore band Government Issue, their 1987 release 'You' saw the band moving in a more mature, melodic direction that proved to be a game-changer, and paved the way for many a post-hardcore band that followed in their footsteps. Songs discussed in this episode: Where You Live - Naked Raygun;  Say Something - Government Issue; Wait For The Blackout - The Damned; Pacific 231 - Burning Airlines; Soft Focus - T.S.O.L.; Jaded Eyes - Government Issue; Ignite - The Damned; Treason - Naked Raygun; Beyond, Man In A Trap, Caring Line, Young Love, Where You Live, Wishing, Public Stage, World, You and I, Hole In The Scene, Melancholy Miss - Government Issue - Looking For A Kiss - New York Dolls; Where You Live - Naked Raygun

This episode is with five-time-Grammy-nominated guitarist Kenny Wayne Shepherd. Kenny's new album: "Dirt On My Diamonds, Vol 1" is scheduled to be released on November 17th, and we were lucky enough to catch him for the interview right before his tour started. The new album was recorded at the legendary FAME Studios in Muscle Shoals, Alabama. The project chronicles Shepherd's journey of musical evolution, touching on stories of loss, redemption, and memorable melodies, all crafted by an elite team of songwriters. Born in Louisiana, in 1977, Shepherd's own life has never followed the script. Steeped in classic blues and rock 'n' roll from an early age by his dad - a respected Louisiana radio personality and promoter - Kenny soon reached for his first Fender Stratocaster and found he didn't require lessons to make it cry and wail. Long Before Warner Brothers subsidiary Giant Records offered a deal, Shepherd had toured in clubs he was still too young to drink in. 

With two genre-defining albums under their collective belt, Morbid Angel approached their third full-length with an unyielding intensity both musically and thematically. The added scale of promotion and distribution by then-Warner subsidiary Giant Records, MTV airplay, and the band's own determination cemented this album as one of death metal's highest creative and commercial peaks. This week on Riff Worship, Austin & Dylan discuss Morbid Angel's 30-year-old major label debut Covenant Recommendations: Harms Way - "Silent Wolf" Killer's Pay - Atlas Crushed Cryptopsy - "In Abeyance" Woe - "Scavenger Profits" Crown Magnetar - Everything Bleeds Colter Wall - Little Songs For all updates on the show, follow us here: @distortion891 on ⁠⁠⁠⁠Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Instagram⁠⁠⁠⁠, & ⁠⁠⁠⁠Twitter⁠⁠⁠⁠ Tune in LIVE to Vocal Distortion, Mondays at 6PM CST on FM89, ⁠⁠⁠⁠WONC.org⁠⁠⁠⁠, & the ⁠⁠⁠⁠iHeart Radio app⁠⁠⁠⁠ RIFFS ON REPEAT PLAYLIST: ⁠⁠⁠⁠https://open.spotify.com/playlist/37W4wEyb5ELf2y0YYlhRy2?si=8529ae1e880d442c⁠

Welcome to Season 3, Episode 2 of Song Chronicles. Our guest today is Michelle Lewis, an Emmy- and Peabody-winning songwriter and composer and an advocate of songwriters' rights as executive director of SONA. Michelle's parents were both musicians. Her dad was the tenor saxophone player in Frank Sinatra's band and her mom was a session singer who sang with the likes of Benny Goodman. Michelle talks about what it was like to tag along with her parents in the early seventies scene of working musicians in New York as "the little mascot of the cats." Michelle recording jingles as a kid After college, Michelle had a deal with Irving Azoff's Giant Records as a recording artist. Later her songs were recorded by other artists, including Cher, Amy Grant, Kelly Osbourne, and Lindsay Lohan. We talk about the invisibility of songwriters and the skill involved into distilling your life experience into words that can be sung by someone else, like a screenwriter writing for actors. More recently, Michelle has been a composer for children's television, including Doc McStuffins, for which she won a Peabody Award. She shares how writing for television lets her express a different range of creativity because it's not bound by genre. Michelle with her Peabody Award In 2015, Michelle had a cut on an album that sold millions of copies and yet she was paid a fraction of what her 2005 hit was worth. Learning how much streaming technology had devalued the work of songwriters, she got together with songwriters Shelly Peiken, Pam Sheyne, Kay Hanley, Adam Dorn, Jack Kugell, and attorney Dina LaPolt to form SONA, Songwriters of North America. SONA pushes for changes to legislation like the Music Modernization Act which updated how songwriters are paid mechanicals to reflect the streaming music landscape. Michelle breaks down the different sources of revenue for songwriters including mechanicals, performance royalties, publishing, and syncs. SONA meeting with Senator Edward Markey Michelle is a mentor with WriteGirl, an organization that provides free mentoring to girls interested in songwriting and other types of writing including poetry, fiction, journalism, and screenwriting. We talk about the experience of helping girls write their first songs and how their lives are changed after seeing their songs performed. Michelle shares a story about watching future National Youth Poet Laureate Amanda Gorman develop her voice in WriteGirl workshops. WriteGirl songwriting workshop   Enjoy this conversation about the importance of the jobs of songwriters, who provide the soundtrack to our lives.

Show #974 The Shape We're In 01. Kenny Wayne Shepherd - Everything Is Broken (3:48) (Trouble Is…, Giant Records, 1997) 02. Travellin' Blue Kings - About This World (3:39) (Wired Up, Naked Productions, 2019) 03. Bob Wineland & the House Band - Trouble All Over The World (3:27) (Backyard Blues, Blue Heart Records, 2021) 04. Danny Brooks - Broken (4:06) (Are You Ready? The Mississippi Sessions, His House Records, 2020) 05. Bad Brad & The Fat Cats - This World Is Insane (4:53) (Eyes On The Prize, self-release, 2013) 06. Scott Van Zen - In A World Gone Crazy (4:47) (Trouble, Love Conquered Records, 2022) 07. Shemekia Copeland - Broken World (3:41) (Never Going Back, Telarc Records, 2009) 08. Ally Venable - Broken (3:33) (Texas Honey, Ruf Records, 2019) 09. Ben Reel - Broken (3:31) (The Nashville Calling, B.Reel Records, 2020) 10. Alex Lopez - World On Fire (4:04) (Nasty Crime, Maremil Records, 2022) 11. Rick Berthod - Broken Middle Finger (5:41) (Peripheral Visions, self-release, 2020) 12. Bob Corritore & Friends - The World's In A Bad Situation (3:22) (You Shocked Me, VizzTone Records, 2022) 13. Steve Dawson - Broken Future Blues (4:17) (Solid States & Loose Ends, Black Hen Music, 2016) 14. Geoff Muldaur and the Texas Sheiks – The World Is Going Wrong (3:08) (Texas Sheiks, Tradition & Moderne, 2009) 15. Mighty Mike Schermer - World Gone Crazy (4:32) (Blues In Good Hands, VizzTone Records, 2016) 16. Rick Vito - World On Fire (4:43) (Soulshaker, VizzTone Records, 2019) 17. King King - Broken (4:42) (Exile & Grace, Manhaton Records, 2017) 18. Trevor B. Power - World Gone Madd (3:46) (What Is Real, Farm 189 Records, 2021) 19. William Lee Ellis - Dark World Coming (2:59) (The Full Catastrophe, Bellwether Records, 1999) 20. Micki Free - World On Fire (4:48) (Turquoise Blue, Native Music Rocks Records, 2021) 21. Christone 'Kingfish' Ingram - Another Life Goes By (4:20) (662, Alligator Records, 2021) 22. Jeff Healey Band - Shapes of Things (4:38) (Cover To Cover, BMG International, 1995) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

#1 hit songwriter and creativity expert Kirsti Manna shares her tips the importance of being a champion in someone's life. In the Shero Spotlight, Kirsti welcomes former Giant Records A&R exec and now music biz and songwriting mentor Debbie Zavitson. Debbie signed the country superstar Blake Shelton, among others during her time at Giant Records. Kirsti and Debbie touch on Blake Shelton, country music, how to get started as a songwriter in the Nashville songwriting community and the skills needed to succeed.Learn more about Kirsti by visiting: https://kirsti.com/

Thanks so much to the Awesome Kevin Snow for joining us on Episode 2 of this continuing podcast journey. From his humble beginnings in a ska band from Jacksonville, FL to the worlds biggest arenas and TV shows, Kevin shares his stories.....Who's to say it won't get even better? Show notes : Honeylocust -  https://youtu.be/tiEHb4kQou8 https://youtu.be/OCHXph74avU https://open.spotify.com/artist/6zDWjdI3HQLT0g0QoNGZdN?si=ql-5UR9mT2mqzL4lP6hV_g Cubby:  https://youtu.be/59kyXS6kXkQ https://youtu.be/BaZVCizoc3M Black Kids :  https://youtu.be/gzaSM0Ac1BQ https://youtu.be/wU_CYHJYk28 https://open.spotify.com/artist/1oJolWh3meHLWUcyIijst7?si=YQFzuB36SlGkkd47uMGYtA https://music.apple.com/us/artist/black-kids/277116992 Produced by Brian Jerin @jerinkid Show music by Brian Jerin @jerinkid Artwork by Brian Trummel

24th Aug ⚫ Nike “the woke” retail giant records $185M profit in NFT Sales!

