Podcasts about Gloria Jones

Hoy Carol Kaye cumple 90 años. ¿Quién es? Vas a alucinar. Bajista y guitarrista grabó su instrumento en varios, en muchos de los mayores éxitos de la música popular estadounidense desde finales de los años cincuenta del siglo pasado para los artistas más históricos: Elvis Presley, The Beach Boys, Barbra Streisand, Sam Cooke, Quincy Jones, Buffalo Springfield, J.J. Cale, Simon & Garfunkel, Joe Cocker, etc, etc, etc. He aquí una selección sucinta. ¡Feliz cumpleaños, Carol! DISCO 1 LALO SCHIFRIN Mission Impossible (ESCA) DISCO 2 THE BEACH BOYS California Girls (ESCA)  DISCO 3 GLORIA JONES Tainted Love (ESCA)  DISCO 4 THE MONKEES I’m A Believer (ESCA) DISCO 5 RITCHIE VALENS La Bamba (ESCA) DISCO 6 ELVIS PRESLEY Suspicious Mind (ESCA) DISCO 7 NANCY SINATRA These Boots Are Made For Walking (ESCA) DISCO 8 J.J. CALE Carry On (ESCA) DISCO 9 THE RIGHTEOUS BROTHERS You’ve Lost That Loving Feeling (ESCA) DISCO 10 BUFFALO SPRINGFIELD  Expecting To Fly (ESCA) DISCO 11 QUINCY JONES Them From Bill Cosby Show (ESCA) DISCO 12 SIMON & GARFUNKEL Homeward Bound (ESCA) DISCO 13 GLEN CAMPBELL Wichita Lineman (ESCA) DISCO 14 SAM COOKE Summertime (ESCA) DISOC 15 JOE COCKER Feeling Alright (ESCA)Escuchar audio

We get the listeners involved and we are ranking 10 very different and unique covers songs from artist across Rock, Pop, Metal, and Hard Rock. Some you may not have even known were actually covers songs because the cover version is the only one you have ever known. WE NEED YOUR HELP!! It's quick, easy, and free - Please consider doing one or all of the following to help grow our audience: Leave Us A Five Star Review in one of the following places: Apple Podcast Podchaser Spotify Connect with us  Email us growinuprock@gmail.com Contact Form  Like and Follow Us on FaceBook Follow Us on Twitter Leave Us A Review On Podchaser Join The Growin' Up Rock Loud Minority Facebook Group Do You Spotify? Then Follow us and Give Our Playlist a listen. We update it regularly with kick ass rock n roll Spotify Playlist Covers Episode Playlist Buy and Support Music From The Artist We Discuss On This Episode Growin' Up Rock Amazon Store Pantheon Podcast Network Music in this Episode Provided by the Following: Stryper, CobraKill, JJ Cale, Eric Clapton, Quiet Riot, Slade, Diamond Head, Metallica, Robert Hazard, Cyndi Lauper, Anne Bredan, Led Zeppelin, Soft Cell, Gloria Jones, The Arrows, Joan Jett, The Grass Roots, Bon Jovi, Judas Priest, Fleetwood Mac, Van Halen, The Kinks, Ace Frehley, Shadows Fall Crank It Up New Music Spotlight  Cobrakill “Party Like Hell” If you dig what you are hearing, go pick up the album or some merch., and support these artists. A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Learn more about your ad choices. Visit megaphone.fm/adchoices

Interview by Peter Jonathan Robertson in Los Angeles in 1997 Hosted on Acast. See acast.com/privacy for more information.

It's another SPECIAL BONUS EPISODE! Baxie journalist Patrick Clarke—the deputy editor of the British music and pop culture website The Quietus! Patrick has just released his new book entitled “Bedsit Land: The Strange Worlds of Soft Cell”. It's an incredible story of how two art school students accidentally became the most successful British synth-pop duos of the 80's. The book not only talks about how Marc Almond and David Ball took a largely forgotten 1964 single by Gloria Jones and turned it into a massive international hit (Tainted Love), the book also talks about came next! Listen on Apple Podcasts, SoundCloud, Spotify, and on the Rock102 app for your iPhone or Android! Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee!

