Podcast appearances and mentions of Gladys Knight

What do Donna Summer, Parliament, Gladys Knight, The Isley Brothers, The Village People, and Bill Withers all have in common with the rock band KISS?  They all rose to their musical heights under the watchful ear of the music industry's most colorful and brilliant music producer, Neil Bogart, founder of Casablanca Records, the most successful independent record company of all time. Along with a rag tag team of young music lovers, Neil and Casablanca Records would rewrite history and change the music industry forever.   Their mix of creative insanity, a total belief in each other and the music they were creating, shaped our culture and ultimately defined a generation.  In a story so unbelievable that it can only be true, comes the motion picture event of the musical journey of Neil Bogart and how his Casablanca Records created the greatest soundtrack of our lives. Some of today's hottest music stars are playing the icons who inspired them and singing their most popular songs including Grammy and Golden Globe nominee Wiz Khalifa as George Clinton, Jason Derulo as Ron Isley of the Isley Brothers, Pink Sweat$ as Bill Withers, Grammy Award nominee Tayla Parx as Donna Summer and multi-Grammy winner Ledisi as Gladys Knight.   Spinning Gold features an all-star cast including Tony Award nominee Jeremy Jordan (Newsies, Bonnie & Clyde), Michelle Monaghan (Mission: Impossible franchise, Gone Baby Gone), Jay Pharoah (Saturday Night Live, Bad Hair), Tony Award winner Dan Fogler (The Walking Dead, The Goldbergs), Jason Issacs (the Harry Potter franchise, The Death of Stalin, The Patriot), Lyndsy Fonseca (Kick-Ass, Hot Tub Time Machine), Chris Redd (Saturday Night Live), Casey Likes (Almost Famous on Broadway), and comedian/actor Sebastian Maniscalco (The Irishman). Spinning Gold is written, directed, and produced by Timothy Scott Bogart and produced by Jessica Martins, and Laurence Mark, as well as produced by Gary A. Randall, Chris Torto, Bradley Bogart, and David Haring.   Grammy Winning Music producer Evan "Kidd" Bogart, along with Harvey Mason, Jr. and Atlantic Records president Kevin Weaver are executive producers on the film and Atlantic Records will be releasing the soundtrack.

Our hero talks about legend Gladys Knight and starts sanging some classics.  There is also a debate on who was a better singer between Charlie Wilson and Luther Vandross.See omnystudio.com/listener for privacy information.

On today's Good Day Download:Contaminated eye drops are causing eye loss and even deaths, TikTok continues to be an issue with their backend technology, and the heartbreaking story behind Jewel's relationship with her mother. We discuss. Bruce Springsteen, Gladys Knight, Mindy Kaling and more are awarded prestigious honor. We discuss that, too. Plus, Dr. Ken Kronhaus from Lake Caridology in Florida joins to discuss what really happens to your body when you consume sugary and fatty foods/beverages, the importance of a heart-healthy diet and the top two recommended. You can get more from Dr. Ken on the Good Day Health podcast (on this platform and everything podcasts are available).Get more information on GoodDayShow.com.Follow us on social media. Facebook & Instagram - @GoodDayRadioShowTwitter - @GoodDayOnAir Leave us a message - 855.999.DOUG (3684)

For shizzle, my nizzle gets air time and terminated shortly after.  Bye Barbie!  Ricky Rozay has beef with his neighbor over his Buffalo.  Gladys Knight was awarded the Medal of Arts by President Biden.  The Pips didn't get sugar honey iced tea.See omnystudio.com/listener for privacy information.

The Rich Zeoli Show- Full Episode (03/22/2023: 3:05pm- On Saturday, former President Donald Trump revealed that he expects to be arrested for hush money payments disturbed to adult film actress Stormy Daniels in 2016—though, no arrest has yet been made. The New York Post is now reporting that law enforcement is not expecting an arraignment until next week.  3:15pm- While appearing on CNN, political commentator Van Jones explained that he believes it's a mistake for Manhattan District Attorney Alvin Bragg to indict former-President Donald Trump for alleged hush money payments to adult film star Stormy Daniels. 3:30pm- While speaking before the Senate Appropriations subcommittee, Secretary of State Antony Blinken stated that he hopes to “modernize the State Department” by “carrying out diversity, equity, inclusion, and accessibility initiatives.” Blinken also vowed to release a report on the Biden Administration's withdrawal from Afghanistan. 3:40pm- Congressman Jeff Van Drew—Republican representing New Jersey's 2nd Congressional District—joins The Rich Zeoli Show to discuss the death of eight dolphins beached in Sea Isle City on Tuesday. Many environmental experts believe the sudden, drastic uptick in marine life deaths along the Atlantic Coast is linked to offshore wind development's usage of sonar to map the ocean's floor. 4:05pm- According to a report from The Daily Wire's John Rigolizzo, the House Oversight Committee and Accountability Committee is “requesting documents related to the government's response to the nationwide baby formula shortage.” Will the White House and/or Federal Drug Administration (FDA) be held accountable for their actions which exacerbated the 2022 baby formula shortage? You can read more here: https://www.dailywire.com/news/house-oversight-committee-investigating-biden-administration-mishandling-of-baby-formula-shortage 4:15pm- On Wednesday, Moderna CEO Stéphane Bancel testified before the Senate Health Committee addressing concerns regarding prices and side effects from his company's COVID-19 mRNA vaccine. During the hearing, Senator Rand Paul (R-KY) confronted Bancel about the risk of myocarditis in young men. Senator Bernie Sanders (I-VT) also went after Bancel—criticizing Moderna's decision to “quadruple the price of the vaccine.” 4:30pm- While speaking with The Hill's “Women Out Front”, Gisele Fetterman was asked if there is any “piece of legislation” she is currently looking into—but wait…she's not a U.S. Senator! And where is Sen. John Fetterman (D-PA) anyway? 4:40pm- Dr. Victoria Coates—former Deputy National Security Advisor & Senior Research Fellow at The Heritage Foundation—joins The Rich Zeoli Show to discuss the strengthening alliance between Vladimir Putin's Russia and Xi Jinping's China. On Tuesday, National Security Council Coordinator for Strategic Communications John Kirby insisted that the Biden Administration is not threatened by the alliance—but should we believe the Administration's optimism?   5:05pm- The Drive at 5: Dr. Wilfred Reilly—Professor of Political Science at Kentucky State University & Author of “Taboo: 10 Facts You Can't Talk About”—joins The Rich Zeoli Show to discuss his latest National Review editorial, “How to Define ‘Woke.'” Dr. Reilly also weighs-in on Manhattan District Attorney Alvin Bragg's potential indictment of former-President Donald Trump for allegedly paying hush money to adult film star Stormy Daniels. You can read the full article here: https://www.nationalreview.com/2023/03/how-to-define-woke/ 5:40pm- Mystery Movie Clip: “Mmm! This is a tasty burger! Vincent, have you ever had a Big Kahuna Burger?” 5:45pm- Vice President Kamala Harris laughs awkwardly at a White House event celebrating Women's History Month.  5:50pm- On Wednesday, President Joe Biden presented Bruce Springsteen, Julia Louis-Dreyfus, Gladys Knight and Mindy Kaling with The National Medal of Arts during a ceremony at the White House. 6:05pm- On Wednesday, Congressman Thomas Massie (R-KY) responded to a Politico report that several Republican congressional candidates had their military records improperly released. Massie tweeted: “This is chilling. The U.S. Air Force illegally released military records of several GOP candidates to the Democratic Party which then leveraged the material to run attack ads on at least one of them.” You can read the full report here: https://www.politico.com/news/2023/03/22/air-force-gop-candidates-records-released-00088050 6:15pm- According to reports, the Food and Drug Administration (FDA) has approved authorization of a “lab-grown” chicken product created by a company called GOOD Meat. 6:40pm- Appearing on Fox News, Senator Rand Paul (R-KY) said that people who suggest COVID-19 didn't come from a laboratory are “self-interested.”

The Rich Zeoli Show- Hour 3: The Drive at 5: Dr. Wilfred Reilly—Professor of Political Science at Kentucky State University & Author of “Taboo: 10 Facts You Can't Talk About”—joins The Rich Zeoli Show to discuss his latest National Review editorial, “How to Define ‘Woke.'” Dr. Reilly also weighs-in on Manhattan District Attorney Alvin Bragg's potential indictment of former-President Donald Trump for allegedly paying hush money to adult film star Stormy Daniels. You can read the full article here: https://www.nationalreview.com/2023/03/how-to-define-woke/ Mystery Movie Clip: “Mmm! This is a tasty burger! Vincent, have you ever had a Big Kahuna Burger?” Vice President Kamala Harris laughs awkwardly at a White House event celebrating Women's History Month. On Wednesday, President Joe Biden presented Bruce Springsteen, Julia Louis-Dreyfus, Gladys Knight and Mindy Kaling with The National Medal of Arts during a ceremony at the White House.

Counting Down the Greatest Cover Songs of All-Time!!#30-26Intro: Sweet Jane by Cowboy JunkiesOutro: Sweet Jane by The Velvet Underground30. I Heard It Through the GrapevineOriginal: I Heard It Through the Grapevine by Gladys Knight & the PipsAlternate: I Heard It Through the Grapevine by Smokey Robinson & the MiraclesAlternate: I Heard It Through the Grapevine by Creedence Clearwater RevivalAlternate: I Heard It Through the Grapevine, Pt. 1 by RogerCover: I Heard It Through the Grapevine by Marvin Gaye29. Simple ManOriginal: Simple Man by Lynyrd SkynyrdAlternate: Simple Man by Warren ZeidersAlternate: Simple Man by Machine Gun KellyAlternate: Simple Man by Michael GrimmAlternate: Simple Man by *Mystery Artist*Cover: Simple Man by Shinedown28. ZombieOriginal: Zombie by The CranberriesAlternate: Zombie by Ran-DAlternate: Zombie by Clarissa SernaCover: Zombie by Bad Wolves27. AfricaOriginal: Africa by TotoAlternate: Africa by Mike MasseAlternate: Africa by Tyler Ward & Lisa CimorelliCover: Africa by Weezer26. Istanbul (Not Constantinople)Original: Istanbul (Not Constantinople) by The Four LadsAlternate: Istanbul (Not Constantinople) by *Mystery Artist*Alternate: Istanbul (Not Constantinople) by Bart&BakerAlternate: Estambul by The SacadosCover: Istanbul (Not Constantinople) by They Might Be GiantsVote on your favorite cover version from today's episodeAnd if you haven't yet voted on previous episodes:Vote on your favorite cover version from Episode 1Vote on your favorite cover version from Episode 2Vote on your favorite cover version from Episode 3Vote on your favorite cover version from Episode 4Vote on your favorite cover version from Episode 5Vote on your favorite cover version from Episode 6Vote on your favorite cover version from Episode 7Vote on your favorite cover version from Episode 8Vote on your favorite cover version from Episode 9Vote on your favorite cover version from Episode 10Vote on your favorite cover version from Episode 11Vote on your favorite cover version from Episode 12Vote on your favorite cover version from Episode 13Vote on your favorite cover version from Episode 14

Jean Johnson is a highly acclaimed solo and background vocalist in the music industry, known for her dynamic range, impressive vocal control and exquisite tone. With a career spanning several decades, Johnson has lent her voice to numerous historic Grammy Award-winning, gold and platinum albums, and has shared the stage with an array of legendary artists such as Elton John, Andraé Crouch, and Martha Reeves.Born and raised in East Los Angeles, California, Jean Johnson's passion for music started at an early age. She learned to play the piano and studied at the prestigious Walsh Conservatory School of Music. Johnson is an ordained and licensed minister with a Bachelor's degree in Theology, and her faith and spirituality have played an important role in her musical journey.Johnson's professional music career began as one of the Vandellas of Martha and the Vandellas, where she sang hits such as Jimmie Mac and Dancing in the Street. She went on to perform with an array of leading artists such as Michael Jackson, Madonna, Quincy Jones, Stevie Wonder, Julio Iglesias and Gladys Knight, to name a few. Her work with Michael Jackson on songs like "Bad", "Man in the Mirror", "Will You Be There" and "Unbreakable" cemented her status as one of the industry's most sought-after vocalists.Johnson's big break came when Sandra Crouch asked her to perform as the lead vocalist for the singles "He's Worthy", "My Soul Loves Only You" and "Completely Yes". Her work on "Completely Yes" earned Johnson her first Grammy nomination, and the album went on to win the Grammy for Best Soul Gospel Performance, Female.In addition to her music career, Johnson is currently the Minister of Music at New Birth Church in Murrieta, where she uses her talents to inspire and uplift congregants. She continues to tour and perform with Elton John, captivating audiences with her powerful vocals and magnetic stage presence.With a wealth of talent and experience under her belt, Jean Johnson is a true icon in the music industry, and her contributions to the world of music will continue to be celebrated for generations to come. Hosted on Acast. See acast.com/privacy for more information.