The Legendary MIKI HOWARD is back and shining brightly with a soulful and gusty remake of an old Abbey Lincoln tune "Throw It Away". It was already reached #1 on the UK Soul chart and is climbing the charts here in the US as well! We welcome this incredible artist back with open arms and are honored to have her on our podcast. We laughed, fussed, talked about her past and present endeavors and just had a great time. Listen in as we converse with this iconic lady of soul.Born in Chicago, Illinois, Alicia Michelle "Miki" Howard was the daughter of two well-known gospel singers. Her father, Clay Graham, sang with the Pilgrim Jubiliees and her mother, Josephine Howard, was a member of the Caravans, a group that would eventually be inducted into the Rock and Roll Hall of Fame. When Howard was in her early teens, her mother moved the family to Los Angeles. Already aiming at a career in music, the 15-year-old Howard received her first break when she participated in a teen beauty contest. Augie Johnson, leader of the group Side Effect, happened to be in the audience; impressed with Howard's singing talent, Howard also joined the lineup of Side Effect in 1978 when another singer departed. She sang with Side Effect until 1982. Howard signed a contract with Atlantic Records in the mid-1980s and recorded her first solo album, “Come Share My Love”, in 1986. The title track from the album was its first single, hitting the top ten of the R&B charts and reaching number five in late 1986. A remake of the pop standard "Imagination," which Howard had fought to include on “Come Share My Love”, was another hit from the album. Howard's second solo album, 1988's “Love Confessions”, offered another top-five R&B hit with "Baby Be Mine." "That's What Love Is," a duet with Gerald Levert, also hit the R&B charts. In the meantime, Howard's third solo album,” Miki Howard”, was released in 1989 and proved her most commercially successful to date. The single "Ain't Nuthin' in the World" became Howard's first number-one hit on the R&B charts and another song, "Love Under New Management," followed it to number two and became one of Howard's signature tunes. Howard continued with a successful solo career after switching to Giant Records in 1991. Her first single under her new contract, "Ain't Nobody like You," became Howard's second number-one R&B hit. The subsequent album, 1992's “Femme Fatale”, featured Howard's renditions of classic tracks originally performed by Dinah Washington ("This Bitter Earth") and Billie Holiday ("Good Morning Heartache"). After a casting director saw her perform some Billie Holiday tunes at a New York City concert at Radio City Music Hall, Howard was offered the chance to portray Holiday in a nightclub scene in director Spike Lee's 1992 film “Malcolm X”. The following year, Howard recorded an entire album of Holiday songs, “Miki Sings Billie”, including her favorite Holiday tune, "Don't Explain." In 1993, Howard made another movie appearance in director John Singleton's “Poetic Justice”. She released “Live Plus” in 1996 and a comeback album of original material, “Can't Count Me Out”, in 1997. After a four year hiatus, “Three Wishes”, was released in 2001 to excellent reviews. The album earned a Grammy Award nomination for Best Traditional R&B Recording. She followed that with “Pillow Talk” (2006), “Private Collection” (2008), “I Choose To Be Happy” (2015) and a live recording “Miki Howard- Live In Concert” in 2015. Howard was featured on the second season on TV One's critically acclaimed bio-series “Unsung”. Miki's episode was the highest rated of her season and in 2015 was adaListen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, assassination, political murder, cover-ups, attempted murder, stalking, deception, gaslighting, peril. It's not too often you get a movie that stars two of the most outstanding and strong actors of a generation that is just plain boring. But this week's film is more than up to the task, with a political thriller that isn't very political and is absolutely not thrilling. To be fair, most political cover-up stories fall apart before the conclusion, but this movie ups the ante by ruining the plot within the first 10 or 15 minutes. The remaining two plus hours is spent just rehashing plot points and trying to save a script that was dead on arrival. It's not that this movie's bad, or badly made - it's so utterly meh that it'll bore you to tears. Read up on the brief and tell no one as we discuss The Pelican Brief this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the motion picture soundtrack to the film The Pelican Brief, composed by Jack Horner. Copyright 1993 Warner Bros. Inc., Giant Records. Excerpt taken from “Manual Burn” from the motion picture soundtrack to the film Apollo 13, composed by Jack Horner. Copyright 1995 Universal City Studios, Inc.; MCA Records, Inc. Excerpt taken from “Main Title” from the motion picture soundtrack to the film Speed, composed by Mark Mancina. Copyright 1994 Fox Records, Inc.

In Episode 34 of The Hottest Party On TV podcast, 90s pop sensation Tara Kemp stops by to talk about her career. Tara is best known for her great 1991 hits "Hold You Tight" and "Piece of My Heart", which peaked at #3 and #7 respectively. "Hold You Tight" was the single that really put Giant Records on the map and made them a destination for a lot of hot pop, R&B, and hip hop acts during the early 90s as hits would soon follow afterward for the label from Color Me Badd, Jade, Jeremy Jordan, Good2Go and more. Of course, Tara made the rounds on the 90s dance shows of the day, you know Club MTV, The Party Machine, etc. She was also one of the acts that took part in the nationwide Club MTV concert tour in 1991 alongside Color Me Badd, Bell Biv Devoe, Tony! Toni! Toné!, C+C Music Factory, and Gerardo. Tara is also in the process of re-recording her classic hits and her shelved 1994 sophomore album that never got released in the 90s. Episode produced by Esteban Vargas. Stay tuned for new episodes dropping every Throwback Thursday. Follow Tara Kemp: Instagram - Facebook - Twitter Check out the Club MTV Fanpage Youtube channel: https://www.youtube.com/c/ClubMTVFanPage/ Follow The Hottest Party On TV: Instagram

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, arguments, Italian stereotypes, strong language. This week we continue our 90's grab bag with a movie that deals with two “yutes” in a southern town with a big respect for the law. In fact, both the judge and prosecutor in this small town have such respect for legal procedure that the entire comedy of this movie revolves around Vinny Gambini figuring out how to navigate that while still being the mouthy New York wiseguy he clearly is. This is one of those rare cases where a very small, simple comedy pays such attention to the details that you can't help but be drawn in. It's got all the intrigue of a courtroom drama with all the goofy shenanigans of a fish-out-of-water comedy. And don't get us started on Marisa Tomei in this very worthy Oscar performance. Brush up on your court procedure and get ready for My Cousin Vinny this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Way Down South,” written by Edgar Winter and performed by The Fabulous Thunderbirds. Copyright 1992 Epic Associated Records. Excerpts taken from the film My Cousin Vinny are © 1992 Twentieth Century Fox Film Corporation. All rights reserved. Excerpt taken from “Yo Cousin Vinny” performed by Joe Pesci from the album Vincent Laguardia Gambini Sings Just For You. Copyright 1998 Sony Music Entertainment Inc. Excerpt taken from “The Munsters' Theme,” written by Jack Marshall. Copyright 1964, 2006 NBC Universal. Excerpt taken from “Main Title” from the motion picture soundtrack to the film The Pelican Brief, composed by Jack Horner. Copyright 1993 Warner Bros. Inc., Giant Records.

Mike Gitter has had a long storied career as both a music journalist and an A&R guy. He started his fanzine XXX in the mid 80's and then began booking all ages shows in the Boston area. He then went out to work for Atlantic Records and signed Bad Religion among other great bands, spent 12 years at Roadrunner Records, where he signed many bands from Opeth to Megadeth, and now is currently the VP of A&R at Century Media Records in Los Angeles. He also spent some time fronting the band Apology and helped yours truly connect with some influential punk bands which ended up on Giant Records. We had a fun zoom chat and spoke about all this and more.... Music The Charms "So Pretty" Apology "Pass Me by" Uniform Choice "Region Of Ice" The interview portion of the show was recorded on zoom and all additional content was recorded and edited by Mike Nash at Voice Motel, Somerville MA. on February 19, 2022 This episode was sponsored by Baby Loves Tacos, Pittsburgh PA Support the podcast www.patreon.com/twistedrico --- Support this podcast: https://anchor.fm/blowingsmoketr/support

On this episode of The No Ideas Original Podcast the crew interviews Pudgee Tha Phat Bastard. Pudgee talks about growing up in The Bronx, creating his 1993 debut album "Give 'Em The Finger", ghost writing for other artist and his friendships with Lisa "Left Eye" Lopes, The Notorious B.I.G and Tupac. Pudgee also touches on his hiatus from music and the importance of mental health. The guys also ask Pudgee about his time on Giant Records and signing to Jimmy Jam and Terry Lewis. Pudgee shares behind the scene stories about working on "Think B.I.G" with The Notorious B.I.G and Lord Tariq, his friendship with Nas and Akinyele and his involvement with the making of "Live at the BBQ" you won't want to miss this episode! #pudgee #PudgeeThaPhatBastard #giantrecords #Hiphop #bronxny #rap #90'srap #checkoutheavenue #Thinkbig #noideasoriginalpodcast #podcast #youtube #spotify #applepodcast #notoriousb.i.g #Lordtariq #koolgrap #give'emthefinger

On this episode of The No Ideas Original Podcast the crew interviews Pudgee Tha Phat Bastard. Pudgee talks about growing up in The Bronx, creating his 1993 debut album "Give 'Em The Finger", ghost writing for other artist and his friendships with Lisa "Left Eye" Lopes, The Notorious B.I.G and Tupac. Pudgee also touches on his hiatus from music and the importance of mental health. The guys also ask Pudgee about his time on Giant Records and signing to Jimmy Jam and Terry Lewis. Pudgee shares behind the scene stories about working on "Think B.I.G" with The Notorious B.I.G and Lord Tariq, his friendship with Nas and Akinyele and his involvement with the making of "Live at the BBQ" you won't want to miss this episode! #pudgee #PudgeeThaPhatBastard #giantrecords #Hiphop #bronxny #rap #90'srap #checkoutheavenue #Thinkbig #noideasoriginalpodcast #podcast #youtube #spotify #applepodcast #notoriousb.i.g #Lordtariq #koolgrap #give'emthefinger

Gabriela Calderón Equiz, Originally from Mexico City. She is the daughter of Nancy Equiz and Pablo Calderon, graduated in political science and law respectively, Gabriela grows up in a political environment, and from the first year of life, she moves with her family to the city of Tijuana, where she studies Ballet and Flamenco from the age 4 in the Gloria Campobello Dance Company. During the summers she attends artistic training courses (singing, dancing and acting) at the Milton Gio school in Mexico City and Flamenco Dance courses in Madrid, Spain. As a university degree, she studied electronic systems engineering at CETYS Universidad Tijuana and a master's degree in robotics at UCLA. She obtained studies in Industrial Engineering and production at Loyola Marymount University and undergraduate studies in Economics from the Autonomous University of Baja California.From 1999 to 2001 she had a record deal with Warner Bro Studio's Giant Records as part of an American pop girl band "i5", which led her to share the stage with artists such as Christina Aguilera and Backstreet Boys as well as open the National tours of Britney Spears, NSYNC and being part of the Nickelodeon television channel tours. In 2003 she recorded a solo album produced by Mario Quintero y los Tucanes de Tijuana. In 2005 Alma Latina Performing Art School started in Tijuana, in 7 years Alma Latina positioned itself as the most awarded Latin dance company in the world, with more than 60 world titles including categories of children, adolescents, adults and seniors. in levels: soloists, couples and teams amateur and professional levels. There are currently five Alma Latina dance studios (Tijuana, Playas de Tijuana, two in Mexicali, and CDMX). For nine years she has been producing an intensive summer course which people from all over the world take. In 2011 she is included in the Tijuana walk of fame. In 2013 she launched the Alma Latina franchise and currently has around 24 franchises distributed in Canada, the United States, Mexico, South America, Europe and Asia. Gabriela travels around the world teaching dance classes, presenting shows and participating as a judge. Since 2018, she currently serves as the International Judge representing Mexico in the World Latin Dance Cup.She is the world champion of Bachata and director of the largest and most award-winning Latin dance company in the world. She is currently studying Engineering in Software development and is developing an app to streamline the exchange of dance knowledge, and connectivity between the communities of dancers and the local salsa and bachata industry. The beta version of this app can now be found in the Apple store and google play under the name "dancedrills The App". Gabriela Equiz has a TedXTalk conference and numerous presentations at universities and business groups in the state. Gabriela developed an online dance class distribution platform and her most recent project is “Salsa Bachata University”, an educational institution that seeks to legitimize and provide structure to the Latin Rhythms industry and whose ultimate objective is the creation of the first Bachelor of Dance specialized in Latin Rhythms of the country and the world. Gabriela seeks to enter the world of motivational speaking through a podcast called "Dance Boss Lady" in which she shares her passion for helping people to follow and fulfill their dance dreams.Social Media HandlesInstagram  @gabrielaequizFacebook   Gabriela Equiz Dance