Vientos y metales orquestados para grandes canciones de los años sesenta, de los setenta, de los ochenta o de ahora mismo como lo nuevo de Myles Sanko, de Mavis Staples, de MT Jones o de... Katarina Pejak que vuelve en solitario tras su periplo alternativo con el trío Blues Caravan. ¿Y lo nuevo de Rod Stewart con Jools Holland? ¿Y The Mavericks de Raúl Malo con Nicole Atkins? DISCO 1 RHYTHM HERITAGE Theme From S.W.A.T.DISCO 2 MAVIS STAPLES WorthyDISCO 3 THE MAVERICKS & NICOLE ATKINS Live Close ByDISCO 4 ROD STEWART Sentimental JourneyDISCO 5 MYLES SANKO More Than ThisDISCO 6 KATARINA PEJAK WomanDISCO 7 MILES DAVIS Human NatureDISCO 8 GLORIA JONES Tainted LoveDISCO 9 MT JONES Tough LoveDISCO 10 BEN KYLE & ROMANTICA The National SideDISCO 11 MAX BEESLEY’S HIGH VIBES  Snake OilDISCO 12 QUINCY JONES & CHAKA KHAN kKeep Reachin'DISCO 13 LEE FIELDS Two JobsEscuchar audio

Lori Tucker-Sullivan is a first-time guest. She's the author of the new book I Can't Remember If I Cried: Rock Widows on Life, Love, and Legacy. The stories of rock musicians who die young are the thing of lore and legend. Accidents, drug overdoses, plane crashes—all have taken the lives of male rock stars still in their primes. But what became of their widowed brides? How did they survive a loss so great? What is it like to have to share your grief with millions of strangers? And where are these widows today? I Can't Remember if I Cried is part music history, part memoir, based around interviews with rock widows conducted by Lori —who herself lost her husband in 2010. With each widow that Lori interviews, she learns lessons in love, forgiveness, coping, and moving on. The book is framed by the author's own narrative to create a single thread that links the stories together to ultimately create a tale of how the author's life is changed through her interactions with these amazing women. Among the women profiled in the book are:Judy Van Zant who, after losing husband Ronnie of Lynyrd Skynyrd, sued the re-formed band in order to protect her interests.Sandy Chapin, widow of Harry Chapin, who has worked tirelessly to uphold Harry's significant legacy around activism and hunger prevention.Crystal Zevon, the ex-wife of Warren Zevon, who provides details of her abusive relationship with Warren and how she resolved her anger and grief.Jamie Weiland, widow of Stone Temple Pilots' Scott Weiland, speaking openly of Scott's mental health, which at times kept him housebound for days.Janna Leblanc, girlfriend of Stevie Ray Vaughan, who shares the details of her visits with Stevie in rehab.Gloria Jones, the girlfriend of T. Rex's Marc Bolan who was driving the car which crashed and took Marc's life.Anna Walter-Lax, girlfriend of Who drummer Keith MoonLori shares with us some of what these women shared with her for the book and how her life has been changed as a result of writing this book.Purchase a copy of I Can't Remember If I Cried: Rock Widows on Life, Love, and LegacyVisit Lori-Tucker Sullivan's websiteFollow Lori on Instagram---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Gloria Jones nimmt in den 60ern das Lied "Tainted Love" auf - obwohl sie das Lied gar nicht mag. Wie der Song dank eines Matrosen von Amerika nach Europa kam und wieso das Lied für Softcell die große Rettung vom Rausschmiss war, hört ihr in dieser Folge.

„Sometimes I feel I've got to… run away!“ Anfang der 80er war „Tainted Love“ von Soft Cell einer der großen Hits in den Clubs und Discos. Dabei ist das Original viel älter und wurde damals auch kaum beachtet. Dank der alternativen Musikszene im Norden Englands bekam der Song aber eine zweite Chance und wurde schließlich vom Synthie Pop-Duo Soft Cell entdeckt. Wie kam's dazu? Warum war dieser Song die Rettung für Soft Cell? Und was hat der Legende nach ein zigarettenschnorrender Matrose damit zu tun? Das alles und noch viel mehr erzählen Lutz Stolberg und Carsten Richter in dieser Folge.