In this episode of "The Truth in This Art," host Rob Lee sits down with Melissa Hunter Davis, the founder of Sugarcane Magazine. Sugarcane is an online journal dedicated to the art of Africa and the African diaspora, covering everything from literature to performance. Melissa is a creative entrepreneur with a passion for all things related to African arts and culture. Tune in to hear about her journey starting Sugarcane, the importance of representation in the arts, and her insights on the thriving creative scene within the African diaspora. Whether you're an avid art enthusiast or simply curious about the intersection of culture and creativity, this episode is not to be missed.About Sugarcane MagazineSugarcane Magazine is a Black art and culture media company. Black culture is the most recognized culture in the world and influences every corner of humanity. With the rise in Black visual art along with music, dance, design, and literature, Sugarcane Magazine controls the cultural currency of Black people. We connect thousands of readers globally with the world's leading visual and performing artists, with a focus on making the most popular and imitated culture accessible. Started in 2006 by Melissa Hunter, our founder saw the opportunity for media that focuses on the visual and performing arts from Africa and the African diaspora. Today, her vision includes a print publication, video, social media, and our website.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host Melissa Hunter Davis - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

With Special Guest Stars Carol Burnett and Gladys Knight!Hi-ho and welcome once again to A Feat of Lunatic Daring, the most sensational inspirational celebrational muppetational podcast about Jim Henson and his Muppets!Things are rough right now. Let's talk about something that makes us happy, namely the unmistakable genius of James Maury Henson.Sources PageTwitterInstagramFacebookAlso follow Antithesis Audio on YouTube for future video contentChad Instagram & Twitter: @chadjshonkNick Twitter: @ntjackson17Music by Seth Podowitz @audiobookseth

T.K. Mills is an art journalist based in New York City. After receiving a Master's Degree in Global Affairs, he discovered a love for graffiti while backpacking through Cuba. T.K. has written for several art publications including SOLD, Global Street Art, and Arte Fuse. Additionally, he manages the street art blog, Well Pleased We Dream. Beyond art, T.K. loves reading and traveling.About UPUP is a NYC-based magazine that centers on street art, graffiti, and creative urban culture. Each issue of UP focuses on a single subject, exploring a wide range of artists, interviews, and ideas around the theme.Our mission is to provide the art community with nuanced, provocative, and critical writing that navigates the questions of our generation. We pride ourselves on serving our readers high-quality articles that investigate, inform, and entertain. Like good art, UP Magazine is made to make you think and make you feel.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host T.K. Mills - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

In this episode of "The Truth in This Art", host Rob Lee interviews Hrag Vartanian, editor-in-chief and co-founder of Hyperallergic. With expertise in contemporary art and its intersection with politics, Hrag shares insights on his journey as an art critic, curator, and lecturer. He talks about his founding of Hyperallergic in 2009 and how it has grown to reach over a million readers and listeners a month through its award-winning reporting, informed opinions, and quality conversations about art. Hrag also discusses his interest in decolonization and shares details about some of his notable curatorial projects, including the world's first multi-disciplinary exhibition of social media-related art. Listeners will gain a deeper understanding of the power of journalism and the cultural and economic realities that shape the world of art, culture, and politics. About HyperallergicHyperallergic is an online arts magazine, based in Brooklyn, New York. Founded by the art critic Hrag Vartanian and his husband Veken Gueyikian in October 2009, the site describes itself as a "forum for serious, playful, and radical thinking".The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host Hrag Vartanian - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Sad Cafe broke big in the 70s with the number 3 hit in the UK 'Every Day Hurts'. Their album Facades went top 10 in 1980 and they had a couple of hits that landed on the Billboard chart in the US too! Joining me today is Sad Cafe bass player Des Tong to relive stories from the band, being a child musician, Gladys Knight, playing house-parties with celebs in attendance and the exciting plans for Sad Cafe in 2023! Learn more about your ad choices. Visit megaphone.fm/adchoices

Rob Lee interviewed Chad Gauss, the executive chef and restaurateur of The Food Market, La Food Marketa, Quality Snowballs, The Hall CP and Hoopla Catering, and they discuss his career and the local food industry.Photo credit:  Justin Tsucalas About The Food Market HampdenLocated on "The Ave." in Hampden, The Food Market offers awesome eats and outstanding service from Chef Chad Gauss and his talented team. The Food Market focuses on approachable, seriously good comfort food, in a smartly designed industrial-modern space.Creators & Guests Rob Lee - Host Chad Gauss - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Roberto Max Dyea (Tsi YOO Nah), a tribal citizen of the Pueblo of Laguna, Mesita, is a passionate Indigenous illustrator with a deep connection to his heritage. Born in Barstow, California, Roberto's love for Manga inspired him to create pieces that blend traditional Pueblo of Laguna pottery designs with contemporary storytelling. His scenario project, "Rage Against Mayhem," which began in 2018 in Redlands, California, showcases the creativity and vision of Indigenous manga characters in the 21st century.Roberto's preferred mediums are ink, graphic, and colored markers, and he uses Adobe Photoshop and Procreate to bring his art to life. He is always experimenting with different line weights, forms, stencil techniques, and 2-D expressions to improve his work and have a meaningful interaction with his audience. Roberto's ultimate goal as an Indigenous artist is to have his name recognized and respected, and to continue to nurture a deep connection to his tribe, loved ones, and the culture of his people.Creators & Guests Rob Lee - Host Roberto Dyea (Tsi YOO Nah) - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Dulcina Abreu is a Dominican-born independent curator, artist, and museum advocate. She graduated with a MFA in Curatorial Practice from the Maryland Institute College of Art, focused on digital platforms and a BFA in Fine Arts and Media from Parsons, The New School. Prior to living in New York, Dulcina studied at The National School of Visual Arts and Altos de Chavon School of Design, both in the Dominican Republic. Abreu's work explores 21st century visual and material culture from the Caribbean Diaspora in the US, immigration, community organizing, mutactivism. She serves as the Consulting Curator for the September 11th,2001: An Evolving Legacy project at the National Museum of American History; Co-founder of the International Coalition of Museum Professionals and Communities alongside Armando Perla. Abreu currently manages the NYC Latino 9-11 collecting initiative and NYC Latino COVID-19 project which aims to expand the national narrative with Latino/a new yorker stories and material culture; and will be joining the Latinx Youth Movements project this upcoming august to support lead curator Margaret Salazar-Porzio with a curatorial assistant position at the Molina Family Latino Gallery in collaboration with Smithsonian Latino Center and the National Museum of American History.Creators & Guests Rob Lee - Host Dulcina Abreu - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 277: Grammy Award-winning jazz saxophone, flute and bass player as well as composer and producer Gerald Albright, who since the late 1980s has released some 20 albums. Six of those hit No. 1 on the Contemporary Jazz Albums chart.  Beginning in the late 1970s as a sessions player, he has also contributed to hundreds of works by dozens of top name talents. Those include Patrice Rushen, Teena Marie, Rick James, Dazz Band, Maurice White and Earth Wind & Fire, Anita Baker, Howard Hewitt, Whitney Houston, Barry White, Gladys Knight, Tony! Toni! Tone!, Nina Simone, Smokey Robinson, Jeffrey Osbourne, Babyface and many others.  He performed at Bill Clinton's inauguration, and in 2021 received the Presidential Lifetime Achievement Award from Joe Biden. He continues to perform, and his most recent projects are a pair of EPs titled G-Stream. RECORDED NOVEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

THURSDAY – Jim wonders why some people think he is angry. Would you be able to work with your spouse? Brendan from Bungalower on fair food, rodeos, Gladys Knight, John Mellencamp, Mardi Gras on Church, and whether fruit on pancakes means you are gay. Rauce Thoughts with Theater Thursday and the return of the Tim Scolber Show. Plus, WOKE News, Trivia & Last Call.

#musicbusiness #podcast #bookingagent #musician  Aretha Franklin, Chicago, Gladys Knight, Earth Wind & Fire, Michael McDonald, The Doobie Brothers, and Smokey Robinson are all legends who share something in common. They all benefited from deals constructed by legendary booking agent Larry Farber. If there was ever a guest that personified the words "Musically Hitched" it's him. From his early days traveling as a touring keyboardist in local bands, to becoming a historic partner in one of the country's largest entertainment agencies, to founding Middle C Jazz, currently one of the top destinations for live music in the eastern US, he has literally made music his life's work. In this memoir-like episode, Larry details: - How randomly encountering a piano sparked a fire that he's never been able to quench - How he closed over 50,000 deals working with local to internationally-known artists - Ways you can practically serve others through your creativity and make money at that same time - Why forging successful partnerships (in music and business) helps to cement your legacy  Trust us when we say these are only a fraction of the topics we dived into during this interview! Our goal is to strengthen the global music community by information and encouragement. Before you listen, make sure to hit the "+" button to follow the podcast and, if you really want to show your support, scroll down to leave a 5-star rating and review below! We sincerely appreciate it!  Click the link below to subscribe to the Musically Hitched YouTube channel to watch full episodes: https://www.youtube.com/channel/UCoD6l-yDJhx8L-T8zcgpBbw   Need coaching to help take your music career to the next level? Email us at info@morey-entertainment.com    Follow Us on IG: @musicallyhitched Middle C Jazz on IG: @middlecjazz Zack on IG: @zackreynoldsjr        

Part of the appeal for Hip Hop is about proving street cred and being the greatest. No doubt Sheik Haikel is able to do that. Wearing many hats from being an actor to a radio jockey, the father of Rap music in South East Asia is candid and sincere this time round. Starting from the time of Army Daze, we break down what it meant to be woke. How a movie that was made in 1996 seems to made strides and prove to be timeless. Though jokes were crude, words were offensive in the current context, being woke is more than just censoring words but also giving stories for a character to flourish. Part of being the funny guy, being the guy who offends in the room of strangers seems to be inevitable. One of the biggest controversies that had happened to him. One of the things that made him who he is right now, has thought him an important lesson. The lesson of acknowledgement and the being responsible in what coming out of the mouth. We talked about the going through therapy. We talked about being the better version of oneself. Accepting compliments and what makes a good relationship. One's responsibility to one self before getting into a romantic relationship. He shares the secret on how he maintains a long marriage, the green flag in a relationship with everyone's doubt of him being the guy with the badass public persona. Dropping the persona and character is one that he always has trouble with, lessons he learnt in dropping the persona seems to be valuable. We are talking to Sheik Haikel, we have to talk about his rap music. He shares the reason of how it is a borrowed culture in South East Asia. He shares how it all started and the love of music. The mistaken identity of Gladys Knight & the Pips which also leads to his one of the biggest endorsement in his career, thus coming to full circle. The love of rap music got him to meet the guy who made Run DMC and the important lesson of being loyal to his people.