Pat Longrie talks about how Giant Records handled "Staring Into the Sun," the production/sound on the album, as well as what led to growing out his hair! These short videos are part of an ongoing video series chronicling the hardcore punk music scene. They are an addendum to the film Orange County Hardcore Scenester. This is a documentary I made that chronicles the 1990s hardcore punk scene. You can watch ORANGE COUNTY HARDCORE SCENESTER here: https://vimeo.com/ondemand/ochs Or, pick up the Orange County Hardcore Scenester DVD here: https://revhq.com/products/evanjacobs-orangecountyhardcorescenester-dvd?_pos=2&_sid=683ac2ce9&_ss=r Subscribe to ANHEDENIA FILMS UNLIMITED and watch every Anhedenia Film as many times as you like for $2 a month: https://vimeo.com/ondemand/afunlimited To find out more about Pat Longrie's new band Winds of Promise, check out this: https://www.youtube.com/watch?v=XW2T5TBMzZY Contact the Orange County Hardcore Scenester Podcast here: anhedenia@hotmail.com Orange County Hardcore Scenester: Aftermath music provided by Dear Furious. The songs is "r/Complex"

Pat Longrie discusses seminal, OC, punk band Uniform Choice's sophomore LP, "Staring Into the Sun". Longrie breaks down the evolution of Uniform Choice's sound, running Wishingwell Records, and the bands eventual move to Giant Records. These short videos are part of an ongoing video series chronicling the hardcore punk music scene. They are an addendum to the film Orange County Hardcore Scenester. This is a documentary I made that chronicles the 1990s hardcore punk scene. You can watch ORANGE COUNTY HARDCORE SCENESTER here: https://vimeo.com/ondemand/ochs Or, pick up the Orange County Hardcore Scenester DVD here: https://revhq.com/products/evanjacobs-orangecountyhardcorescenester-dvd?_pos=2&_sid=683ac2ce9&_ss=r Subscribe to ANHEDENIA FILMS UNLIMITED and watch every Anhedenia Film as many times as you like for $2 a month: https://vimeo.com/ondemand/afunlimited To find out more about Pat Longrie's new band Winds of Promise, check out this: https://www.youtube.com/watch?v=XW2T5TBMzZY Contact the Orange County Hardcore Scenester Podcast here: anhedenia@hotmail.com Orange County Hardcore Scenester: Aftermath music provided by Dear Furious. The songs is "r/Complex"

Show #892 King Thing Once More Because the Dutch King celebrates his birthday again this week. 01. Guy King - King Thing (5:42) (Truth, Delmark Records, 2016) 02. Mojo Morganfield - It's Good To Be King (3:52) (Single, Delmark Records, 2020) 03. Slim Harpo - Little Queen Bee (Got A Brand New King) [1963] (2:38) (Shake Your Hips, Ace Records, 1995) 04. Bill Blue - The King Of Crazy Town (4:23) (The King Of Crazy Town, Conch Town Music, 2020) 05. Anders Osborne - Kingdom Come (5:00) (Ash Wednesday Blues, Shanachie Records, 2001) 06. John Hiatt - Riding With The King (4:19) (Riding With The King, Geffen Records, 1983) 07. Geoff Achison & the Souldiggers - Feel Like A King (3:42) (Little Big Men-Remastered, Jupiter 2 Records, 2012) 08. Joss Stone - All The King's Horses (3:03) (The Soul Sessions, Virgin Records, 2003) 09. Kentucky Headhunters - King Rooster (4:31) (Meet Me In Bluesland, Alligator Records, 2015) 10. Bare Bones Boogie Band - Son Of A King (3:06) (Tattered & Torn, self-release, 2013) 11. Mark Wenner's Blues Warriors - King Bee (3:34) (Mark Wenner's Blues Warriors, EllerSoul Records, 2018) 12. Michael Powers - King Bee (8:15) (Rooted In Blues Tribute, 2014) 13. Detonics - Swing King (4:09) (Raise Your Bet, Naked Productions, 2018) 14. Eric Clapton - Little Queen Of Spades (4:57) (Me And Mr. Johnson, Reprise Records, 2004) 15. Travellin' Blue Kings - Get It Done (5:11) (Wired Up, Naked Productions, 2019) 16. King King - Wait On Time (6:26) (Live, Manhaton Records, 2016) 17. Dave Duncan - 20 Years Of BB King (5:21) (I'm Not Made Of Stone, 15 South Records, 2010) 18. Kenny Wayne Shepherd - King's Highway (4:17) (Trouble Is, Giant Records, 1997) 19. The KingmiXers - Jump The Q (3:39) (Riding With Mr. Blues, self-release, 2012) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Today we are joined by two highly-influential music creators’ rights advocates. Kris Ahrend began his career in the music industry working in the Law Department at Sony Music, where he provided legal services to all of Sony’s US divisions, including its publishing company. He subsequently worked in the business and legal affairs department at Sony BMG Music Entertainment before accepting a senior executive role at Rhino Entertainment. Kris Ahrend now serves as Chief Executive Officer for The MLC, where he leads the organization’s mission to ensure songwriters, composers, lyricists, and music publishers receive their mechanical royalties from streaming and download services in the U.S. accurately and on time. Most recently, Ahrend led the development and launch of Warner Music Group’s Center of Excellence for Shared Services in Nashville, where he oversaw the operations of fifteen different functional teams providing a variety of administrative, financial, and legal services to Warner Music’s U.S.- based publishing teams, record labels, and corporate divisions. Michelle Lewis is an award-winning songwriter, composer, singer and music creators’ rights advocate. From her early career as a recording artist signed to Irving Azoff’s Giant Records, to her first radio hit, Cher’s “A Different Kind of Love Song” in 2002, to the 2014 worldwide #1 single “Wings” by the British girl group Little Mix, Ms. Lewis brings authenticity, musicality, and heart to a diverse range of pop music. In 2015, Michelle Lewis co-founded the non-profit advocacy organization, Songwriters Of North America (SONA) in response to the ever-increasing complexities and inequities in digital royalties paid to songwriters and composers. Through her roles as SONA’s Executive Director, on the ASCAP Board of Directors, as an LA Chapter board member of the Recording Academy and on the Executive Committee of the Music Peer Group for the Television Academy, Michelle is solidly situated on the leading edge of issues facing songwriters: the ongoing fight to make streaming royalty rates more fair to creators, education and empowerment of creators through metadata, the implementation and utilization of the new Mechanical Licensing Collective, and fighting for songwriters to get healthcare and workplace safety standards in place.And The Executive are… Kris Ahrend and Michelle Lewis! Artwork: Michael Richey White See acast.com/privacy for privacy and opt-out information.

Brian William Koppelman (born April 27, 1966) is an American showrunner. Koppelman is the co-writer of Ocean's Thirteen and Rounders, the producer for films including The Illusionist and The Lucky Ones, the director for films including Solitary Man and the documentary This Is What They Want for ESPN as part of their 30 for 30 series, and the co-creator, showrunner, and executive producer of Showtime's Billions. Koppelman was born on April 27, 1966 in Roslyn Harbor, New York to a Jewish family, the son of Brenda "Bunny" Koppelman and Charles Koppelman. His father was a producer and media executive. Koppelman holds degrees from Tufts University and Fordham University School of Law. He first started managing local Long Island bands as a teenager. He would also book bands at a local nightclub. Through booking acts, he came into contact with Eddie Murphy and helped arrange Murphy's first record deal. As a student at Tufts University, he discovered singer/songwriter Tracy Chapman and executive-produced her first album. He was later brought to Giant Records by president Irving Azoff. During his career, Koppelman was an A&R representative for music labels Elektra Records, Giant Records, SBK Records and EMI Records

For this episode of Beyond The Album Cover I had the privilege to interview Jeremy Jordan. In a a rare interview Jeremy discusses everything from his upbringing in Chicago, making it big in Hollywood, Beverly Hills 90210, Getting signed to Giant Records, making of the Try My Love album, and everything else in between. It was an open and honest interview, his songwriting partner Sam Ross joins us to talk about the collaborations they have been working on which you can only hear exclusively on the audio version of Beyond The Album Cover.

On this episode of the podcast, we are joined by long time Government Issue guitarist/music fan/record collector Tom Lyle. We talk about GI's influence on the early DC punk scene, how they were one of the most active bands in the eighties, how their legacy lives on today, departed singer John Stabb, and more... Music The Charms "So Pretty"(intro music) Government Issue "Public Stage" Government Issue "Where You Live" Live Recorded by Nick Z, at New Alliance East, Somerville MA on January 13, 2021 Support the show at patreon.com/twistedrico --- Support this podcast: https://anchor.fm/blowingsmoketr/support

On this episode of the podcast, we are joined by ex Descendents/Dag Nasty bassist/songwriter and one of the most energetic punk rock guys around Doug Carrion, who now resides in Field Day with ex Dag Nasty vocalist Peter Cortner. Doug and I take you down memory lane and talk about his early days with the Descendents and the incredible "Enjoy" album, how he ended up becoming pals with Brian Baker which led to the Dag Nasty "Wig Out/Field Day" era, the Giant Records years, and the long journey that took him to where he is now in Field Day. We also talk about Hermosa Beach, DC, and what lies ahead. Its an action packed hour of fun... Music The Charms "So Pretty" Field Day "Waiting for a Miracle" Recorded on January 6, 2021 at New Alliance East by Nick Z. --- Support this podcast: https://anchor.fm/blowingsmoketr/support

Welcome to Episode 1 of The Neon Eon. We kick off the podcast being joined by country music star Clay Walker. During this episode, we talk about Walker's early roots and rise out of the blossoming Beaumont/East Texas scene in the late '80s, signing on to Giant Records, being a young writer, finding his lane, and hear some of the stories behind some of Walker's biggest hits such as "Live Until I Die," "Dreaming with My Eyes Wide Open," "This Woman and This Man," "Live, Laugh, Love," and "The Chain of Love." Like and Follow The Neon Eon on Facebook, Instagram, Twitter, and Patreon. Today's theme music is "Rollin'" by Lauren Duski.