Here's another action-packed two-hour radio dance party full of 1960s R&B and soul shakers, including plenty of records new to the That Driving Beat historical archives. That's right, we spin only original antique 7-inch vinyl on this episode, from the likes of Baby Washington, Chuck Jackson, Evie Sands, Carl Carlton, Clydie King, Gloria Jones, Tina Turner, and a mystery 33 rpm disc put out by the Seeburg jukebox company. Originally broadcast March 31, 2024 Willie Mitchell / That Driving BeatGene Chandler / Everybody Let's DanceThe Drifters / At The ClubBaby Washington / I've Got A FeelingDean Parrish / Tell HerJimmy Holiday & Clydie King / Ready, Willing And AbleClyde King & Mel Carter / Who Do You LoveRichard Berry & The Pharaohs / Have Love Will TravelEarl King / Don't You Lose ItChuck Jackson / Any Other WayChris Farlow / Out of TimeTrini Lopez / Ya YaJay & The Americans / Come Dance With MeLittle Anthony & The Imperials / Better Use Your HeadUnknown / High Heel SneakersThe Golden Toadstools / Silly SavageThe Fleur De Lys / So Come OnThe Cinnamon / Oh Elaina (Black Sheep of my Mind)The Rationals / Feelin' LostEvie Sands / Picture Me GoneThe James Gang / For a Little of Her SunshineJeanette Williams / All Of A SuddenStevie Wonder / Ain't That Asking For TroubleBaby Washington / Hush HeartThe Furys / Never MoreRonnie Mitchell / I'm Having A PartyGloria Jones / Heartbeat Part 1Carl Carlton / Hold On A Little LongerThe Miracles / I Gotta Dance To Keep From CryingThe Cineemas / A Crush On YouIke & Tina Turner / Dust My BroomBarbara Mason / Half A LoveChuck Jackson / These Chains Of Love (Are Breaking Me Down)Little Eva Harris / Get Ready UptightMongo Santamaria / Feeling Alright Hosted on Acast. See acast.com/privacy for more information.

Rolling Stone Magazine caled Darlene Love “one of the greatest singers of all time” but perhaps Paul Shaffer says it even more concisely: “Darlene Love is Rock N' Roll!” – which was made official when she was inducted into the Rock and Roll Hall of Fame by Bette Midler, a great fan of her work, in 2011. She was one of Phil Spector's hand-picked early '60's girl group singers and sang some lead vocals for the Crystals, Bob B. Soxx and the Blue Jeans. After turbulent times with Spector, Darlene also had hits under her own name. The oldest of five children born in LA, Darlene's father was a minister and ran a church in Texas. Darlene began singing at his church to the delight of the congregation. While attending high school in San Antonio, Darlene began joining glee clubs and a group called the Wailers that sang at school assemblies. In 1956 the family moved back to Los Angeles. Shortly after her sixteenth birthday Darlene began singing in the church choir. It was during a choir practice that her voice caught the attention of the choir director. One day a girl that Darlene knew from church, asked her to sing at her wedding. What she didn't know was that the wedding was also an audition: Delores' bridal party included her friends Gloria Jones, Fanita Barrett, and Annette and Nanette Williams, who had a singing group called the Blossoms. They were looking to replace Annette who was pregnant. Darlene was asked to sing with the Blossoms. Her parents at first refused to let her, but after meeting the Blossoms they relented. She started singing with The Blossoms in 1958. They recorded as a quartet and then a trio. They also did backup singing supporting Bobby "Boris" Pickett ("Monster Mash"), James Darren ("Goodbye Cruel World), Bobby Day ("Rockin' Robin") and many others. Love was brought to Phil Spector's attention when he was looking for a lead singer for "He's a Rebel." which was to be released under the Crystal's name. When Darlene was asked if she knew about this she said "So What? The man just paid me triple scale."  She figured that it was a cute song, but it was probably going nowhere. Love went on to record six Philles singles under her own name, including "Wait Til My Bobby Gets Home","(Today I Met) The Boy I'm Going To Marry", " and "A Fine Fine Bo”). She also appeared on Spector's Christmas Album. Love continued to sing with the Blossoms through the 60s. They were regulars on Shindig and toured with Elvis Presley in the early 70s. Love sang back-up for Dionne Warwick for ten years beginning in 1971 and later backing Aretha Franklin. In the ‘80s Darlene branched out into acting appearing in the Lethal Weapon films and appearing in the Tony nominated 1985 the Broadway musical Leader of the Pack based on the songs of Ellie Greenwich. She also recorded two solo albums.  In 1997 a jury awarded her in excess of $263,000 for back royalties from Phil Spector. She was inducted into the Rock and Roll Hall of Fame in 2011. Today Darlene Love is back on the charts with a new version of her Christmas song thanks to her friend Cher. This week she joins us to share the story of her incredible journey. For more information about Darlene Love, head to her website https://darleneloveworld.com/ and pick yourself up a copy of her book 'My Name is Love' where Darlene shares many stories including the wild parties Tom Jones used to throw and her love affair with Bill Medley of The Righteous Brothers. It's the dishy and dramatic story of a woman who had it all, lost it all, but never, ever refused to give up. If you'd like to request a guest or if you have any comments or feedback for me, please get in touch through my website https://www.abreathoffreshair.com.au I know you're going to LOVE the story of Darlene Love this week.