On A Bowl of Soul, we are celebrating Singer, Songwriter Barrett Strong who produced numerous hits for Gladys Knight and The Pips, The Temptations, Edwin Starr, Undisputed Truth, Marvin Gaye and the list goes on. Enjoy the show!!!! We celebrate Barrett Strong for Black History Month.  Professor T-LoveA Bowl of Soul A Mixed Stew of Soul Music™#ClassicSoul #NewRandBA Bowl of Soul Radio Network on Live365.com, http://streaming.live365.com/a91220 Advertise on or Sponsor the A Bowl of Soul podcast and radio networkFollow me on: Twitter: @abowlofsoul, Instagram: ProfTlove, Facebook: A Bowl of Soul A Mixed Stew of Soul MusicSupport A Bowl of Soul. We would love your support!!! CashApp: $Abowlofsoul,  Venmo:abowlofsoulor You can Buy Me A Coffee at Professor T-Love (buymeacoffee.com) Get Your A Bowl of Soul Swag T-Shirt or Mug at: https://tinyurl.com/abowlofsoultshirt

Tim and Jeremy return from a mini winter break with a second episode looking at the music and politics of the Downtown queer dance floors of the early 70s. They interrogate the position of the Stonewall Riot in the history of queer culture, exploring many of the historiographical problems latent in the received accounts of this period and recontextualising the gay liberation movement of the time within a broader set of radical, anti-imperial demands. Tim and Jeremy also return to one of the most important clubs of the moment - the Sanctuary - and take a trip upstate to Fire Island Pines. Plus, Jem delivers a healthy dose of iconoclasm to a particularly beloved classic. Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Become a patron for £3pcm by visiting Patreon.com/LoveMessagePod And check out our new website: https://www.loveisthemessagepod.co.uk/ Tracklist: Abaco Dream - Life & Death in G & A Gladys Knight and the Pips - Got Myself a Good Man Marvin Gaye - What's Going On Diana Ross and the Supremes - Ain't No Mountain High Enough

DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support

In this great and insightful podcast, Maureen Langan shares her great stories of being a comedian all over the world and her one person show. Her DryBar comediy special is on their highlight reel. Muareen is also an award-winning Bloomberg Television & Radio host, PBS documentary producer, TEDx Talk speaker and international standup comedian. She's been featured at comedy festivals in the U.S., Canada, Europe, and South Africa. As a performer and keynote speaker, Maureen has worked with entertainment, literary and cultural icons that include Robin Williams, Rosie O'Donnell, Jack Canfield, Marianne Williamson, Gloria Steinem, Danny Glover, Jordin Sparks and Gladys Knight. Her TEDx Talk, “The Business of Fun,” is inspired by her time performing in South Africa. Maureen's message of diversity, equity and inclusion had 600 people on their feet when first presented at Monmouth University.

Bakom en enorm blond frisyr och svartmålade ögon gömde sig Dusty Springfield. Den hyllade sångerskan, var själv inte lika säker och gjorde sitt bästa för att ingen skulle se vem hon verkligen var. Dusty Springfield skapade sig medvetet en persona, i form av en sorts superkvinnlig kvinna. Ju mer framgångsrik hon blev, desto större och högre blev också hennes hår. Och makeupen blev än mer maxad. Hår och mejk blev ett skydd, och hon vägrade visa sig utan sitt pansar av pan cake och löshår.I år är det sextio år sedan Dusty Springfield slog igenom, med I Only Want to Be With You. Hennes stil fick henne att kallas "drottningen av mods". Av Elton John utnämndes hon till sin tids bästa vita brittiska sångerska, men hon var långt ifrån lika självsäker. Rykten florerade om hennes sexuella läggning, ifall hon var bi- eller homosexuell. Det var Dusty. Men det var ingenting som man under 1960-talet kunde avslöja offentligt. I synnerhet inte som firad artist med drömmar om en fortsatt karriär. Bakom den överdrivet kvinnliga scenpersonan gömde sig istället Dusty Springfield. Men det gjorde henne också tacksam att driva med, av komiker jämfördes hon med en dragqueen. Men på senare tid avslöjade Dusty Springfield faktiskt att hon hade fått hjälp av dragartister med hur hon skulle applicera ögonskugga och välja mascara som höll för svett och tårar. I grund och botten är jag själv en dragqueen, som hon konstaterade.I byggandet av Dusty Springfields persona var hårsprayet hennes kanske främsta verktyg, så pass att hon i en intervju 1995 skämtsamt sa Jag använde så mycket hårspray att jag känner mig personligt ansvarig för den globala uppvärmningen.. Idag Idag innehåller hårspray inga förbjudna ämnen. Men är det fortfarande, med dryga 70 år på nacken, en relevant produkt? Den frågan ställer vi till den erfarne frisören Peter Hägelstam.Men utöver sitt distinkta yttre, så var det naturligtvis hennes röst, som beskrivits som flytande silver, som gjorde henne känd. Hon var den enda vita sångerska som, utan att man behövde rodna av skam, kunde nämnas i samma andetag som sextiotalets stora soulsångerskor, som Aretha Franklin, Gladys Knight och Dionne Warwick. Och hennes låtar har också inspirerat flertalet sångare att göra egna covers. Vi pratar med artisterna Rebecka Törnqvist, Maria Andersson Lundell från Sahara Hotnights och Moto boy om deras tolkningar av Dusty Springfield.Nästan trettio år efter att Dusty Springfield gav de så kallade "pandaögonen" ett ansikte, så kom pandan att återigen att ge namn åt en stil. Denna gången i Sverige, började unga, främst kvinnor klä sig inspirerat av 60-talets mods, i svartvitt och med en sminkning i samma färgskala. Något som föranledde att de gavs epitet "pandor". Emma Veronica, som arbetat som stylist och modeskribent, berättar om tonårstiden då hon till en början motvilligt kallades för panda.Veckans gäst är Nils Hansson, musikskribent på Dagens Nyheter.

Ryan Greene is an American record producer, sound engineer, former owner of Crush Recording Studios in Scottsdale, Arizona and founder of Area 52 Entertainment in Los Angeles, California. In an over 25-year-long career he has worked with many artists including Jay-Z, Lita Ford, Tonic, Megadeth, Alice Cooper, Cheap Trick, Usher, Patti LaBelle, and Gladys Knight.  Ryan was THE guy when it came to producing the bands on Fat Wreck Chords. Some of those bands were NOFX, Lagwagon, No Use For A Name, Propaghandi, Pulley, Hi-Standard, Tilt, Bracket, and a shit ton of others that probably graced your CD collection.  There are so many good stories in this and I think a lot of you who love or loved the Fat bands from the late 90s will absolutely love them.  I got Ryan on the Skype and this is what we talk about: Demoing Stranger Than Fiction What the word Demo means to him Figuring out the emotion of each record he records Punk in Drublic's Mastering debacle Recording Hoss Some of the tricks he learned during his sessions Recording Less Talk More Rock by Propagandhi Recording Guttermouth Tony Sly And a ton more Get your Realtor Instagram Stickers by clicking here. Check out my new book The Couples' Checklist for my webcomic dailyBred. It's a great gift for Valentine's Day. I also have an Instagram for it. If you market aggressively on Instagram Stories and want custom stickers then go here to get custom stickers or just email mike@drive80.com and I can send you samples. These are great for B2C companies and Realtors. Feel free to support the podcast for as little as $1 a month through Patreon Or go to thiswasthescene.com to possibly buy some merch. Get your Realtor Instagram Stickers by clicking here. Check out my new book The Couples' Checklist for my webcomic dailyBred. It's a great gift for Valentine's Day. I also have an Instagram for it. If you market aggressively on Instagram Stories and want custom stickers then go here to get custom stickers or just email mike@drive80.com and I can send you samples. These are great for B2C companies and Realtors. Feel free to support the podcast for as little as $1 a month through Patreon Or go to thiswasthescene.com to possibly buy some merch.

#827 - Marty Panzer The Marty Panzer Interview is featured on The Paul Leslie Hour. Are you here? If you're here, your work is done! All you have to do now is listen. So, we saw in the paper that Manilow is talking about his first new pop album in years. Which is the perfect segue for this: We've got an interview queued up from the archives, one of Paul's all time favorites. It's also the interview that has received the most emails from people who tuned in. A great newspaper journalist named Brandee A. Thomas was interviewing Paul back in 2011. Paul told her: “Probably my favorite interview of all times was with a lyricist named Marty Panzer. He wrote ‘Through the Years' for Kenny Rogers and he wrote a lot of songs for Barry Manilow.” So who is Mr. Panzer? Marty Panzer is a great lyricist who has songs known all over the world. He began writing songs with his friend Barry Manilow when they worked in the CBS-TV mailroom. They wanted a career in music so they began writing commercial jingles. From there, you could say Marty Panzer's songs have more than taken off–he wrote songs for Barry Manilow like “It's a Miracle,” “This One's for You,” “All the Time,” and “Even Now.” Not only has Marty Panzer written songs for Barry Manilow, but he wrote the Kenny Rogers classic “Through the Years.” His songs have been recorded by the likes of Dionne Warwick, Frankie Valli, Gladys Knight, Julio Iglesias, Dusty Springfield, and others. Marty Panzer has 35 gold and platinum records, four BMI million play awards, a 3 million play award, and record sales in excess of 70 million units. Impressive, isn't it? There's also a live event called “An Evening with Marty Panzer,” featuring songs, stories and performances by many guest composers and artists. Paul saw “An Evening with Marty Panzer” in 2012, and we'll tell you that story soon. Stay tuned. Real quick, just remember that The Paul Leslie Hour is made possible by people just like you. Just go right here, and we thank you for being a patron of the spoken word. Okay. The songs of Marty Panzer are loved by many, and the host of this show is no exception. It is our pleasure to present a great and passionate lyricist, a man who says he is about … “things that last.” The Marty Panzer interview was played on the radio many times, and now it's available on all of the new media like Spotify, Apple, iHeartRadio and more. It is our hope that what you are about to hear will find a way into your heart and soul. Let's pull out that precious tape. Let's listen together. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

On this day in 1996 was one of the most stacked Rock & Roll Hall of Fame classes - included were Pink Floyd, David Bowie, Jefferson Airplane, Velvet Underground and Gladys Knight! On today's show you'll hear from a member of one of those bands talking about the Rock Hall induction! Learn more about your ad choices. Visit megaphone.fm/adchoices

Mitch Ryder, one of the most distinctive and soulful voices to come out of Detroit's 1960s rock music scene, will be inducted into the Rhythm and Blues Hall of Fame June 11, at the Music Hall in Detroit.This year's crop of inductees also includes Patti LaBelle, Gladys Knight & the Pips, the Impressions, Larry Williams, and posthumous inductees James Brown, Isaac Hayes and Mary Wells.Ryder may have fronted a rock band, but make no mistake, his soul props are solid. As a suburban teenager, he made the trek from Warren to hang out at the Village club just off Woodward, to catch sets by the likes of Nathaniel Mayer. By the time he was 17, Ryder sang (and recorded) with a soul group, the Peps.Later he fronted his own rock band, Billy Lee and the Rivieras, which was renamed Mitch Ryder and the Detroit Wheels. The group had an explosive sound that combined the drive of garage rock with Ryder's raw, emotional vocals. That sound drove Bob Crewe-produced hits that included “Devil with a Blue Dress,” “Jenny Take A Ride,” “Sock it to Me, Baby” and “Little Latin Lupe Lu.”Ryder was pleased to hear of his induction alongside some of his soul idols. “I looked at the names of some of those who came before me and it became a celebration of joy for me,” Ryder said in a statement released by his publicist, Cary Baker. “I mean, Aretha Franklin, David Ruffin, Marvin Gaye, Otis Redding, Jackie Wilson, Sam Cooke and so many other voices that brought me great pleasure throughout my life and career. It is still thrilling me, and I'm afraid to wake up from the dream!”After the Wheels split up, Ryder teamed up with Booker T. and the MGs for the acclaimed album “The Detroit-Memphis Experiment.” Later, he joined back up with Wheels drummer Johnny Badanjek in a group they dubbed Detroit, which was managed by Creem magazine publisher Barry Kramer. Detroit recorded a memorable cover of Lou Reed's “Rock and Roll,” which many felt surpassed the original. Later, John Mellencamp produced Ryder's solo album “Never Kick a Sleeping Dog,” which featured his superb rendition of Prince's “When You Were Mine.”Ryder is on the short list of artists who have been unjustly overlooked by the Rock and Roll Hall of Fame, but in a sense, the Rhythm and Blues Hall of Fame is the more fitting place for him.For his part, Ryder says his induction is “an honor which will stay cherished by me for the rest of my life.”The 5th annual Black Tie Rhythm and Blues Hall of Fame Induction Ceremony and Concert will take place at 6 p.m. Sunday June 11 at the Music Hall, 350 Madison, in Detroit. The event will serve as a fundraiser to secure a permanent building for the Rhythm and Blues Hall of Fame. 

DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support

We are thrilled to have Rich Terfry join us for this episode. Rich has been the host of CBC Radio 2's "Drive" since 2008. Besides his work for CBC Music, Rich is a published author who is also known as Buck 65 - a Juno-winning alternative hip hop artist. Today we examine Rod Stewart's glorious cover of Tom Waits' "Downtown Train." Links: Our Mixtape Tom Waits Original Rod Stewart Version Patty Smythe Version Bob Seeger Version Boy Meets Girl Version Buck 65 Bandcamp Page You can find us on Instagram, Facebook, Twitter, Masadon, and our website. You can email us at BandFGuiltFree@gmail.com, too. Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn.   Transcript (best read on our website)   Intro Music Frank: [0:22] So today on Bill and Frank's Guilt-Free Pleasures, we have a Chicken or the Egg song. Was it Downtown Train that inspired Rod Stewart's love of model trains? Or was it his love of model trains that inspired him to cover this song? That's what we're kind of looking at a little bit. Well, not at all, but that's a it's a philosophical question that that I believe needs to be asked. And also today we're really excited to have a guest with us today, Rich Terfry who some of you may know from CBC Radio 1.  Rich Terfry: [0:59] Radio 2, CBC Music as we refer to it now. Frank: [1:07] Radio 2. Yes, sorry. Yeah. So Rich Terfry has been good enough to join us today and talk about this song. And I know that you're on the radio and everything, but I can tell you're a little bit intimidated with our $25 mic stands and our towels for soundproofing, but we encourage you just to be yourself here today. Rich Terfry: [1:23] Sorry, yeah. [1:23] I'll do my best. This is much nicer than my setup at work here, so. Frank: [1:27] I'm not saying a whole lot for CBC are we? So yeah today we're looking at Downtown Train by Rod Stewart but before we talk about Downtown Train by Rod Stewart, we need to talk about Downtown Train by Tom Waits, because he was the guy that wrote the song and originally recorded it back in 1985. Bill: [1:49] Right, and that was on his Rain Dogs album, which is his most popular album, at least until... It's hard to tell... Frank: [1:57] And at least until Scarlett Johansson did her cover album, right? Bill: [2:00] Right, right, right. Rich Terfry: [2:01] Certainly a classic. Yeah. And often when people talk, Tom Waits, one of if not the first album that tends to come up in conversation. Frank: [2:12] I think it's probably maybe the most accessible. Maybe so. Yeah. Rich Terfry: [2:15] Maybe so. Bill: [2:16] Our friend Eric Stewart, no relation to Rod, sent, I asked him, I sent him a text far too Bill: [2:24] late last night asking why he's a big Tom Waits fan and asked him to tell me why Downtown Train works so well on Rain Dogs and he said I think because in the first three quarters of the album he makes the listener work so hard to find the melody that when you finally get to something that's even close to a radio song it comes as a relief. Consonance is only pleasing in the presence of dissonance. Frank: [2:49] I understood 70% of those words. Rich Terfry: [2:52] Yeah, I think the simple way to put it is that Rain Dogs is kind of a weird record. And then in a strange way, Downtown Train is a sore thumb. Because all of a sudden, here's like a pretty straight up standard, you know, good old structured pop song in the midst of all this weirdness. Bill: [3:39] There's talk that this was sort of like rock star bait, that there's rumors that Tom Waits had finally got his publishing to himself, and that they said that this song was put out there to sort of um... Lure. Yes. Rich Terfry: [3:51] Lure a bigger artist to, you know, specifically for the purpose of covering it. Bill: [3:59] Yeah. And allowing him to take some time off. Apparently the cover, one version I read was that allowed Tom Waits to take a couple years off to raise his kids. Yeah. Rod Stewart's version is it put in a pool. That's about to be quite a pool if it's 1989 royalties, I would think. Frank: [4:10] Yeah, I just thought it was, yeah. Rich Terfry: [4:38] So I've read a few Tom Waits biographies, none of which he kind of participated in the writing of, because I don't think that's really what he does. But some people very close to him believe that, that he was really doing that, that he was specifically trying to create cover bait, basically, with this song, and maybe a few others that he's written. Just, you know, throw in the potential hits out there, just waiting for someone to take the bait and make them some money. Bill: [5:10] If Rod Stewart wants to cover one of our podcasts... Frank: [5:12] Hey, put on American songbook like 47 or whatever he's on right now. Rich Terfry: [5:19] But don't forget, you know, Tom Waits, so the first chapter, if you will, of his career was very different from where he ended up in the 80s with this trilogy of records. Really, right? People talk about rain dogs, Swordfish Trombones and Frank's Wild Years is sort of a trilogy where he really started to experiment, started to become the guy that ultimately he became and sort of is now. But before that in the 70s, although it was still a little different from you know kind of what might have been on the pop charts, he was more of a songsmith less the experimenter back then. So he had this in He knew how to write a song. Always did, I would say. Bill: [6:05] And so you have Bob Seeger hearing this and saying, this is my ticket. Frank: [6:11] Before that, Patty Smythe did a cover of it too. She covered and recorded and released it in 87. Bill: [6:14] Oh yeah, yeah you're right. Frank: [6:19] It made it on the charts, I think it charted at 93. Of all the covers that I've heard, I'm gonna say that hers is my favorite. Bill: [6:28] That's tough for you, because I know Rod Stewart means so much. Frank: [6:33] He has a big spot in my heart. [6:59] Then that brings up the whole Bob Seeger controversy, right? So the story that I read anyways was that Bob Seeger recorded the song and he was gonna record an entire album surrounding the song and that was his idea and he played it for Rod Stewart and then like a month after that Rod Stewart just recorded Downtown Train just as a one off to add on to a greatest hits compilation. Rich Terfry: [7:30] And managed to release it before Bob Seeger was able to. Frank: [7:34] Yeah, so Bob's like laboring on this entire album, which is built around Downtown Train. And Rod's just like, Here's a one off and I'm going to release it on my on my greatest hits here. So I don't know, like, so it caused a rift between the two them because they were friends and now they're foes. Rich Terfry: [7:54] Yeah, they say Bob Seeger was genuinely ticked, and kind of felt like Rod Stewart's move kind of ruined it for him. Frank: [8:02] Yeah, yeah. Bill: [8:03] And it was the end of Seeger's had this big run until around 87, 88, I think. He actually scored a number one, the song called Shakedown on the Beverly Hills Cop 2 soundtrack. Frank: [8:14] Oh, yeah, that's right. Bill: [8:15] And it looked like, how is that number one? I remember hearing, I thought it was one of those awful throw offs they put on movie soundtracks. Or like, okay, there's one song like Shakedown, who's that? You know, as a kid, but I guess it went to number one. I should probably re-listen to it. But he was seeing Downtown Train, I think, either as a transition or like as, a big move for him as an artist. The story I heard is he told Rod Stewart about the song but hadn't played it for him and get this he told to him on a train. Rich Terfry: [8:44] The plot thickens. Thanks for watching! Bill: [8:47] And then yeah now Rod Stewart's version and I I kind of believe him he's like oh I don't remember. Frank: [8:47] Layers upon layers. Bill: [8:53] That and it's believable to me that Bob Seeger might have been pouring out his heart and Rod Stewart at this stage of his life might not have been paying close attention, but he's got a lot of women coming in and out of different rooms and his autobiography sound like he was quite a wild man even at his age then. Frank: [9:12] Well, yeah. Bill: [9:13] Here's the tough part. Rod Stewart was 44 years old when he recorded this. Frank: [9:20] Okay. Bill: [9:20] We are 45. Frank: [9:23] I've missed my downtown train year. Bill: [9:26] You did, and  Rod Stewart, by the time he was doing Downton Train, had a whole entire career. Frank: [9:31] Yeah, I've had a career. I've had a number of careers. and just keep losing them because of gross incompetence. Bill: [9:32] Are we familiar with the story of how Rod Stewart claims that he heard the song for the first time? Rich Terfry: [9:38] I don't know if I am either. Bill: [9:49] Well, I got it from his autobiography and some mean-spirited writer online said "his autobiography"  or "whoever wrote his autobiography." He was just saying he didn't write his autobiography. Frank: [10:04] Well Rod Stewart doesn't write his own songs either so why would he write his autobiography? Bill: [10:09] Well, he did. He can write a song. Frank: [10:10] He can write his own songs. No, he can. Bill: [10:11] This is the great. I guess this this sort of marked a moment where he changed directions a bit. At least they talk about this. I'll just retell it. I was gonna read it, then I realized it's too long. So his manager came in, I think it was his manager, came in with a tape player. So this is 1989. Plays Tom Waits, Downtown Train for him. And he says to Rod Stewart, holds his hand up and says, don't speak. Plays it. Rod Stewart is listening. Plays the whole entire Downtown Train. Tom Waits stops it. And then he says, don't speak. And he plays it again. Third time. Don't speak. plays it again now Rod Stewart is singing along with it he's like I want this the song has become mine or I want to sing this song and I want to put it on the album but he's saying that's the first time he heard of the song so of, course Bob Seeger's like we talked about this on the train but Rod Stewart. Frank: [11:01] The train. That all makes sense now. Models, model trains, trains. There's a Venn diagram for Rod Stewart's life. Bill: [11:03] Might have been thinking model trains or models in general and so was yeah yeah. [11:11] Well this is the perfect song for him. Rod Stewart said his eight-year-old son Rich Terfry: [11:15] Yeah. Bill: [11:17] came into the room and says, what was that awful sound? Who is that guy singing? And Rod Stewart would say, well, Tom Wait's voice, although he loves Tom Wait's voice, this is an acquired taste. Frank: [11:28] Yeah. It's kind of, it's a pop voice. Bill: [11:28] Whereas Rod Stewart's is like a mild coffee. Rich Terfry: [11:35] Both got a bit of whether you'd call it gravel or gruff or scratchiness though, there is a quality to a degree, you know, Tom Waits is kind of cranked up to 11 but. Frank: [11:49] Yeah, yeah. Tom Waits is like a coal fire. Rich Terfry: [11:51] You're right. And you could argue that at least, you know, at times in his catalog that Bob Seeger dabbled in a little bit of that as well. and so I've wondered if I don't know the question popped into my to my head when you know Tom Waits is lay in this trap was he thinking specifically like you know I'll set this one out there for the gravelly voiced bros wait till they hear. Frank: [12:20] Yeah, because because at that, because at the time, like that would be 85. Right? So like Bruce Springsteen is a huge popularity. And then just follow the road down there was. Rich Terfry: [12:22] This. Frank: [12:31] Springsteen, Brian Adams, Rod Stewart, like they all have that, sort of gruffness in their voice. Rich Terfry: [12:38] They hear Tom Waits and think I can shine this up just enough. Frank: [12:41] Yeah, Tom Waits, the godfather of gravel. Rich Terfry: [12:44] Yeah. Yeah. Bill: [12:45] And the Destroyer of Friendships, I guess too. Because if he hadn't put that out, maybe Bob Seeger would still be buddies with Rod. Frank: [12:48] Oh, yeah. [12:52] They recorded an album Rod and Bob. Rich Terfry: [12:54] That was good. Yeah. Bill: [12:58] All right, so we got this. This is released on his Storytellers album, The Greatest Hits. So I thought I kept looking for it on an album. They released a demo of it, or an early version of this on his Vagabond album from 91, the Deluxe edition. It's actually surprisingly different in a way that it sounded a little closer to Tom, Waits. Yeah, Rodster's, yeah, his voice was like, he had a bit more rasp, but it was like phlegmy. Rich Terfry: [13:22] There's no way I can do that. Bill: [13:29] Rasp which really disgusted me. As I listened to it, I realized I do have issues. Clear that comes up. Yeah, yeah, I turn the taps on if someone's using a bathroom too close to me. So it's a. [14:12] So his early version actually sounded closer to Waits or at least it seemed like something that he would been used to the Tom Waits version And then maybe was still in that zone, but then I don't not sure how much Trevor Horn had to I mean, he's the producer, But he takes it and brings it into full rod or at least full late 80s rod. Yeah. Frank: [14:32] Yeah, okay. Yeah. Yeah, what's a Oh, that's right. Yeah, he was on we talked about what the do they know it's Christmas. Bill: [14:34] We've talked Trevor Horn before He's the guy in the bugles with the thick glasses? Frank: [14:44] Right? Yeah. So, and researching the song. Yeah, you're looking you're looking Rod Stewart does his version and the, guy playing the slide guitar is Jeff Beck on this version and I diving like back deeper as far as Wikipedia was gonna take me I didn't know that Rod Stewart played with Jeff Beck like post yard birds no is before faces let me find it here oh yeah Stewart he he joined the Jeff. Bill: [15:07] Was it in Faces? Were they in Faces? No. Frank: [15:17] Beck group which is a super original name as a vocalist and sometimes songwriter So yeah, I guess he did write songs. Bill: [15:25] ... You heard Every Picture Tells a Story? [15:27] It's off on the side here, but Every Picture Tells a Story by Rod Stewart is phenomenal. Like, as an album. Frank: [15:34] Okay, when was that album? That was... 71. Okay. Bill: [15:35] Like 1971. It's so good that it makes it tough to listen to his later stuff just, because of Rod Stewart's capability as a singer and what direction he could have gone in that he he picked a path that was easy money and an easy easy living, but he had he had a lot of grit and. Rich Terfry: [15:57] Chutzpah. Bill: [16:00] Yes, he had a lot of chutzpah. Rich Terfry: [16:02] You know, I don't know if this is the right moment to interject this, but I find that in the story of both of the versions of this song that we're looking at today, the guest, guitarist really comes up as a big part of the story on both. Because famously, Keith Richards contributed to the Rain Dogs album, but it was GE Smith, who was the Saturday Night Live band leader who played the guitar on Tom, Waits' Downtown Train, who as far as you know guitar slingers mid-80s you know kind of would have been one of the the top top guns out there and so I you know you got to think Rod Stewart's probably thinking we're gonna have to bring in a real hot guitar player on this one who you know when you're talking legendary, guitarists you don't you don't get too far down the list before before Jeff Beck's name pops up. Frank: [16:57] Okay, cool. I did not know that GE Smith because GE Smith I was always introduced like my only knowledge of him was honestly from the Saturday Night Live band And that was it. And I was just like, who's this long haired skeleton? Like, why is he in charge of the band? Rich Terfry: [17:10] Yeah yeah he was you know kind of a studio guy I think you know I'm sure he probably made some records as well but he was a kind of a studio guitarist played on a lot of records I wouldn't be able to rhyme off you know kind of the, discography here and now but I know he played on some records but yeah interesting that you know they both brought in some you know some big guns to play the solos on these songs. Bill: [17:37] When I think about those two songs, like the Downtown Train, Tom Waits version, I think about that guitar. Because that guitar really, it's kind of crying and it makes you feel that sort of longing. [17:59] And when I think of Rod Stewart's Downtown Train, I don't think anything about the guitar. I'd have to re-listen to think about that guitar again. I can just think of Rod Stewart, saying oh baby and and making sounds and I'd never think about the guitar but interesting, I wonder how Jeff Beck felt about it. Frank: [18:16] Oh, they're buds. I think he enjoyed it. Bill: [18:18] Yeah, that's true. Okay. Frank: [18:37] I know that growing up that I had heard Rod Stewart because my dad probably had an eight track back in the day or or like you know 81 in the back seat of the Oldsmobile or whatever and we're he's playing something by Rod Stewart but I remember my sister got Gasoline Alley which was, his second album she got the tape for Christmas and it was like 1990 1991 so it would have been in around the same time that Downtown Train comes out and I'm wondering if that kind of inspired her, to like look back at his catalog and start picking up some of his music and stuff like that. But, I remember her specifically getting the tape for Christmas and like my dad and my aunt is just like Rod Stewart's like who's listening to him still because he's been around since the mid-60s. Like he's been around for a good chunk of time. Rich Terfry: [19:31] Yeah, and I would think a little bit before my time, I suppose, but the peak of his solo pop stardom, I mean, I think, you know, the average person might think, you know, kind of "do you think I'm sexy" is maybe peak, you know, Rod Stewart, which at that point would have been the better part of 10 years in the rear view mirror sort of thing. Frank: [19:45] Yeah, that Maggie Mae and all that. Yeah. Rich Terfry: [19:53] Yeah. Yeah. All that, yeah. Bill: [19:54] Now you have right before it, so 89 for me, because I'm grade six then, and I grew up listening to a lot of Elvis and Amy Grant. That was kind of, those were our two big ones. So I wasn't, yeah it was. Frank: [20:08] Oh, I'm just, I'm just picturing the duet in my mind right now. Bill: [20:11] I know if only Elvis had lived long enough he'd be, he'd definitely be doing Christian rock. So. Rich Terfry: [20:17] Alright. Bill: [20:18] I know Rod Stewart through music videos and so Forever Young came out before this. Yes. And then this little heart of mine was like released before this and this was on the greatest hits. Frank: [20:23] Yes. Yeah. Oh, yeah. Bill: [20:28] And it was the second time he did this little heart of mine. I loved it. Frank: [20:32] Yeah. Yeah. Bill: [20:33] Yeah, and then this came out and it was like wow, this is amazing So I mean Canada loved it because it went to number one. I'm pretty sure in Canada. Frank: [20:40] Yeah, downtown train went to number one in Canada and three in the states. Bill: [20:44] And it also like I started looking at his previous songs and so in Canada They often went to number one up to downtown trains. So This Old Heart of Mine went to number one I think Forever Young did really well too. So we loved Rod Stewart even in the 80s periods. Rich Terfry: [20:59] I wish I could recall this specifically, but sometime around this time, as I recall, my mom went to see him live. Okay. Yeah, so she really, and I don't have memories of her being a big time, Rod Stewart fan earlier on. Funny enough, she was actually a big Elvis fan. And I can kind of, of remember some other stuff that she would have been into late 70s, early 80s. But I think, funny enough, this 80s era Rod is where it really grabbed her. She went to see him live. I remember her, coming home from the concert that night and telling the stories of him kicking soccer balls into the, into the crowd and, you know, loving that. So that would have been in Halifax. I wish I could remember specifically what year that would have been, but I'm thinking it was right around this time. Frank: [21:52] Yeah, because I think Out of Order and then The Vagabond Heart. I think there is a bit of a maybe a bit of a resurgence. Like maybe there's a little dip and then a little bounce back at the end of the 80s, right? Bill: [22:04] In his autobiography, he talked as though he had to prove himself with Downtown Train, but I don't get it at all because he already had Forever Young and a couple other songs in the, tank. So if it's proving yourself a year after a hit, it seems weird now in our era of 2023 where, I don't know, you could go years without doing something, you're still kind of an it. But yeah, he claimed it sort of gave new life to his career. In a lot of ways, this period pads his, his live performance career. As he goes through this, now he's becoming this touring thing that can make tons of money, I think. Frank: [22:42] What's crazy to me right now is like from the beginning of his career to like when he released this album, Storytellers, that's a smaller