Another one for the History of Roadrunner Records series - this episode I chat with Steev Ricardo! Steev was pivotal for creating the Roadrunner you know and love today, in that he opened the first US office for the label in 1986, along with Holly Lane. We talk about Steev's hectic tenure with the label, The Great Kat, and the Unsung Hero (Holly Lane). Check out Steev's podcast, Blowin' Smoke with Twisted Rico here - https://open.spotify.com/show/1yqrttd2p3xQA4MfDcijPG?si=jxDPsG12S622DXwMBnZZ5w

Antes de ayer, jueves, 24 de septiembre, TOMA UNO cumplía exactamente 47 años desde su primer programa. Y esta vez lo celebramos ya comenzada la temporada número 48. Y lo queremos hacer rodeados de amigos. Nos encanta celebrar aniversarios. Estamos muy orgullosos de cumplir años haciendo lo de siempre: radio. Es un privilegio. Además, es una de las mejores maneras de manifestar públicamente el respeto y el agradecimiento hacia quienes estáis a nuestro lado. Tener memoria siempre es bueno. Y pensamos conservarla y compartirla. "Era mucho mayor entonces. Soy más joven ahora". Así podíamos escuchar en “My Back Pages”, una canción grabada en la primavera de 1964 por Bob Dylan para su álbum de aquel mismo año Another Side Of Bob Dylan. Lo hizo con el título provisional de “Ancient Memories” y acompañándose exclusivamente de su guitarra con una melodía original muy parecida a "The Lonesome Death of Hattie Carroll" de su disco anterior. Para abrir nuestro programa de hoy hemos querido recordarla en directo durante 1992 en la conmemoración de los primeros 30 años de la carrera del bardo. Una versión en la que intervenían por orden de aparición: Roger McGuinn, Tom Petty, Neil Young, Eric Clapton, el propio Dylan y George Harrison. Pura Americana. Lloyd Green y Jay Dee Maness, dos de los más grandes instrumentistas de steel guitar, intervinieron en distintas canciones de un álbum de los Byrds titulado Sweetheart of the Rodeo, convertido en la quinta esencia del country rock en 1968. Cuando se cumplió el medio siglo de su publicación, los dos resucitaron conjuntamente aquel disco seminal bajo el nombre de Journey to the Beginning: A Steel Guitar Tribute to the Byrds, una recreación instrumental canción a canción de las 11 que formaron Sweetheart of the Rodeo… pero con un añadido; y es que su tema de cierre fue esta versión del que fuera tema de apertura "You Ain’t Goin 'Nowhere", la legendaria composición de Bob Dylan. Para la ocasión contaron con las voces de Jim Lauderdale, Jeff Hanna de la Nitty Gritty Dirt Band, Richie Furay de Buffalo Springfield y Poco, y Herb Pedersen de la Desert Rose Band, además de la mandolina de Sam Bush. El día en que se cumplió el primer aniversario de la muerte de “el Beatle tranquilo” tenía lugar en el Royal Albert Hall de Londres un concierto homenaje a su figura y su música dirigido por uno de sus grandes amigos, Eric Clapton. Al año siguiente veía la luz Concert for George: A Celebration of the Life and Music of George Harrison donde Tom Petty, viejo compañero de George Harrison en los Travelling Wilburys, recordaba “I Need You”, un corte de Help!, el quinto álbum en la discografía de los Beatles. En la versión original de "I Need You" Harrison se desperezaba como compositor y aparecía incluso como cantante solista, además de demostrar sus habilidades como guitarrista. En 1994, dentro del proyecto Red Hot + Country para luchar contra el SIDA, Suzy Bogguss, Alison Krauss y Kathy Mattea unieron sus voces con las de Crosby, Stills & Nash para realizar esta versión antológica de un clásico tan significativo como “Teach Your Children”, que había sido grabado a finales de Octubre de 1969 por aquel supergrupo nacido en las colinas de Laurel Canyon, con la incorporación de Neil Young, para que formara parte del álbum Déjà Vu. Una canción pacifista creada por Graham Nash a la que Stephen Stills incorporó un medio tiempo de country con el añadido del steel guitar de Jerry Garcia, líder de Grateful Dead. Con la introducción original de voz y guitarra de su creador, Kris Kristofferson, y el impecable arrope instrumental de Byron House, Sam Bush, Jon Randall y Randy Scruggs, Emmylou Harris cantaba “The Pilgrim (Chapter 33)” del veterano e influyente cantante y compositor, además de actor. Formó parte de The Silver Tongued Devil And I, el segundo álbum del tejano publicado en 1971. Garth Brooks tuvo una especial significación en la década de los 90, rompiendo casi todas las barreras que la country music había tenido hasta entonces. Criticado hasta la extenuación por los defensores de la supuesta pureza, se retiró de la primera línea durante demasiados años, aunque nunca abandonó del todo. Su regreso oficial no le ha devuelto la popularidad de entonces, pero sigue dejando momentos muy brillantes. Hace siete años lanzó la caja de ocho discos Blame it All on My Roots: Five Decades of Influences. Además de dos CDS recopilando sus éxitos, un DVD con 33 de sus vídeos y otro con su show de Las Vegas que llamó The Ultimate Hits, incluía cuatro CDs con sus canciones favoritas entre las que encontramos “Amie”, un clásico imperdible de la Pure Prairie League, que formó parte de Bustin' Out, un año antes de que comenzara TOMA UNO, y se editó en single en 1975 a instancias de Lenny Kaye, guitarrista de Patti Smith. En 1970, la Nitty Gritty Dirt Band lanzó el álbum Uncle Charlie & His Dog Teddy, una mezcla serena y reposada de country con el folk de California, donde aparecía una luminosa versión del clásico de Jerry Jeff Walker "Mr. Bojangles". Cuando se cumplieron 38 años de aquella grabación, el grupo resucitó el tema con la incorporación de dos artistas compañeros de sello discográfico: Keith Urban y Dierks Bentley. Seguimos con canciones que son fundamentales en la historia de la música. Siempre, con la ayuda de los amigos… Por eso hemos recordado que han pasado 50 años desde que James Taylor publicara su segundo álbum en solitario Sweet Baby James, el que definitivamente impulsó su carrera y determinó un futuro como contador de historias que le ha convertido en un puntal de la Americana. La brillantez de James Taylor se pone de manifiesto en cada uno de sus trabajos, aunque casi todos vienen a coincidir en que Sweet Baby James es el que mejor describe sus formas estilísticas, una vez se hubo afincado en California. Pero no olvidemos que su debut en solitario llegó en 1969 con un álbum homónimo grabado para Apple Records con el apoyo de los propios Beatles. El, por ejemplo, los recordó en directo en este curiosa versión de “With A Little Help From My Friends”, que llevó a su propio terreno desde aquel Sgt. Pepper seminal de 1967. La pandemia ha provocado el aislamiento de muchos, pero han sido muchos artistas de Americana los que han procurado mantener el contacto con su gente gracias a las redes sociales. La familia Nelson ha sido de las más activas. Lukas, por ejemplo, ha instaurado sus Quarantunes Evening Session. La semana pasada, colgaba en su canal de YouTube una versión entrañable de “September Song” con The Promise Of The Real, donde milita su hermano Micah, y contando con su padre, Willie, tocando su inseparable Trigger. “September Song” es un estándar de los años 30 debido a la inspiración de Kurt Weill y Maxwell Anderson convertido en uno de los favoritos de Willie Nelson y que este incluyó en su álbum Stardust. En 1959 los Four Flickers dieron a conocer “Long Tall Texan”, una canción de Henry Strzelecki, uno de los miembros de este grupo de Birmingham, en Alabama, que se inició en el country y pasó al doo-woop de. Por eso no resulta extraño que los Beach Boys la incorporarán a su álbum Beach Boys Concert en el 64. Lo que resultó más sorprendente es que la eligieran 32 años más tarde para interpretarla en Stars and Stripes, Vol. 1, un disco que grabaron con artistas cercanos a Nashville. Así lo hicieron junto a Doug Supernaw, un tejano de Houston que se trasladó a la Music City a finales de los 80, debutando en 1993 con el álbum Red And Rio Grande, un disco equilibrado entre canciones propias y algunas otras de los compositores básicos de aquellos años. Arkie Shibley and His Mountain Dew Boys grabaron en 1950 “Hot Rod Race”, un tema que cinco años después se convertiría en “Hot Rod Lincoln”, cuando Charley Ryan & The Livingston Bros la editaron en Souvenir Records. Commander Cody & His Lost Planet Airmen, una formación favorita desde los comienzos de TOMA UNO, la grabó en el 71 para su álbum Lost In The Ozone y Asleep At The Wheel la enmarcaron en Western Standard Time, otro de esos discos imprescindibles para viajar por carretera. Pero hoy hemos recurrido a 1993 cuando el actor Jim Varney, un nativo de Lexington, en Kentucky, y Ricky Skaggs la actualizaron para la banda sonora de la película The Beverly Hillbilies, que llevó al cine la serie televisiva. Varney, que murió en 2000, hizo el papel de Jed Clampett. Tras la ruptura de los Eagles, se había comentado que Don Henley y Glenn Frey habían vuelto a trabajar juntos para rescatar algunas canciones inéditas de la formación de cara a un enésimo disco de éxitos y que, incluso, se podría hablar de un regreso del grupo. Esos rumores no pasaron de ahí. En pleno 1993, 20 años después de comenzar TOMA UNO, Don Henley e Irving Azoff, presidente de Giant Records, se pusieron a trabajar en un antiguo proyecto del batería. Consistía en que algunos de los artistas de country más populares por entonces se reunieran en un álbum interpretando versiones de los éxitos de los Eagles. El 40% de los royalties estarían destinados al proyecto Walden Woods, que Henley estableció en 1990 para proteger la tierra alrededor de Concord, en Massachusetts, donde Henry David Thoreau escribió el clásico Walden. El resultado fue Common Thread: The Songs Of The Eagles, un disco imprescindible que fue premiado por la CMA como álbum del año. En diciembre se estrenaba un video protagonizado por Travis Tritt en el que se reunía con la banda al completo para una nueva versión de "Take It Easy". Así se inició oficialmente su reunión. Así cerramos esta vez nuestra celebración de un aniversario más. Pensamos seguir contando. Escuchar audio