Spoon are one of those bands that are quiet achievers. Over 25 years they've put out 10 albums and toured all over the world… they've weirdly never become super famous, but have a very dedicated bunch of fans. And I say weirdly, cos frontman Britt Daniel knows how to write a hit.He's one of my favourite songwriters, and you can hear in Spoon's songs and their curiosity that there's a deep love for music and melody. From Sinatra to Prince to Gambino, this is a fall down the rabbit hole of a great musical mind.Gloria Jones - Tainted LoveFrank Sinatra - Strangers in the NightPrince - If I Was Your GirlfriendAC/DC - Rock And Roll DamnationChildish Gambino - Redbone

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast   Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive  INTRO:               How Sweet It Is To Be Loved By You                           Track No. 2                           0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener.   There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1:                        Simple Twist of Fate                                         Track No. 5                                         3:00 – 4:40               In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2:                        Lay Down Sally                                         Track No. 6                                         1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A:  “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A:   “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A:   “It's very good, and very tight, but it's not really my bag.” SHOW #3:       Deal                        Track No. 9                        2:46 – 4:15 Finally, a Garcia tune!  And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.  SHOW #4:               Ain't No Bread In The Breadbox                                Track No. 14                                1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune.  Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                        OUTRO:                  What A Wonderful World                                Track No. 19                                1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law

Cover versions – always fascinating!!  Occasionally, an artist will cover an obscure song, or a deep cut by another artist and make it their own.  But what about when the song has ALREADY been a hit?  Sometimes it works; sometimes it doesn't; sometimes it ends up in court! This episode, we're looking at examples of all three.  Our “Album You Must Hear Before You Die” is, believe it or not, “And other bits of material” by Paper Lace, the most successful band to come out of Nottingham, UK.  The hit single from the album, “The Night Chicago Died” topped the Billboard Hot 100 and sold over three million copies!  Who'd have thought it? Jeff also follows up with some rock news looking at Ozzy Osbourne and Bruce Springsteen's efforts to stay on the stage.   References:  Bob Dylan, The Freewheelin' Bob Dylan, The Beatles, A Hard Day's Night, Lennon & McCartney, cover versions, “Blowin' in the Wind”, Peter Paul and Mary, Leonard Cohen, “Suzanne”, The Great American Songbook, Colonel Tom Parker, Elvis, All Along the Watchtower, Knockin' on Heaven's Door, Mr. Tambourine Man, Tainted Love, Soft Cell, Gloria Jones, Me and Bobby McGee, Janis Joplin, “Pearl”, “Sittin' on the Dock of the Bay”, Otis Redding, Kris Kristofferson, I Love Rock 'n' Roll, Joan Jett & The Blackhearts, The Arrows, Sex Pistols, Steve Jones, Paul Cook, Without You, Badfinger, Harry Nilsson, Mariah Carey, Led Zeppelin, Nobody's Fault but Mine, Joan Baez, Anne Bredon, “In my time of dying”, Blind Willie Johnson, “Dazed and Confused”, Jake Holmes, Inspired by Jake Holmes, David Bennett Piano, Whole Lotta Love” Muddy Waters, You Need Love, Willie Dixon, The Small Faces, “You Need Loving”, “Rock'n'Roll”, Little Richard, “Keep a-Knockin'”, Stairway to Heaven, Taurus, Spirit, back-payment of royalties to the original artist, Hallelujah, Leonard Cohen, John Cale, “I'm Your Fan”, Jeff Buckley, I Will Always Love You, Dolly Parton, Whitney Houston, The First Cut is the Deepest, Rod Stewart, Cat Stevens, Reason to Believe, Tim Hardin, The Man Who Sold the World, David Bowie, Nirvana, Girls Just Want to Have Fun, Cyndi Lauper, Robert Hazard, Love Hurts, Nazareth, Everly Brothers, Turn the Page, Jon English, Metallica, Bob Seger, A Hazy Shade of Winter, Bangles, Simon & Garfunkel, I'm a Believer, The Monkees, Neil Diamond, RESPECT, Aretha Franklin, Otis Redding, Moonlighting, Bruce Willis, David Addison  Bob Dylan, cover versions, Peter Paul and Mary, Leonard Cohen, Tainted Love, Without You, Led Zeppelin, Jake Holmes, Hallelujah, John Cale, RESPECT, Aretha Franklin Episode PlaylistYouTube Links:Jake Holmes - Dazed and Confused TrumpI Live Rock and Roll - Joan KirnerOnce in a LifetimeDavid Bennett Pian - 8 Led Zeppelin songs that "rip off" other songs The Man Who Sold the World - Nirvana