period of time than it is from the release of that album to now and he's still releasing music. Because it's been 30 years, well 33 years now. Bill: [23:01] Holy cow. Frank: [23:02] Since that album came out, since that first greatest hits package. Bill: [23:05] Right. And he was younger than us then, than we are now. You got that math right? I'm working through this, I got issues, it's okay. Frank: [23:12] Yes. I think so. You're the math teacher. Yeah. So listening to like Rod's version versus Tom's version and I'm gonna speak about them using just their first names. Bill: [23:17] And he changed it. Frank: [23:27] Because I feel like they're familiar to me right now and and even the the covers that like Patti Smythe did and then because eventually Bob Seeger did release a cover version I think in 2011. Bill: [23:40] He didn't like his version. So all the complaining, he's listened to it and said, I don't like it and then changed it and did a new vocal and put in backup singers. Frank: [24:18] So I found the Patty Smythe and the Bob Seeger version a little more faithful to the original in terms of the music that starts off with the guitar, warble, whale, whatever it is you want to call that. But Rod Stewart comes in, it's a little softer, a little more orchestral. And in, my mind, what he's trying to do is he he started it slow. And he's just he's going for that build because he knows how to write a pop song he knows how to do well maybe this is Trevor Horn right. Bill: [24:47] Right, but this is what his voice needs to climb that mountain. Frank: [24:52] But uh yeah yeah so it's it starts off slow and it's really soft and everything and then by the end it like he's full rod. Rich Terfry: [25:00] But yeah, the arrangement on Rod Stewart's version is the most, for lack of a better term, radio-friendly. Cut down on the intro, kind of get to it, get into it a little quicker, kind of sand off some of the edges a little bit. Although strangely, the long sort of coda at the end, which is unusual for a hit song. I'm guessing maybe when it was played on the radio, there might have been some fading going on, for that whole thing. Frank: [25:30] The DJ is talking over the end of the song. Yeah, it's almost uncomfortable. Rich Terfry: [25:32] Yeah, because that is a little unusual, I must say. That's the part of the song that surprises me. That's where this version gets almost a little bit experimental, because it goes on so long. We were listening earlier, it's like, this is almost weird how long this is going on for. Bill: [25:47] It was an awkward moment for all three of us. Rich Terfry: [25:50] But otherwise, it is a very, you know, polished and cleaned up arrangement of this song, as we discussed earlier. The spotlight is somewhat taken off the guitar. And Rod Stewart's very much the star of the show on this version of it. And it really does build in a way that Tom Waits version doesn't quite have that steady upward trajectory. Frank: [26:19] It doesn't have it doesn't seem like it has a peak. It just sort of it's that it's a slow burn. Yeah Rod Stewart's version like when you hit that musical bridge and I'm assuming it's a bridge right like you're a musician you can explain do you do you know what a bridge is can you explain what a bridge is to us. Rich Terfry: [26:24] Right. [26:32] Let's call it a bridge. [26:36] I usually just simply think of it as like, sort of an instrumental passage in a song that is kind of in the middle of the song rather than at the beginning or the end. And so it's usually bridging between, say, a verse and a chorus or a chorus and a next verse or something to that effect. But yeah, usually just like an instrumental passage in the middle of the song. Frank: [26:59] OK, so I think we were right. And every every time we were asking what a bridge was. we have an answer. Yeah, yeah. Or we just end the podcast. I think that was the whole idea. The podcast was determined what a bridge was. Bill: [27:04] We finally have a succinct answer that we will now be just hitting when you ask this question next time. We'll just hit play. Rich Terfry: [27:16] . . Frank: [27:20] Well, thank you, Rich, for being on the last episode of Bill of Frank's guilt free pleasures. But but that bridge because it's climbing, climbing, climbing the entire song. But that bridge. Rich Terfry: [27:24] . Frank: [27:31] Like it takes it up like a steep ramp at that point. And then it comes to that end where he goes full Stewart. Bill: [27:53] I've written down here about my misheard lyrics. I was reading the lyrics. I'm like, that's not what I heard when I would listen to the Rod Stewart version. And I think the reason is, the Tom Waits version, there's this loneliness, longing. I don't think it's creepy, but it's certainly about someone watching somebody else and waiting to see someone he's in love with, but is never going to talk to on a train. And he's a loner who sits on a train waiting for the same person to come on that train and he's there kind of following her and whatever life she leads. At, least that's what I had in my head and all the other people, the Brooklyn girls who are there, going off to go out to clubs or whatever was going on then. That's what I hear when I hear the Tom Waits version. Now the Rod Stewart version, I have no sense that this guy's a loner, or that there's any chance that she's not going to get together with him. So when I read the lyrics, I just hear it differently like there's a line so the beginning was outside another yellow moon, Has punched a hole in the nighttime mist I climbed through the window and down to the street. I'm shining like a new dime, That's Tom Waits, but when I was a kid, I don't know if you thought this but I'm like, oh Rod Stewart, He's shining like a new diamond because yeah, because Rod Stewart's a diamond. Frank: [29:11] That's what I heard too, yeah. Bill: [29:13] I keep listening back and I only hear diamond because it's Rod Stewart and he's worth a ton of money, But the dime is super depressing. So this is the Tom Waits who makes rings out of spoons, right, for somebody to get married, whereas Rod Stewart has big diamonds. Rich Terfry: [30:05] You know, and interestingly, although you could say that in the context of the Rain Dogs album that Tom Waits sort of, you know, cleans things up a little bit on Downtown Train, we talked about it being a bit of a sore thumb. And it's true, you see it in the lyrics as well as, you know, the instrumentation that's happening, the arrangement and everything else. But there, you know, just a few little, Tom Wait-isms in there, even the mere mention of a carnival in the lyrics and you know maybe this comes from you know knowing too much about these these two individuals. I can imagine Tom Waits hanging out at a carnival. I don't picture Rod Stewart kind. [30:47] Of roaming around a fairgrounds you know just soaking up the vibes and then although Tom Waits is a California guy he spent some years in New York you know recording these albums and exploring some new musical ideas. And so knowing that he was living in New York at the time, him mentioning the Brooklyn Girls and so on, like yeah, checks out. Somehow, I don't know, Rod Stewart in Brooklyn, kind of scrappy Rod Stewart, the performances is great and he delivers and so it's believable in that sense. But when you really kind of get in there and you take a close look at the lyrics, I don't I don't know if I'm buying. First of all, Rod Stewart, I'm always imagining a subway train rather than a commuter interstate train or whatever. Rod Stewart riding the F train or whatever in New York. I don't see it, let alone in Brooklyn. Frank: [31:51] Unless he like rent it out for himself and that's about it, right? Rich Terfry: [31:54] Yeah, right. Maybe. And then like I said, hanging out at the carnival grounds. Frank: [32:01] Yeah, right. Maybe. Rich Terfry: [32:01] You know, not so sure. But it is interesting. And to me, that's the one real Tom Waits tell in the lyrics, you know, because he had a thing for all things carnival. Frank: [32:09] Yeah. [32:13] Yeah. Well, and it comes through on that rain dogs album, too, because there's a lot of like carnival sounds on it right? Rich Terfry: [32:16] Yeah. [32:16] Oh, sure does. Yeah, absolutely. Bill: [32:19] And it's like the dark corners of a carnival, even though I imagine everything's circular in a carnival, but there's always darkness somewhere in a corner and there's Tom. Rich Terfry: [32:26] Oh, the sideshow is where that's where Tom's hanging out. Frank: [32:30] Yeah yeah yeah that's where the freak shows are yeah yeah yeah yeah. [32:40] The opening line is something that I really love. Outside of another yellow moon has punched a hole than a nighttime mist. And I like that. It's very similar to me to Bruce Coburn's Lovers in a Dangerous Time, where he says you got to kick at the darkness till it bleeds daylight. Like, it's very visceral, the lyric, and you can imagine it, you can see it happening, you can see an action actually happening, you can like see the moon punching through the miss or it's almost a violent act but there's beauty in that violence. Rich Terfry: [33:12] It's a beautiful line. I mean, there's real poetry in these lyrics, and I would say more so than your average pop song, even by 80s standards. And so I must say, for me, for as much as I admire Tom Waits as a pop song, to see a few times in his career, his songs being covered and being turned into hits, surprises me in a real pleasant way because you know often you don't get this level of poetry in a number one hit pop song. Maybe from a Bruce Coburn the odd person who's that kind of writer but and so maybe this really says something about you know Rod Stewart's talent that he's able to make something that you know might otherwise be utterly inaccessible for most people in Tom Wade's hands turns into as big a hit as it could possibly be in Rod Stewart's hands where everyone loves it. Yeah. Basically. Bill: [34:08] This is why I have no animosity to this song. Like I might make fun of Rod Stewart once in a while, but I will listen to this song the whole way through. And even those last 40 seconds. But there is something about him bringing Tom Waits to the masses. So for me as a kid, I didn't know Tom Waits. He was terrifying. There's a video with him on a tricycle and he had devil horns. Rich Terfry: [34:28] "I Don't Want To Grow Up." Bill: [34:30] It was on Much. Yeah, I did. I couldn't, I just turned the station. I couldn't watch that, but this I could. And then years later, when I grew up, sometime in my mid 30s, I finally was ready to listen to Rain Dogs. Like, oh wow, this is fantastic. But it really, if it wasn't for this, I wouldn't have got there. Rich Terfry: [34:48] Yeah. Maybe it's worth mentioning, I don't know about you, Frank, but I only, like you, I only became a Tom Waits fan later. I heard the Rod Stewart version first. I became familiar anyway with the Rod Stewart version before I did the Tom Waits version. Is that the same for you? Frank: [35:03] Oh, same here. Yeah, yeah. 100% I kind of knew who Tom weights was a little bit but really didn't get into understanding him. I don't still don't think I understand him. But but like, yeah, gaining an appreciation until our friend, Eric Stewart. Like, because he's such a big fan and like he plays stuff and he's just like, Oh, geez, this is good. And you listen to his like, Oh, geez, this is really good. So you start digging into it a little bit more. You were talking about that misheard lyric and there's another one. Rich Terfry: [35:17] But gaining some appreciation. Frank: [35:37] That in the Rod Stewart version, I always heard it as when I see you tonight on a downtown train. And that was a certainty. It's like when I see you because you're going to be there and I'm going to be there. But the line will I see you tonight? It just. Bill: [35:43] Yes. Frank: [35:52] Odd. It turns it right around on its head, right? And it just makes it even more sad I guess it's it's but it's so beautiful. Rich Terfry: [35:58] Right, more longing and... Bill: [36:10] Christmas night while I was listening to this song. I'm like, oh I kept hearing it seeing Will I'm like, no, it's gotta be when like you said I wrote down Rod Stewart's going to win the girl So when he sees her he's going to see her and they and they're going to be together if they're not already. Frank: [36:25] Yeah, it's a certainty. Rich Terfry: [36:26] Whereas with the Tom Waits version I absolutely assume he won't. Frank: [36:29] Yeah, well exactly. Bill: [36:31] Oh yeah, he's never talked to her. Rich Terfry: [36:32] Yeah, this is, there's much more distance. Bill: [36:45] So second verse, maybe second verse is short. The downtown trains are full, full of all them Brooklyn girls, trying so hard to break out of their little worlds. And then this line here kind of confuses me. You wave your hand and they scatter like crows. They have nothing that'll ever capture your heart. They're just thorns without the rose. Be careful of them in the dark. [37:39] Rod Stewart's pronunciation of dark really throws me off whenever I'm saying like he I kind of wish Trevor Horn's like no Could you say dark again? It's kind of a weird our thing going on, So who's scouring my crows? Are they the Brooklyn girls? Frank: [37:53] Yeah, I think so. Because they don't have anything to offer. That this is my take on it. Like, sorry, not that they don't have anything to offer. But there's nothing of interest to, him at that point, because he's, you know, looking for that girl that he's looking for on that downtown train. That's my take. I don't know, you guys? Rich Terfry: [38:15] I've always just loved the image and like you were saying with the first line of the song it just really conjures a strong image in my mind I've never really been able to get past that to even think about it too much I just love that image. Bill: [38:28] Rod Stewart said that Tom Waits can do imagery so well as a songwriter and then Rod Stewart's like, I have to work on that, which is classic Rod Stewart sort of like, I gotta work on that. Frank: [38:40] It's like I try. Bill: [38:40] And then he said, I just write from the heart. That's what I do. I'm like, you're such a... Frank: [38:44] This is why I love Rod Stewart so much because he's all feeling. That's all I am. Bill: [38:48] He's all feeling. But the thorns without the rose, it's such a great image. And I like what you say, that Rich is like, just the image being there is enough. Like I can't really pierce through it. There's a little bit of thorn imagery there, but I don't totally know, but that what he paints there, is something that's true. Frank: [39:09] Yeah. [39:09] Yeah. Yeah, yeah. Bill: [39:11] If that makes sense. And there's a little line before, if I was the one you chose to be your only one. [39:19] Oh baby, can you hear me now? Can you hear me now? Frank: [39:22] Oh yeah, yeah, yeah. Bill: [39:23] So with Ron Rod Stewart saying, Oh baby, it's not like Tom White saying, Oh baby, where it's just, let's sort of the walk away from it, but his old baby is like, okay so you're getting you're getting you're getting with it. Frank: [39:34] You're getting the girl. [39:48] Well then then you jump into the the the course, which is, you, know, will I see you tonight on a downtown train? Every night every night is just the same on a downtown train. I like I like it. It's it's a good little course. It does its job and everything and that question of will will I see you tonight? I really like that reading through the lyrics as opposed to listening to the lyrics and understanding what the actual lyric was it like you said it just adds that longing. Rich Terfry: [40:38] It's, in my experience, rare touching on what you just mentioned, Frank, where reading the lyrics of a pop song gives you a whole other rewarding experience often. Otherwise, with a lot of pop songs, it really does nothing to heighten your experience of it. If anything, it might even drag it down. It's like, oh, these lyrics are terrible. Frank: [41:00] Yeah. Rich Terfry: [41:00] It's all just, a lot of songs are just carried by the melody. And the melody of this song is very, very strong as well. and I think that's what makes, I think you could argue anyhow, the chorus of this song memorable is the melody of it is so great. But it's true that there's a lot of people out there don't even really pay a lot of attention to lyrics, but if you're one such person and you do decide one day to look them up and, you read them, you're going to be floored. Whereas a lot of pop songs, they're not really going to give you a lot to sink your teeth but there's a lot going on here. Frank: [41:31] Well, I mean, you would have been similar to us like today, like with everything streaming and all of that. You just listen to songs. But when I was really getting into music in the 90s, you had CDs and you had CD cases. And that was my favorite thing to do was open up, check out the artwork and follow along with the lyrics, with the songs and then try and experience them that way. And you're absolutely right. you gain a better appreciation of the song. Rich Terfry: [41:58] And I think that, you know, I lament that a little bit for, you know, sort of younger generations today. Although it's easy enough, you know, everything's on online, it's easy enough to Google lyrics, but it's not always necessarily a part of the experience when you're streaming. It's not right there like it is if you're, you know, kind of, you know, playing a CD and you have the case in your hands or for that matter, you know, on an LP or something like that. There's that function if you're using Apple Music where if you, you know, tap a couple things and you can bring up the lyrics, but it's sort of a little bit of effort to do. But I sometimes wonder if young people are really, you know, spending time with lyrics of songs the way we used to automatically because the experience you described I think was a fairly universal one. I think everyone loved doing that. Frank: [42:46] Yeah, yeah, yeah. And there was always the because there are different types of CD cases to like there's the there's the book, then there's the ones that would just fold out lengthwise. Rich Terfry: [42:55] Fold. [42:55] Poster, sure. Never get it right. Frank: [42:56] And then there was the ones that folded out almost into a poster and then trying to fold those back where it was just terrible. Bill: [43:02] "Fully Completely." I remember looking like what? Oh, come on. That's not how you put lyrics on a sheet Don't be crazy and then REM would come out with like a booklet and then you just realize they're Michael Stipe pictures and that. Frank: [43:08] Yeah. Bill: [43:14] Made me so angry. We're like you could have put the lyrics on I still don't know what you're saying. Rich Terfry: [43:19] I don't think he wanted you to know what he was saying, But that's a whole other discussion right there. Bill: [43:22] Yeah, yeah. Frank: [43:24] Well, I bet the there's the third verse we can we can go we talked about it a little bit but it's like the I know your window and I know it's late. Bill: [43:26] Alright Frank, we hitting every single lyric on this song? Frank: [43:38] I know your stairs and your doorway, which I think could be taken as creepy. But again, there's, there's from Tom Waits, like from his perspective, it's like, I don't find it creepy. find it sad. [44:23] Yeah, he's because he's going there and he's. Bill: [44:25] It makes me think a little bit of Taxi Driver, a little bit, which is a little more creepy. But when Rod Stewart says it, I'm like, well, of course, because he's going there. to date her, yeah. Rich Terfry: [45:07] Now, in my mind, I see those lines, that verse. And it adds a little intrigue to the song, because I start to wonder, oh, is there actually a bit of an established relationship here? He's been to her house. Maybe there's more going on in this relationship than first meets the eye. Maybe. It's just, in my mind, raised as a question. Could go either way. Maybe there's more familiarity there there than we've been led to believe to this point or yeah there it is a little creepier than we first thought where he's you know the creepin' is going beyond the train and it's you know. Frank: [45:49] So we kind of talked about this a little bit before when we were listening to the song, but but what's your favorite part in the song? the Rod Stewart version. Rich Terfry: [46:00] Well I'll say something controversial okay and let me give you a little context before I say this, I'm dropping a bomb here. I know you know this, but I'm a Tom Waits fan. And I like a lot of his recent work. Although I would probably say my three favorite, Tom Waits albums is this trilogy that is sort of before us here today, Rain Dogs, Swordfishtrombones, and Frank's Wild Years. Frank: [46:32] Which I don't think he really captured all of my wild years in that album, but you know. Rich Terfry: [46:37] Who could? No, really. In one album. But I'm the type of guy, the weirder Tom Waits gets, the more I like him. And