I am very proud to welcome the Multi-Talented Miki Howard. Her Journey is incredible and her wisdom is sure to inspire all of us. Born in Chicago, Illinois, Alicia Michelle "Miki" Howard was the daughter of two well-known gospel singers. Her father, Clay Graham, sang with the Pilgrim Jubiliees and her mother, Josephine Howard, was a member of the Caravans, a group that would eventually be inducted into the Rock and Roll Hall of Fame. When Howard was in her early teens, her mother moved the family to Los Angeles. Already aiming at a career in music, the 15-year-old Howard received her first break when she participated in a teen beauty contest. Augie Johnson, leader of the group Side Effect, happened to be in the audience; impressed with Howard's singing talent, Howard also joined the lineup of Side Effect in 1978 when another singer departed. She sang with Side Effect until 1982. Howard signed a contract with Atlantic Records in the mid-1980s and recorded her first solo album, “Come Share My Love”, in 1986. The title track from the album was its first single, hitting the top ten of the R&B charts and reaching number five in late 1986. A remake of the pop standard "Imagination," which Howard had fought to include on “Come Share My Love”, was another hit from the album. Howard's second solo album, 1988's “Love Confessions”, offered another top-five R&B hit with "Baby Be Mine." "That's What Love Is," a duet with Gerald Levert, also hit the R&B charts. In the meantime, Howard's third solo album,” Miki Howard”, was released in 1989 and proved her most commercially successful to date. The single "Ain't Nuthin' in the World" became Howard's first number-one hit on the R&B charts and another song, "Love Under New Management," followed it to number two and became one of Howard's signature tunes. Howard continued with a successful solo career after switching to Giant Records in 1991. Her first single under her new contract, "Ain't Nobody like You," became Howard's second number-one R&B hit. The subsequent album, 1992's “Femme Fatale”, featured Howard's renditions of classic tracks originally performed by Dinah Washington ("This Bitter Earth") and Billie Holiday ("Good Morning Heartache"). After a casting director saw her perform some Billie Holiday tunes at a New York City concert at Radio City Music Hall, Howard was offered the chance to portray Holiday in a nightclub scene in director Spike Lee's 1992 film “Malcolm X”. The following year, Howard recorded an entire album of Holiday songs, “Miki Sings Billie”, including her favorite Holiday tune, "Don't Explain." In 1993, Howard made another movie appearance in director John Singleton's “Poetic Justice”. She released “Live Plus” in 1996 and a comeback album of original material, “Can't Count Me Out”, in 1997. After a four year hiatus, “Three Wishes”, was released in 2001 to excellent reviews. The album earned a Grammy Award nomination for Best Traditional R&B Recording. She followed that with “Pillow Talk” (2006), “Private Collection” (2008), “I Choose To Be Happy” (2015) and a live recording “Miki Howard- Live In Concert” in 2015. Howard was featured on the second season on TV One's critically acclaimed bio-series “Unsung”. Miki's episode was the highest rated of her season and in 2015 was adapted into a TV movie for TV One to be released in June of 2016 with “Chi-Raq” actress Teyonah Parris in the lead role.

In this week's episode we're featuring the third and final album on Giant Records for Daryle Singletary: "Ain't It The Truth" (1998). One of the 90s finest and loudest voices for traditional country music, Singletary was only with Giant a short time and was dropped from it's roster following this album's three singles lacklustre chart performance. The year before it's release, Giant Records had been restructured and Singletary was rightly nervous about his position - however, when president Doug Johnson saw the Georgia baritone perform Randy Travis' "1982" and Vern Gosdin's "Do You Believe Me Now" at Nashville's Wildhorse Saloon, he was sold. There was genuine label hype around "Ain't It The Truth" - plenty of speak of a "career record" and "The Note" was supposed to be a big smash, but none of that happened. However, Singletary's third and last record for Giant gives us a taste of what was to come: a hardcore country traditionalist slipping into the shoes of a torchbearer for a cause and an artform, which is what he remained until his terribly sad passing in 2018. Sterling stuff from a legend.

In this week's episode we're featuring the third and final album on Giant Records for Daryle Singletary: "Ain't It The Truth" (1998). One of the 90s finest and loudest voices for traditional country music, Singletary was only with Giant a short time and was dropped from it's roster following this album's three singles lacklustre chart performance. The year before it's release, Giant Records had been restructured and Singletary was rightly nervous about his position - however, when president Doug Johnson saw the Georgia baritone perform Randy Travis' "1982" and Vern Gosdin's "Do You Believe Me Now" at Nashville's Wildhorse Saloon, he was sold. There was genuine label hype around "Ain't It The Truth" - plenty of speak of a "career record" and "The Note" was supposed to be a big smash, but none of that happened. However, Singletary's third and last record for Giant gives us a taste of what was to come: a hardcore country traditionalist slipping into the shoes of a torchbearer for a cause and an artform, which is what he remained until his terribly sad passing in 2018. Sterling stuff from a legend.

El 6 de junio de 1980, hace 40 años, se publicaba la banda sonora de la película Urban Cowboy, un día después del estreno de la cinta en Houston, Texas. Urban Cowboy fue dirigida por James Bridges y contaba una relación amor/odio entre "Bud" (John Travolta) y Sissy (Debra Winger) teniendo como punto de encuentro el Gilley's Club, sin ninguna duda, el honky tonk más grande del mundo, abierto en Pasadena, Texas, en 1971 por Mickey Gilley y Sherwood Cryer. El complejo tenía una capacidad de 7,000 personas, repartidas por distintos bares, pistas de baile, escenarios, toro mecánico e incluso rodeo. Aquella película dio origen al llamado Urban Cowboy Movement, que otros relacionaron con el neo-Country o el hill boogie. Su banda sonora fue pieza clave de su éxito, una buena parte de las 18 canciones de su doble LP se incluyeron en el Top 10 de singles de country y otros llegaron a la cima de las listas. Hoy vamos a recordar aquellos momentos. El guión de Urban Cowboy está basado en la historia de amor real de dos clientes habituales de Gilley, Dew Westbrook y Betty Helmer, de los que el periodista Aaron Latham había escrito en la revista Esquire un reportaje titulado "The Ballad of the Urban Cowboy: America's Search for True Grit". El director de cine James Bridges y Latham lo convirtieron en un guión y Paramount eligió a una estrella en ascenso como Debra Winger (a quien recordaréis no hace mucho en la serie de televisión The Ranch) en el papel de Sissy, y a John Travolta (que había tenido un enorme éxito en Saturday Night Fever y Grease) para interpretar a Bud Davis. Aquella banda sonora se abría con “Hello Texas”, un tema compuesto expresamente para la película, que Jimmy Buffett interpretó al margen de sus grabaciones habituales de entonces, que el músico de Mississippi ya denominaba "rock and roll caribeño", aunque también suele usar el término "Gulf & Western”. Musicalmente, Johnny Lee fue uno de los grandes protagonistas de la banda sonora de Urban Cowboy. Nativo de Texas City, creció en una granja de Alta Loma, también en el Estado de la Estrella Solitaria escuchando a Elvis, Jerry Lee Lewis y Chuck Berry, formando una banda de rock'n'roll durante sus años escolares en Santa Fe llamada Johnny Lee & The Roadrunners, con la que ganó distintos concursos locales. Johnny Lee se convirtió en toda una sorpresa. Apareció en la cinta, y dos de sus canciones se incluyeron en la banda sonora. "Lookin' For Love", el tema central que él interpretaba, llegó a la cima de las listas de pop y country en aquel mismo año y vendió más de un millón de copias. Es posible que el Gilley's fuera al country lo que Studio 54 en Nueva York fue a la disco music. Lo que nadie puede negar es que con aquel local se sentaron las bases para la aparición de otros clubes tejanos y más allá, incluidos el Billy Bob's Texas de Fort Worth (fundado al año siguiente del éxito de la película) y el Cowboys Dancehall de San Antonio (inaugurado en el 98). Los clientes habituales, conocidos como "Gilly Rats", hicieron de Gilley’s una especie de familia, aunque no era precisamente un lugar familiar. La producción de Urban Cowboy corrió a cargo de Irving Azoff, un manager de artistas como REO Speedwagon y Dan Fogelberg que adquirió solvencia en la industria musical por su estrecha relación con los Eagles. Fue fundador de Full Moon y Giant Records e influyó muy directamente en la selección de artistas para la banda sonora de la película, incluyendo a varios de sus representados. “Times Like These” la representación de Dan Fogelberg. Al año siguiente, la canción formaría parte del doble álbum The Innocent Age del músico de Illinois, posiblemente el trabajo más reconocido de su carrera. En el tema, Fogelberg tocaba todos los instrumentos excepto la batería, que estuvo en manos de Russ Kunkel. Bonnie Raitt, que hizo un cameo en la cinta, incluyó dos temas en la banda sonora, ninguno de ellos editado en sus álbumes oficiales. Así ocurrió con "Don't it Make Ya Wanna Dance", una canción del tejano de Austin Rusty Wier que fue versionada por artistas como Jerry Jeff Walker, Todd Snider, Chris LeDoux o John Hiatt. Ninguna película influyó en el country como lo hizo Urban Cowboy, ni siquiera Pure Country con George Strait a comienzos de los 90. Y ningún otro club lo hizo tanto como Gilley’s. En cierta manera, Urban Cowboy capturó el espíritu de la vida nocturna que una parte de los americanos anhelaba. Las botas vaqueras, los sombreros y las grandes hebillas se pusieron de moda… y es algo que todavía se mantiene, habiendo saltado fronteras. El presente nos cita con Margo Price que en la primavera de 2018 estuvo actuando durante tres noches en la llamada “Mother Church of Country Music”, el mítico Ryman Auditorium de Nashville y ahora ha publicado por sorpresa una selección de 11 cortes tomados de aquellos conciertos en el álbum Perfectly Imperfect at the Ryman, muy pocas fechas antes de lanzar su nuevo disco de estudio, That’s How Rumors Get Started. Durante aquellas fechas, la artista tuvo invitados como Jack White, Sturgill Simpson –que ha producido su nuevo álbum- y Emmylou Harris, con la que cantó a dúo en esta versión a “Wild Women”, que originalmente formó parte de All American Made, el segundo trabajo de Margo Price en 2017 con esta combinación de twang tejano, country de Nashville y soul de Memphis. Neon Cross ha fortalecido la carrera de Jaime Wyatt y ha afianzado la personalidad de la artista californiana. La producción tan afinada de Shooter Jennings ha reforzado sus propuestas sonoras para contar sus luchas reales contra el dolor, la adicción y la aceptación de su sexualidad. Esto último se refleja en "Rattlesnake Girl", arropado en ciertos elementos cercanos a la psicodelia. Cantar, como hace Jaime, sobre su orientación sexual no es algo que se aborde con frecuencia en la country music, por lo que escucharlo de una mujer que aún está despegando en ese género resulta audaz y emotivo. Kathryn Legendre nació en la tejana Helotes y se ha localizado en la escena de Austin con el mejor espíritu del honky tonk. Debutó en 2013 y por el momento suma álbum y un par de EPs hasta la aparición de su más reciente novedad, "One Long Sad Song", cambiando el enfoque para perfeccionar su forma de componer canciones mientras el mundo viaja por extrañas carreteras. Kathryn Legendre casi nunca ha seguido las tendencias que se suponen y sus influencias conectan con los modos de componer de Guy Clark o Merle Haggard, y filtra también las maneras de contar historias de Loretta Lynn, Bonnie Raitt o Linda Ronstadt. Un Ep y dos álbumes es el cargamento sonoro de The Golden Roses, una formación con sede en la tejana Austin, que en Smell The Roses al que da nombre genérico esta canción, cantan a sus experiencias basándose en sus propias influencias en las que hay espacio para el country, el bluegrass, Western swing y algo de rock 'n roll, todo ello filtrado por locales emblemáticos como el Broken Spoke y de forma muy especial el Ginny’s Little Longhorn Saloon, donde aprendieron casi todo lo que saben. “Smell The Roses” ha contado con Zachary Moulton de Mike and the Moonpies como invitado en la Steel guitar. Mike & The Moonpies se han refugiado en Touch of You- The Lost Songs of Gary Stewart, un álbum de canciones inéditas del músico de Jenkins, en el Condado de Letcher, en Kentucky, que habría cumplido 76 años el pasado jueves de no haberse suicidado en diciembre de 2003, unas semanas después de que su mujer muriera de neumonía. Jamie Lin Wilson, Courtney Patton y Zac Wilkerson son algunos de los invitados en esta aventura, además de un dúo con Mark Wystrach de Midland en “Smooth Shot of Whiskey”, una canción que el artista desaparecido compuso con Dean Dillon y Frank Dycus y que quedó fuera de un EP de Dillon y Gary Stewart que en principio era un proyecto más amplio. Midland tomó su nombre de una canción de Dwight Yoakam como "Fair to Midland", que apareció en 2003 en su álbum Population Me. Ahora también han jugado con el título de un Lp tan emblemático del músico de Kentucky como Guitars, Cadillacs, Etc. Etc. para dar nombre a un nuevo EP, con algunas versiones acústicas de sus canciones más conocidas, que han llamado Guitars, Couches, Etc., Etc. La grabación se hizo durante la cuarentena desde las casas de sus tres miembros. "Fourteen Gears" trata sobre un camionero que piensa amor especial mientras usa los "14 engranajes" de su Peterbilt (una marca de camiones de gran tonelaje) para "volver a tenerla” en sus brazos. Es una canción llena de nostalgia sobre conductores de esos trucks de 18 ruedas. Siempre hay que dar gracias por buenos amigos, el amor verdadero, los pueblos pequeños, la cerveza fría y un par de botas gastadas. Eso hace la Josh Abbott Band en su nueva canción, “The Luckiest”, donde tiene tiene un buen recuerdo hacia “King George”, es decir George Strait, por seguir haciendo discos de country. La banda de Lubbock afincada en Austin ha superado con creces la personalización en Josh Abbott y ha dirigido sus esfuerzos a profundizar en los sonidos del Lone Star State, sin perder la conexión con la tradición. Sus canciones suelen tener una carga de positividad, como en este caso, y detallan la cotidianeidad de las pequeñas ciudades de ese inmenso estado, con sus romances, sus problemas y sus inquietudes personales. Escuchar audio