Esta semana volvemos a Arco Fm Cantabria con un especial dedicado a la década de los 70s, donde recordaremos a grandes bandas y artistas, con temas no muy escuchados, pero que bien merecen un rescate... 120 minutos donde estaremos escuchando a THE SWEET, FACES, GOLDEN EARRING, IAN DURY, JOHN PAUL YOUNG, RAM JAM, SANTANA, STEVIE MILLER BAND, THE ALAN PARSONS PROJECT, HUES CORPORATION, THE REAL THING, TEMPTATIONS, TOM PETTY, WAR, ANDREW GOLD, BILL WITHERS, BOB DYLAN, BONNIE TYLER, HALL & OATES, DEREK & THE DOMINOES, THE POINTER SISTERS, ELECTRIC LIGHT ORCHESTRA, THE TOURISTS, STEVIE WONDER, EARTH, WIND & FIRE, JOHN MILES, M, GLORIA JONES, GEORGE McCRAE, CHIC, ERUPTION, KATE BUSH, EDWIN STARR, ELVIS PRESLEY... ¿Alguien da más? Recuerda que estamos todos los miércoles a las 18:00 y los sábados a las 12:00 en Arco FM Cantabria. 103.2 FM en Cantabria y arcofm.com/escuchar para el resto del mundo. Y en todas las redes sociales para que no pierdas detalle de la música más emergente y alternativa.

This March 8, we joint hands in celebration of the International Women's Day. In the line of the show, I will shine lights to women in music…from jazz to funk, soul, boogie, some latin and fusion. It is all vinyl show with some of my favorite tracks… all performed by women….such as Asha Puthli, Claudia Schmidt, Gloria Jones, Sharon Ridley, Marrie 'Queenie' Lyons, Linda Tillery, Denise LaSalle, Lea Roberts, Jean Carn, Lena Horne, Kellee Patterson, Gloria Scott, Rita Graham, Judy Cheeks, Flora Purim, Rita Moss, Dee Dee Bridgewater, Marian Love, Marva Whitney, Tommie Young….and all female bands Be Be K'Roche, Lilith, and Baba Yaga…..enjoy it… Cheers...G

Gloria Jones Allgood joined the Atlanta Symphony Orchestra at age 20 in 1984, just before completing her Bachelor's Degree in Double Bass Performance at The University of Michigan.   Born into a musical family in Greenville, SC, she studied violin and piano until age 12 when she started studying the bass. She was a member of the Greenville Symphony Orchestra for five years before college, soloing with the Charleston Symphony Orchestra at age 14. Six of her summers were spent at Interlochen Center of the Arts, studying with Lawrence Hurst, Oscar Zimmerman, and Jack Budrow. She also studied with her late husband, Atlanta Symphony Orchestra Principal Bass Ralph Jones for two years in high school.    While at The University of Michigan, Allgood was Principal Bass of the Flint Symphony Orchestra from 1982-1984, and she received the Mitslav Rostropovich Award for Outstanding Musicianship. She studied on Full Fellowship at the Aspen Music Festival in the summers of 1983 and 1984, studying with Stuart Sankey.   Joining the Atlanta Symphony Orchestra as a section player, she was promoted to Assistant Principal in 1989 and to Associate Principal in 2001. Additionally, she served as Acting Principal Bass during the 2013/14 and 2014/15 seasons. She teaches privately, coaches the Atlanta Symphony Youth Orchestra, participates in the Talent Development Program and has performed in many chamber music groups around Atlanta. She presently holds the Lucy R. and Gary Lee Jr. Associate Principal Bass Chair.   Gloria Jones Allgood is married to musician and recording engineer William Allgood.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.     theme music by Eric Hochberg