if I was listening to, I hate to say this, but if I'm listening to Rain Dogs in the car, there might be days where a downtown train comes on. I might skip it. Bill: [47:01] This is shocking. Rich Terfry: [47:03] So, where I'm going with this, my point is, me being the kind of music listener that I am, for as strange as it is, the unusual coda at the end of Rod Stewart's version is where it starts to get interesting for me. It's like, oh, what's going on here? He's got a little trick up his sleeve here. He's not the one trick pony that maybe you might, paint him as. It's like, oh, now wait a minute. And was he inspired by Tom Waits to, you know, kind of explore some more interesting terrain at the end of the song. And maybe it's safer to kind of put it at the end. But I get excited when something makes me raise an eyebrow a little bit. I like when someone's willing to go there a little bit or experiment a bit. So although I can appreciate what, he did with the song, where he took it, that he turned it into a hit, it's interesting to compare in contrast his voice, his vocal chops to Tom Waits. But I'm actually intrigued. If Rod Stewart walked in the door right now, and I could ask him one question about the song, I'd be like, what's the deal with the outro on the song? To me, that's super interesting. Frank: [48:11] Yeah, okay, cool. Bill: [48:39] Most controversial moment in our podcast history. I think there no one has ever picked the the final coda Yeah, my favorite part of the rod stewart song is the party's not singing. Rich Terfry: [48:50] Well, how do you like them apples? Bill: [48:51] Let's do that. Yeah. Frank: [48:53] Well, that's my favorite part, too, except it's that musical bridge. Bill: [48:56] Oh, wow. [48:56] Okay, oh, is it after the carnival and heart attacks? is that rhythm? Okay. Frank: [49:01] Yeah, yeah, yeah, because there's a like a 30 second bridge there and the guitars coming in and it's a little orchestral and cinematic. And like it was always climbing, climbing, climbing. but that's when it gets steep. Rich Terfry: [49:09] Yeah, sure, absolutely. [49:14] And I should also mention, I'm a big time Jeff Beck Yardbirds fan. In terms of pure riffage, I'd probably pick him over a lot of guys, if not everybody. And so his inclusion on the song, that's pretty cool to me as well. Yeah. Frank: [49:58] Bill, favorite part? Bill: [49:59] I gotta say, when he says, oh baby, can you hear me now? Can you hear me now? I think that really is it. I just assumed he said it over and over throughout the song. He must have. Yeah, I like the Rod Stewart-isms. Yeah. Frank: [50:12] Yeah, yeah, yeah. Well, it makes it his own. Rich Terfry: [50:13] And that's exactly what I was about to say. Yeah, that's that right there is where he... It's interesting the story you were telling when he was first listening to it and there a moment came where he felt that he was taking ownership of the the song and right there is where he sort of delivered on that promise. Frank: [50:33] So we usually jump into categories towards the towards the last third of the podcast. So I've prepared rich. Should we do our mixtapes? You have a mixtape? I'm gonna let you guys go first and then I'll finish things off I have about 12 songs that I potentially. Bill: [50:42] Oh, good. Yeah. [50:50] Oh, wow. Okay, I got a low list, but I like a guest going first. And we didn't mention this at the beginning, but Richard Fry's, AKA Buck65 for listeners, especially our Canadian listeners who will know. And so when I hear the word mixtape, I know, you know, not like I'm intimidated in a good way. Rich Terfry: [51:10] Well, and although I had a little known fact, I too covered a Tom Waits song once. I should say maybe more than once, but in 99 I released an album called Man Overboard and the original, it might be most fair to say demo version of that album, included a, cover of Singapore by Tom Waits, which didn't make the final cut of the album. And then live, I used to do a very deep cut Tom Wait song, called Tabletop Joe. But anyhow, yes, this is my whole thing, putting these mixed tapes together. And so I gave it some thought. Should we jump into it here? I find it, I bet you guys have found the same thing, is that this song, Rod Stewart's version of this song, routinely pops up on these lists, a bunch of them, on the internet of songs you didn't know were covers. Now to me, that's an interesting enough category. God knows I've talked about that sort of thing on my radio show plenty. But with this particular case, there's more to it than just that. I think it fits into an even smaller category. And I wish there was more of this, where you have here. [52:32] Big-time bonafide mainstream pop star bringing into you know the spotlight and the mainstream consciousness what at best we might call sort of a cult figure. [52:50] Right? Tom Waits I mean you know he's not nobody but in in particular when we're looking at an album like Rain Dogs you know you ask the next person that walks down the street hey ever heard Rain Dogs? I'll put 50 bucks on them saying no. So know he's he's not I don't know if you could call Tom Waits a household name. I think of him in, particular the parts of his catalog that I love the most. To me I almost think of him as an underground type character, certainly a cult figure, and if not in the strictest definition of it, if you look at his body of work and maybe what inspired him and what he was interested in he's He's certainly coming from the deeps, you know what I mean? So maybe at best you could argue that he was an experimenter and whatever else who had more success with it than a lot of others. But nevertheless, I think that here we have a case where sort of, I'm trying to think of the most fair word I can use, but maybe a slightly more fringy musician is being brought into the mainstream. because a lot of the other songs that you would find on those lists of songs you didn't know were covers aren't necessarily that. I'm trying to think of a good example, but if you look at. [54:12] I Love Rock and Roll by Joan Jett, the Arrows, who wrote and recorded the original version, were a fairly successful band in their own right. And you see a lot of that on those sorts of lists. So this situation got me thinking of other cases where this was the case. case and I really wish that there were more examples of it because to me it's super interesting and exciting and more often you see it the other way around where and hopefully this isn't too, flippant a way to put it but where like an indie band will do kind of an ironic cover of some big, pop it that happens all the time sometimes it makes me roll my eyes but this is much more interesting and and the stakes are a little higher where a big time pop star will take a more obscure fringy, culty, whatever, however you want to describe it, person and cover them. So I came up with a couple examples and I don't know if they're quite as strong as today's example but I'll throw out there and this one is very similar parallel I would say Eric Clapton's version of Cocaine by JJ Kale. [55:23] JJ Cale, if you're going to compare anyone to Tom Waits, you know, if you're going to put anyone else in a category, maybe it's a guy like JJ Cale and Rod Stewart and Eric Clapton. I mean, not that, far off, right? So it's a very, very close, you know, kind of thing. Now, I don't know if you, know that The Tide is High by Blondie is a cover, but the original version of that song was by a, relatively small, certainly on an international level. [55:58] It was a Jamaican band called the Paragons, and I don't think they really had any success outside of Jamaica at all. Bill: [56:03] Wow, okay, I didn't know this either. Rich Terfry: [56:05] Really super interesting to me that the guys in Blondie even knew this song. Someone would really have to know their stuff, to know the Paragons and maybe this song in particular. To my knowledge, and I could be wrong about this, have to look it up but I don't even know I have the out the Paragon's album I don't know if their version was even ever released as a single so to me it extra super interesting maybe a real classic and one that does turn up on these lists fairly often the birds version of turn turn turn or whatever by, Pete Seeger right so you're taking something from a you know I guess a slightly more fringy genre, you know, kind of deep folk music and turning it into a big pop hit. I got a couple other good ones. This one is another fairly well-known case, but Roberta Flax, Killing Me Softly, is a cover of an extremely little-known song. What's her name? Lori Lieberman, I think, who originally, you know, singer, LA singer-songwriter, kind of played at the Troubadour, it never really became famous. The story goes that Roberta Flack just heard it, kind of on a total fluke and loved it. And then of course there's the whole other wave, the Fugees, Yeah. covering it again decades later and making it a hit all over again. Frank: [57:29] Because I remember we did, I forget which song it was, but it was a cover song. And then I said, you know, famous cover songs, where the the cover is more popular than the original. And I said, Fuji is covering Roberta Flack. And then afterwards, finding out that it was Laura Lieberman or just, I was wrong on the podcast. And that never happens. I've never said anything that was infactual on the podcast. Rich Terfry: [57:53] Yeah, yeah, yeah, sure. Bill: [57:55] Yeah, we can insert it. Don't worry. No one will know. Rich Terfry: [57:59] I'll throw out one more for you and then I'll and then I'll pass the mic as you. [58:05] Will. No, no, no. But and this one is a little more obscure, but a great example of what I'm talking about, I suppose. But What a Man by Salt and Pepper is, basically a cover. You might argue that it's like an interpretation, but it's, pretty darn close to a cover of a sort of a soul song by a woman named Linda Lindell. Let me double check that. I did write it down because I want to be sure, but I'm pretty sure it's Linda Lindell. Yes, Linda Lindell. It was just released as a 45, just sort of a one-off single. I don't even know if Linda Lindell ever recorded a full-length album. So not well-known, pretty obscure figure, of course. and Salt and Pepper had a bunch of hits. That might have been their biggest one. That was a big old hit. So, and you know, certainly another case where songs you didn't know were covers. And super interesting that, you know, this one sort of turns the tables a little bit in that, you know, we're talking about what was like, you know, kind of a soul song. Fairly sort of, you know, mainstream in its presentation, but then here's a hip hop group doing it. That in itself is a bit of a rarity, a hip hop group kind of taking on a cover. [59:26] But nevertheless, at this point in their career, Sal and Pepper, they were big pop stars, very well established, and like I said, they turned that into a big hit. So that was the first thing that popped into mind for me was, again, I don't know if it's the exact right word, but fringier artists being brought into the mainstream with a cover, because that doesn't happen a lot. In fact, those were really the only examples of that that I could find. I'm sure there are more, and if anyone can think of more, I'd love to hear them, because this is the sort of thing that really excites me. Frank: [1:00:01] Right into the right please someone write us please someone tell us something yeah but it's really cool because there's all sorts of like musical gems out there that no one knows about. Rich Terfry: [1:00:04] Yes. Drop us a line. Frank: [1:00:16] Like or sorry I shouldn't say no one but there it's not as well known and then these pop stars are are bringing them out to the forefront. And sometimes these artists can gain a second life because of it. Rich Terfry: [1:00:29] Now in the early days of rock and roll, this happened all the time, of course, right? So you think like Elvis doing, well practically every song Elvis did the early days of his career was a cover of a song recorded by some lesser known, usually a blues artist or R&B artist or something like that. But I digress. Bill: [1:00:49] I gotta say this is a big moment for me just as a radio listener because Rich Terfry does the (is it called the drive?) from about (is it three to seven?) okay so three to seven on CBC Radio Two. Rich Terfry: [1:00:57] Yeah. Bill: [1:01:03] And i would listen to it around i think is it around six o'clock that you would do the deep dive like on a friday or is it okay last hour of the show and there'd be this deep dive and. Rich Terfry: [1:01:09] Yeah, right. last hour of the show. Bill: [1:01:14] And it was my favorite part. And so- Well, the stories. Oh, it is great. Frank: [1:01:15] Oh yeah. Well the stories. Bill: [1:01:18] And so even if it was having a bad day at work and I knew I had to be leaving at six to go home, but I knew I could get this. And that was like my favorite part of the show. So I always wanted to find these deep dives. Like, so the one day you did a deep dive, on a tragically hip album, because you did every album. That's right. And so it was on Phantom Power and I was, didn't want to come out of the car, because I knew I wouldn't be able to find it because I'm like, there's gotta be, so I go online, rich to fry deep dives, like they're not available, I want like, you know, maybe a box set, it would be great for me personally or for the world, but we just got our own personal deep dive. Frank: [1:01:54] Yeah, which is fantastic. Rich Terfry: [1:01:55] Yeah, man. Bill: [1:01:56] Yeah, so that leads to my couple songs. I may be jumping on Frank's toes here, maybe, but because we think similarly, and this was the easiest way to do this, was originally I was thinking of train songs, But then I thought of songs that were like the vibe in Tom Waits, but then were covered so that they were kind of cheesier, but I couldn't, it wasn't coming up for me. So I ended up thinking of a couple train songs that were so similar. Because we were 12, I only have like three. So the most obvious one for me is Downbound Train by Bruce Springsteen, because it sounds so similar, downbound and downtown. And there's that longing and depression within the song that is kind of in the Tom Waits song. Well, there's something more joyous, even in the Tom Waits version, compared to the Bruce Springsteen. [1:02:55] But thinking of Rod Stewart's cover as very Rod Stewart, this is almost like Bruce Springsteen going, more Bruce Springsteen than usual to me in the song. Like sometimes he mutters his lines in a way that Ben Stiller would imitate Bruce Springsteen. So I liked the song. And so that was one. There was another one called Downbound Train by Chuck Berry, which was about the devil taking a guy to hell. Okay. And then there was another one called Night Train. There's a Bruce Cockburn one, which I love, but I went with the James Brown version because it was a bit more upbeat. Frank: [1:03:28] So I went straight planes trains and automobiles. That's the theme of my of my uh, well, it's modes of transportation. Bicycle Race by Queen. This has nothing to do with any sort of feel. It's just this is the theme. Modes of transportation. Fast Car by Tracy Chapman. Oh, I know right. Rich Terfry: [1:03:47] Modes of transport. Bill: [1:03:48] So, I'm going to go ahead and do a little bit of a, That's okay. Frank: [1:03:54] Midnight train to Georgia, Gladys Knight in the Pips, Pink Cadillac, Bruce Springsteen. Bill: [1:04:00] Very good. Frank: [1:04:02] Runaway Train, Soul Asylum, Aeroplane by Bjork, Get Out of My Dreams Get Into My Car by Billy Ocean, and then we are going to finish it off with Hands by Jewel. Bill: [1:04:16] Oh, no, no. You don't, that's not funny. And no, you don't walk in your hands somewhere. No, not funny. No. Frank: [1:04:17] Okay, okay, we won't put jewel on we'll put Train In Vain by The Clash. Rich Terfry: [1:04:26] You. Bill: [1:04:33] That's a good call. We haven't talked about another iconic performer we bring up most episodes. Frank: [1:04:40] The patron saint of Bill and Frank's Guilt-Free Pleasures. Yeah. Rich, your opinion. Could Michael Bolton sing this song? Rich Terfry: [1:04:48] Hmm oh downtown train yes I think so. Frank: [1:04:53] I think so, too. Rich Terfry: [1:04:54] I feel like I didn't even need to think about it long I can hear it in his voice almost immediately. Frank: [1:04:59] Especially at the end, like after that bridge that when when he's just repeating the chorus at the end, and he just sort of brings it up. That's when Michael Bolton destroys the world though, though, where he goes full Bolton and just ends the world. Bill: [1:05:11] Oh, yeah, and that Michael Bolton in 1989 is is a then is that when we got? Frank: [1:05:17] Oh, this is right in the that's right in the meat of the Michael Bolton sandwich. So I have in front of me here the the Grammys, for best male pop vocal performance, because Downtown Train was nominated in 1991. Lost to Roy Orbison's Pretty, woman. But Michael Bolton was on that list, Georgia on my mind. The year before Michael Bolton won for How Am I Supposed to Live Without You. The subsequent year, Michael Bolton wins 1992 for, When a Man Loves a Woman. But I'm looking at the list of the. Rich Terfry: [1:05:52] Right. How could he not? Frank: [1:05:56] Songs that were nominated in 91. Oh my goodness, how do you pick? So Roy Orbison wins for Pretty Woman. Another Day in Paradise, Phil Collins, Georgia on my mind, Michael Bolton. I Don't Have the heart James Ingram who's critically under appreciated in my mind Stormfront by Billy Joel and then Downtown Train by Rod Stewart 1991 I think was I think. Bill: [1:06:18] 1991? I thought this song came out in 89. Frank: [1:06:22] Was released in 90. Bill: [1:06:24] Oh right, because they would release it for so long. I got this all wrong. Rich Terfry: [1:06:27] Grammys are often, you know, a little behind. Bill: [1:06:29] Oh yeah, yeah sure. Yeah, that's right. So this comes out in 1990. Oh wow, I gotta to re- rethink about how I heard the song for the first time. I'm 14 then. That's a whole other world. Frank: [1:06:38] Yeah, that's a that's a different world. [1:06:40] Anyways, yeah, 100%. This could have been a Michael Bolton song. Could this be a Hallmark movie? Could easily become a creepy Hallmark movie. Bill: [1:06:51] Hallmark after dark. Rich Terfry: [1:06:52] Does Hallmark do creepy movies? Frank: [1:06:56] Yeah, I don't like them. Rich Terfry: [1:06:59] I mean, you know, there's some sort of romance, obviously, at the heart of this thing. So from that standpoint, like I said, if you went with the interpretation I've had where the third verse comes along, you think, oh, wait a minute, maybe these people, maybe these two know each other. Maybe it's the early days of a relationship or something, you know, in which case, maybe. But I'm with you in that, you know, it's more Scorsese, even, but Taxi Driver vibes, that hallmark. And if a hallmark movie set in New York, you know, it's like. Bill: [1:07:28] Yeah, I don't think that downtown train is taking them out to the country to like find themselves. Frank: [1:07:33] No, exactly. Rich Terfry: [1:07:38] Upper West Side, not Brooklyn. Frank: [1:07:40] Yeah, yeah. What other categories do we have? Bill: [1:07:44] You know. [1:07:44] I just thought out the top of my head when I was listening to the ending that you could do a pretty good floor routine To this song with that final moments. Yeah. Oh no with the with the thing with the. Rich Terfry: [1:07:54] Rhythmic gymnastics. [1:07:55] Yeah. Bill: [1:07:55] With the yeah yeah rhythmic gymnastics would work especially at the final moments where everyone's watching them the final sway. Rich Terfry: [1:08:01] And you're thinking just based on the gestures I'm seeing here, the ribbon. Bill: [1:08:04] Yeah it's all ribbon yeah yeah maybe some leaping it could be yeah I don't. Rich Terfry: [1:08:06] Yeah. It's all ribbon. Okay. [1:08:10] Maybe something like that. Thank you. Bill: [1:08:12] Know why I do this on a podcast but I'm I sometimes will talk with my hands yeah. Frank: [1:08:15] Can see if you can see Bill right now he's he's rhythmically flailing his arms about. Bill: [1:08:19] Yeah, yeah, yeah. Frank: [1:08:38] So we're bringing the the episode to a close and rich we just yeah thanks so much for bringing yourself and your knowledge and the insight not just to the song but musically in general and most especially telling us what a bridge is so that ended, over a year long debate in our minds. Rich Terfry: [1:08:58] I almost hate to ruin it for you, but this is fun. Have me by again sometime. I'd love to. Frank: [1:09:04] This would be fantastic. Yeah. And we want to thank the listeners for sticking it out right to the end. And, you know, we know you have it on your phones and on your computers and all that other sort of stuff. And you listen to it to the podcast wherever you are. And just wondering, will we see you tonight on a downtown train? Bill: [1:09:29] Thank you for listening to Bill and Frank's Guilt-Free Pleasures.  