Welcome in to a new episode of the Tryhard Academy Podcast. In this episode, Cole and Jeff swing open the doors to The Emerald City and pull open the curtain on the "Curiosity Control" archetype; known by some as the 4C Rashmi Control Archetype. Since C16, 4C Rashmi Control has been a well-performing archetype over the last few years, in cEDH pods worldwide. This deck blends reactive control elements, with Curiosity style enchantments, in order to draw a boatload of cards and bury your opponents in card advantage. To further their control gameplan, the archetype uses a few tried-and-true asymmetric, and symmetric, hate pieces that do not affect the deck directly. If you're a fan of playing Magic on other people's turns and controlling the tempo of the game's flow, then this deck might just be up your alley. ========================================================== Decklists: http://tappedout.net/mtg-decks/4c-rashmi-curious-control/ The progenitor archetype, created by u/Sickrobot and Sigi of the Laboratory Maniacs. https://tappedout.net/mtg-decks/the-emerald-city-4c-rashmi-control/ Jeff's personal version of this powerful archetype. https://tappedout.net/mtg-decks/budget-4c-curious-control/ A budget variation (roughly $500 to $750 USD) on the classic 4C Rashmi Control concept; especially helpful if you're on a budget. ========================================================= DISCLAIMER: All audio and video media used in the production of this video is utilized with permission under the Creative Commons License. All Audio/Video footage used in the making of this video is meant to be used in a trans-formative manner, for the expressed purposes of providing both educational value (related to Magic The Gathering), and entertainment. All rights reserved to the owners of their respective media sources. Audio Clip #1: “Get Down With The Sickness", by Disturbed. Copyright October 2000, from the LP "The Sickness". Giant Records. Audio Clip #2: “The Wizard of Oz”, 75th Anniversary version. Originally copyright 1939, by Metro-Goldwyn-Mayer, and distributed by Loew's, Inc. Redistributed on Sept. 15, 2013 via Warner Bros. Entertainment. ======================================================== Find us on Social Media: On FB: https://www.facebook.com/teamtryhard Website: https://thetryhardigans.wixsite.com/tryhardacademy Email: thetryhardigans@gmail.com Here, on the Anchor Podcasting Platform: https://www.anchor.fm/tryhard-academy ======================================================== Thanks for tuning in and have a great day.

While we have chatted with many artists over the years, rarely have we been able to get the record label perspective on the various ups and downs of the 90s. For this episode, we're lucky to get singer/songwriter Michael McDermott, who has been making records for thirty years, and the A&R rep who helped kick off that career, Brian Koppelman. While Brian is better known for his screenwriting (Rounders, Ocean's 13) and showrunning (Billions), his life in the music industry dates back to high school with A&R stints at Elektra Records, Giant Records, SBK Records and EMI Records. We dig into the album Michael and Brian worked on together, 1993's Gethsemane, and the various trials and tribulations of releasing a singer/songwriter album in the heyday of Nirvana, Pearl Jam, Soundgarden and Alice In Chains, the producer and songwriter relationship in the studio, why being too sympathetic to the artist can be a negative, and much much more.   Songs In This Episode:   Intro/1:47 - Just West Of Eden 17:03 - The Idler The Prophet And A Girl Called Rain 46:54/Outro - Need Some Surrender   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.  

While we have chatted with many artists over the years, rarely have we been able to get the record label perspective on the various ups and downs of the 90s. For this episode, we're lucky to get singer/songwriter Michael McDermott, who has been making records for thirty years, and the A&R rep who helped kick off that career, Brian Koppelman. While Brian is better known for his screenwriting (Rounders, Ocean's 13) and showrunning (Billions), his life in the music industry dates back to high school with A&R stints at Elektra Records, Giant Records, SBK Records and EMI Records. We dig into the album Michael and Brian worked on together, 1993's Gethsemane, and the various trials and tribulations of releasing a singer/songwriter album in the heyday of Nirvana, Pearl Jam, Soundgarden and Alice In Chains, the producer and songwriter relationship in the studio, why being too sympathetic to the artist can be a negative, and much much more.   Songs In This Episode:   Intro/1:47 - Just West Of Eden 17:03 - The Idler The Prophet And A Girl Called Rain 46:54/Outro - Need Some Surrender   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.  

Boston based photographer, musician, and producer of the Sam Black Church documentary "Leave Behind A Groove In The Earth - The story of Sam Black Church", Duncan Wilder Johnson talks about growing up a huge music fan and his the ten year process of getting the SBC film out, the many hats he wears and he's in three bands too, and his love for the Descendents. Steev also talks about the most recent New Alliance group art show and the local celebs that showed up and shares some stories about the first time he met Mike Watt at the Enigma office in El Segundo CA,, Dag Nasty's signing to Giant Records, and more groovy stuff in this fast and furious episode... Music Destruct-A-Thin "9 Squares" The Charms "So Pretty" intro and outro music --- Support this podcast: https://anchor.fm/blowingsmoketr/support

#PopcornTalk #TheFilmScene #BrianKoppelman Koppelman was born on April 27, 1966 in Roslyn Harbor,[6] New York to a Jewish family, the son of Brenda "Bunny" Koppelman and Charles Koppelman. His father was a producer and media executive. Koppelman holds degrees from Tufts University and Fordham University School of Law. Career He first started managing local Long Island bands as a teenager. He would also book bands at a local nightclub. Through booking acts, he came into contact with Eddie Murphy and helped arrange Murphy's first record deal. As a student at Tufts University, he discovered singer/songwriter Tracy Chapman and executive-produced her first album. He was later brought to Giant Records by president Irving Azoff. During his career, Koppelman was an A&R representative for music labels Elektra Records, Giant Records, SBK Records and EMI Records. Film In 1997, Koppelman wrote the original screenplay for Rounders with his writing partner, David Levien. Koppelman has described his approach to writing as a team as having only one rule: no video games in the office. In 2001, Koppelman wrote, produced, and directed his first film, Knockaround Guys, which film critic Roger Ebert gave 3 out of 4 stars. Since then, Koppelman has worked on a dozen films, including having written Ocean’s Thirteen and directed an ESPN 30 for 30 documentary, This Is What They Want. In 2009, Koppelman co-directed Solitary Man starring Michael Douglas. The film was included in both A. O. Scott's The New York Times "Year End Best" list, Roger Ebert's "Year End Best" list, and holds a "Fresh" rating of 81% at the review aggregator website Rotten Tomatoes. Koppelman was a contributor and essayist at Grantland.com, a website that was dedicated to sports and pop culture. Additionally, since March 2014, Koppelman has hosted a weekly podcast, "The Moment", on ESPN Radio. In October, 2013, Koppelman received significant media attention for releasing a series of videos on the platform Vine in which he gives screenwriting advice in six seconds or less called "Six Second Screenwriting Lessons". His "Screenwriting, in Six Seconds or Less" Vine from July 31, 2014, generated over 15 million loops in less than nine days. He has also written a short story, "Wednesday is Viktor's",for the anthology Dark City Lights: New York Stories (Have a NYC), published in 2015. Television Showtime's drama Billions, created by Koppelman with The New York Times columnist Andrew Ross Sorkin and writing partner David Levien, and starring Paul Giamatti and Damian Lewis, premiered to strong reviews in 2016.[21][22] Emmy Award for Outstanding Special Guest Performer in a Drama Series. @jeffreycgraham Make sure to subscribe to Popcorn Talk! - http://youtube.com/popcorntalknetwork

*Special 2hr show Today! Monday's Bombshell (Bombshell Radio) Generating Steam HeatBombshell Radio 4pm EST 9pm BST 1pm PDT bombshellradio.comGeneratingSteamHeat #Postpunk #punk #newmusic #60sClassics #Ska #60sGarage #StitcherRadio #Itunes #BombshellRadioThe Dwarves-Drinking Up Christmas (From the No Balls Records ‘The Dwarves/Blag Dahlia’ 10’’ EP 2007)The Twilight Sad-Last January (From the Fat Cat Records album ‘Nobody Wants To Be Here and Nobody Wants To Leave’ 2014)Stiff Little Fingers-Suspect Device (Rigid Digits Records 7’’ 1978)Television-Days (From the Elektra Records album ‘Adventure’ 1978)The Sisters Of Mercy-Valentine (From the Merciful Release Records EP ‘The Reptile House’ 1983)Public Image Ltd-Rise (Virgin Records 7’’ 1986)Killing Joke-Change (EG/Malicious Damage Records 7’’ 1980)…And You Will Know Us By The Trail Of The Dead-Isis Unveiled (From Richter Scale/Justice Records album ‘The Century Of Self’ 2009)Wire-Mannequin (Harvest Records 7’’ 1977)Buzzcocks-Ever Fallen In Love (United Artists Records 7’’ 1978)Mcrad-Weakness (From the Beware Records album ‘Absence Of Sanity’ 1987)KSU-Jabol Punk (From the self titled Pronit Records album 1989)Bob Marley and the Wailers-Natty Dread (From the Island Records album ‘Natty Dread’ 1974)Keith Hudson-Turn The Heater On (From the Atra Records album ‘Torch Of Freedom’ 1975)The The-Bugle Boy (From the 4AD Records album ‘Burning Blue Soul’ 1981)Bo Ningen-Koroshitai Kimochi (Stolen Records 12’’ 2009)Plume Of Feather-No Tabs (Dandelion Radio session track 2016)Jesus And Mary Chain-Amputation (ADA Records digital single 2016)Mondo Generator-Shawnette (From the Southern Lord Records album ‘Cocaine Rodeo’ 2000)Savages-Sad Person (From the Matodor Records album ‘Adore Life’ 2016)Eater-Lock It Up (The Label Records 7’’ 1977)So What-Don’t Wanna Come Back To You (From the forthcoming Just Add Water Records album ‘Hard Gum’ 2016)The Business-Real Enemy (From the Secret Records album ‘Suburban Rebels’ 1983)Government Issue-World You and I (From the Giant Records album ‘You’ 1987)The Clash-(White Man) In Hammersmith Palais (CBS Records 7’’ 1978)Girls Give Me Pills-Faith (Self released digital single 2016)Poison Idea-Hypnoptic (From the Southern Lord Records album ‘Confuse and Conquer’ 2015)The Damned-There Ain’t No Sanity Clause (Chiswick Records 7’’ 1980)

Today on The Neil Haley Network's Caregiver Dave Celebrity Segment, Caregiver Dave and The Total Tutor Neil Haley will interview Grammy Award Winner Rhonda Vincent. Rhonda Vincent was born in Greentop, Missouri, where she grew up performing in her family band, The Sally Mountain Show, featuring country and bluegrass music. After releasing a handful of her own successful bluegrass albums on Rebel Records as the 1990's began, she was signed to a country recording contract with Giant Records. Songs such as "I'm Not Over You," "An Old Memory (Found It's Way Back Home Again)," "I Do My Cryin' At Night," and "At The Corner Of Walk and Don't Walk" endeared her to fans of traditional country music, even if the mainstream audience was not ready for her unashamedly country sound. After developing a loyal following within both musical styles, she chose to return to her bluegrass roots in 2000, and hasn't looked back. Her powerful voice and unrelenting work ethic have made her the undisputed "Queen of Bluegrass" (a title bestowed upon her by The Wall Street Journal), earning her a closet full of bluegrass music awards, and a GRAMMY Award for Best Bluegrass Album in 2017. Her first-class presentation both on and off stage has allowed Vincent to be one of the only bluegrass artists of the 21st century whose albums consistently reach the Billboard Country Top 40, finding a home among both camps of fans. She is also one of Nashville's most in-demand harmony singers, heard on recordings alongside names such as Dolly Parton.    

I want to thank Mark Calderon from the RnB group Color Me Badd for calling into my show "Sports and Hip Hop with DJ Mad Max" on WSJU Radio at St. John's University! We discussed when and how the group formed as well as how they got their name. They auditioned for Kool & The Gang and it all started from there, in which they were signed to Giant Records. We discussed their albums and hit songs including I Wanna Sex You Up, which was also in the classic movie New Jack City as well its soundtrack. They won two Soul Train Music Awards and an American Music Award. Mark talked about touring around the world and meeting his idols while on the tours. Mark is now going solo and he just released his first single It's Like Good Sex, which is available on all music platforms! Be on the lookout because Mark will be releasing another single soon and much more! Website: https://maxrcoughlan.com/sports-and-hip-hop.html. Follow Mark Calderon on Instagram and Twitter: @themarkcalderon. Follow me on Instagram and Twitter: @thereelmax. 

On episode 4 of Blowing Smoke with Twisted Rico, host Steev Riccardo talks about his long history with the legendary Boston band The Neighborhoods, as well the New York based punk label in which he ran called Giant Records. He also brings up one of of his favorite topics, The Rock N Roll Hall of Fame and two notable omissions - Joy Division and Bad Company. --- Support this podcast: https://anchor.fm/blowingsmoketr/support

In this episode, we're featuring a good old-fashioned duet album from Rhonda Vincent & Daryle Singletary: "American Grandstand" (2017). These two have been friends since the mid-90s when they were both labelmates at Giant Records - and this album has been years in the making. Now that the timing is right, the result is sublime. Singletary's baritone takes on a surprisingly good harmony vocal role on many of these songs, while Vincent's lead is pure and simple. These duets were recorded the old-fashioned way: both singers were in studio at the same time when the tracks were laid down, which leads to a wonderful result. Strong steel guitar and fiddles lead the listener through a collection of classic duet tunes, including the Jones/Wynette staple "Golden Ring", the Twitty/Lynn collaboration "After The Fire Is Gone", a surprisingly good "Above & Beyond (The Call Of Love)" from the pen of Harlan Howard and an original, "American Grandstand", written specifically for the album by Vincent is also a highlight. A deep knowledge and respect for the traditions of country music duet stylings from both singers make this one of the best releases of 2017.

In this episode, we're featuring a good old-fashioned duet album from Rhonda Vincent & Daryle Singletary: "American Grandstand" (2017). These two have been friends since the mid-90s when they were both labelmates at Giant Records - and this album has been years in the making. Now that the timing is right, the result is sublime. Singletary's baritone takes on a surprisingly good harmony vocal role on many of these songs, while Vincent's lead is pure and simple. These duets were recorded the old-fashioned way: both singers were in studio at the same time when the tracks were laid down, which leads to a wonderful result. Strong steel guitar and fiddles lead the listener through a collection of classic duet tunes, including the Jones/Wynette staple "Golden Ring", the Twitty/Lynn collaboration "After The Fire Is Gone", a surprisingly good "Above & Beyond (The Call Of Love)" from the pen of Harlan Howard and an original, "American Grandstand", written specifically for the album by Vincent is also a highlight. A deep knowledge and respect for the traditions of country music duet stylings from both singers make this one of the best releases of 2017.

Mississippi native Joshie Jo Armstead began her professional career as a vocalist, touring and recording as one of the original Ikettes behind Ike and Tina Turner. She later settled in New York City where she began working with the legendary duo of Ashford and Simpson, who first found major success as the songwriting trio of Ashford, Simpson and Armstead when Ray Charles’ recording of “Let’s Go Get Stoned” became a #1 hit. Soon after, Charles recorded their “I Don’t Need No Doctor” and Aretha Franklin hit the R&B Top 40 with “Cry Like a Baby.”  After Ashford and Simpson went to Motown, Armstead relocated to Chicago where she launched Giant Productions and established herself as one of only a handful of female record label owners and producers in that era. There she scored Top 10 R&B hits with Syl Johnson’s “Come On Sock it to Me,” Ruby Andrews’ “Casanova (Your Playing Days Are Over),” Garland Green’s “Jealous Kind of Fella,” and Carl Carlton’s “Drop By My Place” while also releasing her own records as an artist for Giant Records and later Stax Records.  As a vocalist she has worked and recorded with Diana Ross, Bob Dylan, Roberta Flack, Nina Simone, BB King, Quincy Jones and Burt Bacharach. As a writer she placed 16 songs on the R&B and pop charts.  Her compositions have been recorded by a long list of artists, including James Brown, The Coasters, The Shirelles, Joe Cocker, Styx, Humble Pie, Joan Osborne, Ronnie Milsap, John Mayer, and others.  

MICHELLE LEWIS SINGER/SONGWRITER/ADVOCATE Michelle Lewis is a fierce New Yorker now based in LA, where she is a singer, songwriter, composer, and music creators’ rights advocate. From her early career as a recording artist signed to Irving Azoff’s Giant Records, to her first radio hit, Cher’s “A Different Kind of Love Song” in 2002, to the 2014 worldwide #1 single “Wings” by the British girl group, Little Mix, Ms. Lewis brings authenticity, grit, and heart to a diverse array of music projects. For the last decade, Ms. Lewis has branched out into the world of songwriting for TV and film projects, most notably as a Peabody Award-winning composer of all original music for Disney Jr’s hit show, “Doc McStuffins,“ now beginning production of its 5th season. She also received her first Emmy nomination in 2016 for her work as a composer on the Nickelodeon show, “Bubble Guppies,” and has composed the theme songs to many other beloved animated series. In 2014, Ms. Lewis co-founded the non-profit advocacy organization, Songwriters Of North America (SONA). As Executive Director of SONA, she is deeply connected to the music creator community and is committed to growing the number of informed songwriters and composers able to advocate on their own behalves. She regularly communicates with leaders from Silicon Valley to Washington DC, fighting for the protection of songwriters and the value of musical works in the digital age. She is not afraid of taking action - SONA is the songwriter organization that sued the Department of Justice over its 100% licensing ruling last fall: billboard.com/articles/business/7510259/songwriters-group-sona-dept-justice-op-ed-consent-decrees. Ms. Lewis lives in Los Angeles with her husband, music producer Dan Petty and their 9 year-old son, Jackson.

MICHELLE LEWIS SINGER/SONGWRITER/ADVOCATE Michelle Lewis is a fierce New Yorker now based in LA, where she is a singer, songwriter, composer, and music creators’ rights advocate. From her early career as a recording artist signed to Irving Azoff’s Giant Records, to her first radio hit, Cher’s “A Different Kind of Love Song” in 2002, to the 2014 worldwide #1 single “Wings” by the British girl group, Little Mix, Ms. Lewis brings authenticity, grit, and heart to a diverse array of music projects. For the last decade, Ms. Lewis has branched out into the world of songwriting for TV and film projects, most notably as a Peabody Award-winning composer of all original music for Disney Jr’s hit show, “Doc McStuffins,“ now beginning production of its 5th season. She also received her first Emmy nomination in 2016 for her work as a composer on the Nickelodeon show, “Bubble Guppies,” and has composed the theme songs to many other beloved animated series. In 2014, Ms. Lewis co-founded the non-profit advocacy organization, Songwriters Of North America (SONA). As Executive Director of SONA, she is deeply connected to the music creator community and is committed to growing the number of informed songwriters and composers able to advocate on their own behalves. She regularly communicates with leaders from Silicon Valley to Washington DC, fighting for the protection of songwriters and the value of musical works in the digital age. She is not afraid of taking action - SONA is the songwriter organization that sued the Department of Justice over its 100% licensing ruling last fall: billboard.com/articles/business/7510259/songwriters-group-sona-dept-justice-op-ed-consent-decrees. Ms. Lewis lives in Los Angeles with her husband, music producer Dan Petty and their 9 year-old son, Jackson.