Emmy Award®-winning Marina Toybina is a costume and fashion designer well known for her exceptional work in entertainment. Born in Moscow, Russia, Toybina immigrated to the United States at age 11. At a very young age Marina found an outlet for her creativity through various forms of design and illustration. After graduating high school in Phoenix, AZ, she followed her calling and moved to Los Angeles to attend the distinguished Fashion Institute of Design and Merchandising, specializing in fashion design. While still attending FIDM, Toybina successfully launched a signature line called GLAZA. After earning her degree, Marina quickly became known for her unique aesthetic, and launched into the world of entertainment as a go-to designer for the dance community, artists and performers who sought a unique approach to their fashion and costume choices. Toybina's creations are now seen worldwide in all mediums ranging from primetime and international television programs to major editorials, music videos, commercials and concert arena stages. For television, Toybina has designed for hit shows like So You Think You Can Dance, The X Factor US, and World of Dance, as well as for performances on award shows such as The Grammys, The Billboard Awards, The American Music Awards, The Brit Awards, The BET Awards, and the Country Music Association Awards, just to name a few. Marina's latest work can be seen on FOX's popular celebrity-filled singing competition The Masked Singer, in which she and her team have created an assortment of unique theatrical costumes across six seasons for the likes of T-Pain, Dionne Warwick, Donny Osmond, Tony Hawk, Chaka Khan, Seal, Patti Labelle, Leann Rimes, Aloe Blacc, Nick Carter, Bobbi Brown, Bret Michaels, Lil Wayne, Tori Kelly, Gladys Knight, Rumer Willis, Kelly Osbourne, Tyrese, Jesse McCartney, Toni Braxton, Jojo Siwa, Hanson, Mickey Rourke, Busta Rhymes, Wiz Khalifa and many more. Her creative vision and drive were integral to the success of The Masked Singer, and in 2021 her dedication paid off as Toybina became one of only a handful of costume designers to receive both costume designer and producer credits on a primetime television show. Toybina has received award recognition, breaking records in 2015 as the first costume designer to win four consecutive Emmys in the Outstanding Costumes for a Variety Program or a Special category. Over the years she has earned a total of six Primetime Creative Arts Emmy Awards in this category, for The Masked Singer (2021 and 2020), Super Bowl XLIX Halftime Show Starring Katy Perry (2015), So You Think You Can Dance (2014), The 55th Annual Grammy Awards (2013), and The X Factor (2011), as well as a Primetime Creative Arts Emmy Award nomination for The Masked Singer (2019). In 2018, Toybina won The Ellen Mirojnick Styling Award at the Hollywood Beauty Awards. She has also been recognized by her peers in the Costume Designers Guild, receiving a CDG Award for Excellence in Variety, Reality-Competition, or Live Television for The Masked Singer (2020) and a CDG Award nomination for So You Think You Can Dance (2019). Throughout her career, Toybina has collaborated with superstars like Carrie Underwood (Blown Away World Tour, Storyteller Tour, Cry Pretty Tour, NBC's Sunday Night Football, Country Music Awards and many more), P!nk (American Music Awards and The Beautiful Trauma World Tour), Katy Perry (Super Bowl XLIX Halftime Show, California Dreams Live Tour and Prismatic World Tour), Usher (iHeartRadio Music Awards, Billboard Awards, E3, RNB Fridays LIVE 2018), Ariana Grande (The Honeymoon Tour), Taylor Swift (Red World Tour, Grammy Awards, Brit Awards), Nicki Minaj, Miley Cyrus (Gypsy Heart World Tour), Lil' Kim, Paulina Rubio, Selena Gomez (Billboard Awards, Dancing With the Stars), Ne-Yo (Good Morning America, BET Awards), Dita Von Teese, 5th Harmony, Shania Twain, Britney Spears, Adam Lambert, Juliette Lewis — among numerous others. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chip Storey, with the Fort Mose Historical Society sits in studio to talk about their upcoming Jazz Series featuring Gladys Knight, plus some exciting new projects coming up in 2023!

Rockland Records was an American record label founded by R&B recording artist and record producer R. Kelly in 1998, having distribution from Interscope Records. The label was home to recording artists such as Kelly himself and Sparkle. Sparkle tried to team up with Kelly once more but was unable, due to past issues. After Kelly refused to work with Sparkle, she claimed her niece was in a sex tape having sex with R. Kelly, which Kelly, the girl, and her parents all denied. Barry Hankerson is an American record producer, music label owner and manager. Hankerson is the founder of Blackground Records. He is the uncle of singer and actress Aaliyah. Hankerson married Gladys Knight in October 1974; after four years the couple divorced with one son, Shanga-Ali Hankerson. Shanga A. Hankerson, the former owner of the Gladys Knight's Chicken and Waffles restaurant in Atlanta, Georgia, has been sentenced for willful failure to remit payroll taxes. 45-year-old Hankerson will serve two years in prison, one year of supervised release, and he will also have to pay back restitution of $1,039,310.65 for failing to fully remit payroll taxes from 2012 to 2016. Back on July 21, 2021 Hankerson pled guilty. In August 2021, it was reported that Blackground had rebranded as Blackground Records 2.0 and that former artists' discographies would be re-released on physical, digital, and streaming services in a deal between the record label and Empire Distribution. Robert Sylvester Kelly (born January 8, 1967) is an American singer, songwriter, record producer, and sex offender convicted of racketeering and multiple sex offenses. In 1992, Barry Hankerson introduced his niece Aaliyah to Kelly when she was 12 years old. I can count as least 2 people that should be locked up with him in this paragraph. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Should Babies Be Allowed in First Class? Article in NYT stirred up a debate. Where do you stand on this topic, especially if you've been in this situation? Speaking of babies…Nepo babies? How much does that impact ALL areas in sports, not just Hollywood? Kennedy Center Honors were aired last night… Ariana DeBose singing for Gladys Knight

In this conversation from April 2022, former guest host Juana Summers sits down with author Danyel Smith to chat about her book, Shine Bright: A Very Personal History of Black Women in Pop. They talk all about Black women in music — like Gladys Knight, Mahalia Jackson and Whitney Houston — whose true genius and contributions have not yet been fully recognized. You can follow us on Twitter @NPRItsBeenAMin and email us at ibam@npr.org.

De TAYLOR SWIFT y MADONNA a GLADYS KNIGHT & PIPS, RINGO STARR... De ENRIQUE IGLESIAS y MOCEDADES a EDGAR ALEXANDER y FRANCOS DE VITA... De LOS JACKSONS y MICK JAGGER a STEVIE WONDER y DIANA ROSS & SUPREMES... De "CANDELEJAS" a "TREN DE MEDIANOCHE A GEORGIA"... Y MUCHO MAS! De WIMBLEDON y AGUIL;AS DEL ZULIA a "FALCON CREST" Y ETEPHEN KING --- Support this podcast: https://anchor.fm/genteenambiente/support