About this episode: To Tim Hunze, dedication to your songwriting craft and building your network are two very important factors in pursuing a career in the music industry. In 2011, Tim opened the doors of Parallel Music Nashville in partnership with JP Williams. Tim’s day to day includes managing a roster of songwriters and artists including Jon Mabe, Jesse Lee, Lance Carpenter, Zella Day, Alex Hall, Blake Chaffin, Ryan Beaver, Jenn Schott and more. In our conversation we touch on Tim’s early beginnings in artist management his favorite podcasts, media outlets and how he scouts those future radio hits. About Tim Hunze: Upon graduation from Middle Tennessee State University and armed with a degree in Recording Industry Management, Tim started his own record label, Rhythm and Grooves Records. The label had strong initial success with a hit video on BET and a charted single on Billboard charts. Ultimately, Hunze sold his interest in the company. In 1993 Tim then took at job as archive manger at Great Cumberland Music Group (later renamed to Hamstein Music). After a year as archive manager, Tim garnered his first cut with Giant Records artist, Clay Walker. This cut turn into Tim’s first single that peaked at # 14 on Billboard’s country music chart. Hunze was promoted to creative director in 1995 and procured cuts with artist such as Tim McGraw, George Strait, Diamond Rio, John Michael Montgomery, Rascal Flatts, Kenny Chesney. In 2000, Hamstein sold to Mosaic Music group and then in 2005 sold to Stage Three Music Group. Tim was appointed the General Manger. Under Hunze’s tenure, Stage Three Music Group had over 15 #1’s including Jason Aldean’s “The Truth”, Sugarland’s’ “Want To”, “Already Gone”, and “It Happens”, Carrie Underwood’s, “Cowboy Casanova” and Kenny Chesney’s “Out Last Night”. Stage Three Writer, Bobby Pinson won 2009 BMI Song Writer of The Year award and writer Brett James won 2010 ASCAP writer of the year. In July of 2010, Stage Three Music was sold to BMG Rights Management. In July of 2011, Hunze started Parallel Music Publishing, a partnership with JP Williams. In their four short years they’ve have five number one records: “Better Dig Two”, “Mama’s Broken Heart”, “Til My Last Day”, “Love Me Like Me You Mean It”, and “Kiss You In The Morning”. Parallel’s current roster: Alex Hall, Blake Chaffin, Jennifer Schott, Jesse Lee, Lance Carpenter, Michael Lotten and Michael White. Hear Tim Hunze speak at this year’s NSAI Song Camp happening July 14-16 here in Nashville. Register now at www.nashvillesongwriters.com. About this podcast: NSAI Coffee Break is a series featuring legendary and modern-day songwriters, artists and music industry executives. Each episode highlights their creative journeys, including the successes and the in-betweens, and where they are headed to next!

Contemporary soul singer Christopher Williams was born and raised in the Bronx, New York. The nephew of jazz legend Ella Fitzgerald decided to become a singer after sitting with his aunt Ella, Frank Sinatra and Count Basie after a show. With talent in his genes and the desire to be a great recording artist, Christopher Williams emerged during the late 1980s, as a recording artist for Geffen Records. He released his debut album, entitled “Adventures in Paradise”, in 1989. The singles “Talk To Myself” and “Promises, Promises” reached the R&B Top 10 charts, and Christopher’s soulful, powerful voice made him stand out among his peers. In 1991, he landed his first acting role portraying Kareem Akbar, appearing alongside Wesley Snipes and Ice-T in the pop culture movie hit, New Jack City. His single from the soundtrack of the same name, “Dreamin’” turned gold and became a #1 single on Billboard's Hot R&B/Hip-Hop Singles & Tracks charts. His 1992 Uptown Records album “Changes” featured the hits “All I See”, "Every Little Thing" and "Come Go with Me." The album peaked at sixty-three on the U.S. Billboard 200 and reached the twelfth spot on the R&B Albums chart. In 1995 the album “Changes” was followed up by “Not a Perfect Man” on Giant Records. This album brought a new direction for Williams; his first album as sole Executive Producer uses elements of reggae, R&B, hip-hop and country. In 2001, after a six year hiatus the album “Real Men Do” was released on the indie label Renegade, receiving rave reviews from Ebony Magazine and many other notable publications.

Contemporary soul singer Christopher Williams was born and raised in the Bronx, New York. The nephew of jazz legend Ella Fitzgerald decided to become a singer after sitting with his aunt Ella, Frank Sinatra and Count Basie after a show. With talent in his genes and the desire to be a great recording artist, Christopher Williams emerged during the late 1980s, as a recording artist for Geffen Records. He released his debut album, entitled “Adventures in Paradise”, in 1989. The singles “Talk To Myself” and “Promises, Promises” reached the R&B Top 10 charts, and Christopher's soulful, powerful voice made him stand out among his peers. In 1991, he landed his first acting role portraying Kareem Akbar, appearing alongside Wesley Snipes and Ice-T in the pop culture movie hit, New Jack City. His single from the soundtrack of the same name, “Dreamin'” turned gold and became a #1 single on Billboard's Hot R&B/Hip-Hop Singles & Tracks charts. His 1992 Uptown Records album “Changes” featured the hits “All I See”, "Every Little Thing" and "Come Go with Me." The album peaked at sixty-three on the U.S. Billboard 200 and reached the twelfth spot on the R&B Albums chart. In 1995 the album “Changes” was followed up by “Not a Perfect Man” on Giant Records. This album brought a new direction for Williams; his first album as sole Executive Producer uses elements of reggae, R&B, hip-hop and country. In 2001, after a six year hiatus the album “Real Men Do” was released on the indie label Renegade, receiving rave reviews from Ebony Magazine and many other notable publications. Tune IN To Hear More!   

show#1538.06.06All Spinner this week:Kenny Wayne Shepherd: trouble is (Trouble Is, Giant Records, 1997)Jon Cleary: port street blues (Moonburn, Point Blank, 1999)Two Bones & a Pick: big bad and blue (Butter Up 'n' Go, CRS, 1998)West Weston's Bluesonics: please please please (self release, ????)Doug Jay: she's dynamite (Until We Meet Again, Blue Jay Records, 1993)Paul deLay Band: ain't that right (Take It From The Turnaround, Evidence, 1996)Mama's Boys: can't kick the habit (The Black Album, self release, 2004)Joe Liggins: the honeydripper (part 1+2) (Great Rhythm &Blues Vol. 6, Bulldog Records, 1974)John Popper: miserable bastard (Zygote, A&M, 1999)Rick Holmstrom: north of Montana (Shake It!, Black Top, 1995)Bill Wyman's Rhythm Kings: mood swing (Groovin', Ripple Records, 2000)The Hoax: hungry man's blues (Live Forever, Credible Records, 1999)http://www.bandanablues.com 

Disclaimerchill lover radio does not own or claim to own the audio shown it is for promotional use only.Yas The Face Podcast E01 S2-Connect with Yas The Face :Web-page:_Connect with DJ King Jones:On the deck mixing DJ King Jones:https://chillloverradio.net/djkingjones-Diamond Fuze:Website:_Styles: Hip Hop, Rap, R&BEnjoy!Tracklist:1) Bakeman Global - Sound LikeBuy Link: https://music.amazon.com/albums/B07YF3DX6W?trackAsin=B07YF4827K&ref=dm_sh_1366-1e07-dmcp-53d9-acea7&musicTerritory=US&marketplaceId=ATVPDKIKX0DER2) Chinx, French Montana, Jadakiss - Dope House (Remix)Buy Link: https://www.amazon.com/House-French-Montana-Jadakiss-Explicit/dp/B00VVPHSHQ3) Method Man - Grand PrixSpotify Link: https://open.spotify.com/track/7dkGWTscE7GE7hDguFvPW1Record Label: Hanz On Music Entertainment4) The Game - Rewind IISpotify Link: https://open.spotify.com/track/7duFMs2a1IorxHXSdpS0b2Record Label: Entertainment One U.S., LP5) Dr Dre, Tha Dogg Pound, Jewell, Snoop Dogg - B*tches Ain't Sh**tBuy Link: https://music.apple.com/us/album/bitches-aint-s-t/6654037?i=6654035Record Label: Death Row Records6) Cassidy, Swizzled Beatz - My Drink N' My 2 StepSpotify Link: https://open.spotify.com/track/2ynz2qxllPFADaon1cPKwfRecord Label: J Records, a unit of SONY BMG MUSIC ENTERTAINMENT.7) DJ Bobby Black, DJ Mars, Dougie Fresh, Kid Capri - Bend and StretchBuy Link: https://open.spotify.com/track/1C6EYTBbuegtvV5d5ADfuMRecord Label: DJ Bobby Black & DJ Mars8) Red Cafe - Diddy BopBuy Link: https://open.spotify.com/track/3d4ppSeLCverwiuOPTzcjWRecord Label: Motown Records, a Division of UMG Recordings, Inc.9) Swizz Beatz - Its OkayyySpotify Link: https://open.spotify.com/track/4yAMU1nrq2l6rF3JM9v1PkRecord Label: Epic Records, a division of Sony Music Entertainment/Swizz Beatz Productions, Inc.10) Cassidy, Swizz Beatz - Henny & BacardiBuy Link:https://open.spotify.com/track/1uYZcxrFkqirld7mclDTzDRecord Label: Mayhem Music11) Jamie Foxx, T Pain - Blame ItSpotify Link: https://open.spotify.com/track/08uGhvS5MfBk7crUCpnjvaRecord Label: RCA/JIVE Label Group, a unit of Sony Music Entertainment12) Musiq Soulchild - GoodgirlSpotify Link: https://open.spotify.com/track/7JjXK7lgeIUU6bpsVn06VJRecord Label: Warner Music Group - X5 Music Group13) Missy Elliot - PussycatSpotify Link: https://open.spotify.com/track/1o5836JxPIRXFPokPisoMaRecord Label: Elektra Entertaiment for the United States and WEA International Inc. for the world outside of the United States14) Marvin Gaye - Sexual HealingSpotify Link: https://open.spotify.com/track/3VZmChrnVW8JK6ano4gSEDRecord Label: Sony Music Entertainment15) Color Me Badd - Thinkin' BackSpotify Link: https://open.spotify.com/track/3el7T240PZsJi0R3N2DjzjRecord Label: © 2000 Giant Records℗ 1991, 1992, 1993, 1996, 2000 Giant Records16) Jon B ft. 2Pac - Are You Still DownSpotify Link: https://open.spotify.com/track/6I1UXqglOINThfiQuSMflsRecord Label: Sony Music Entertainment Inc.17) Three Times Dope - Funky DividendSpotify Link: https://open.spotify.com/track/6ak8QS2iSc0mZMSGdgjA6wRecord Label: ℗ 1988 RCA Records, a division of Sony Music Entertainment