Miss Heard celebrates Season 4, Episode 168 with Soft Cell's cover of “Tainted Love”. That's right you read that right it's a cover of the 1970s version originally sung by artist Gloria Jones, and since then has been covered many times over with other artist like Marilyn Manson. There are also many theories of what the original video that has so many competing themes. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #misheardsongs #SoftCell #TaintedLove #GloriaJones   https://www.youtube.com/watch?v=CCTBuOheUpE https://en.wikipedia.org/wiki/Tainted_Love https://en.wikipedia.org/wiki/Soft_Cell https://livelovelaughbehappy.com/tainted-love-soft-cell-1981/

This episode looks at the history and connections in Post-Punk / New Wave including Japan, David Sylvian, Ryuichi Sakamoto, The Passions, The Church, Bel Canto, Gloria Jones and Soft Cell..Wise Choice is an official Wise Music Group podcast celebrating 50 years of Wise Music and taking the opportunity to delve into the vast catalogue of incredible songs and artists that are part of the Wise family. The show is hosted by Wise Music songwriting and composing team Adam and Paula Pickering aka The Daydream Club. They asked the Wise Music teams from all over the world to choose their absolute favourite songs from the Wise Music catalogue (their Wise Choice). From this list Adam & Paula look into the history surrounding the songs and where the story leads them with connections to other notable versions, covers and samples.New episodes every other Wednesday.If you liked this you might also enjoy Composing Myself - an official Wise Music podcast featuring interviews with composers and songwriters, taking an in-depth look at their process.Tracklist:Suburban Love - JapanQuiet Life - JapanNostalgia - David SylvianForbidden Colours - David Sylvian and Ryuichi SakamotoI'm In Love With A German Film Star - The PassionsReptile - The ChurchWithout You - Bel CantoTainted Love - Gloria JonesTainted Love - Soft Cell Hosted on Acast. See acast.com/privacy for more information.

Tainted Love est une chanson interprétée tout d'abord en 1965 par Gloria Jones, il s'agissait de la face B de son single « My Bad Boy's Comin' Home » qui a été un échec commercial et qui ne s'est classé ni aux États-Unis ni au Royaume-Uni.   Cependant, en 1973, le DJ britannique Richard Searling acheta une copie du single vieux de presque dix ans durant un voyage aux États-Unis. Le son d'influence Motown correspondait parfaitement avec la musique club northern soul des années 1970 au Royaume-Uni et Richard Searling a popularisé la chanson à son club northern soul Va Va's à Bolton au Wigan Casino   En raison de sa nouvelle popularité, Gloria Jones a enregistré à nouveau Tainted Love en 1976 et l'a sortie en tant que single… Sauf que celui-ci ne s'est à nouveau pas classé dans les charts.   Le groupe Soft Cell a pris... • La suite sur https://www.radiomelodie.com/podcasts/10278-loriginale-tainted-love.html

Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. The original Standells band was formed in 1962 by lead vocalist and keyboard player Larry Tamblyn, guitarist Tony Valentino, bass guitarist Jody Rich, and drummer Benny King. Tamblyn had previously been a solo performer, recording several 45 singles in the late 1950s and early 1960s including "Dearest", "Patty Ann", "This Is The Night", "My Bride To Be" and "Destiny" for Faro and Linda Records. The Standells released a string of garage rock singles in the mid to late 1960's, which are now regarded as proto-punk classics. They've inspired such groups as the Sex Pistols and Ramones. Everyone from Bruce Springsteen, Aerosmith and U2 to Minor Threat has covered Standells records. They are best known for their 1966 hit "Dirty Water", written by their manager, Ed Cobb. (Ed Cobb is also noted for writing "Tainted Love", a Gloria Jones song which became world famous when Soft Cell did a version of it.) "Dirty Water" is now the anthem of several Boston sports teams and is played following every Boston Red Sox and Boston Bruins home win. The song is also listed in the Rock Hall of Fame as one of the 500 songs that shaped Rock & Roll. The Standells have continued to actively perform throughout the world and their recent concert performances have been receiving rave reviews. Please welcome original member, founder, keyboardist & singer for The Standells… LARRY TAMBLYN to Interviewing the Legends … FOR MORE INFORMATION ABOUT LARRY TAMBLYN AND THE STANDELLS VISIT www.facebook.com/Standells Facebook https://twitter.com/Standells Twitter www.instagram.com/thestandells/?hl=en Instagram   THE STANDELLS Studio albums Year   Album           1966  Dirty Water Why Pick on Me — Sometimes Good Guys Don't Wear White Released: November 1966 1967  The Hot Ones! Released: January 1967 Try It Released: October 1967 2013  Bump Released: August 9, 2013 Live albums Year   Album 1964  The Standells in Person at P.J.s. Released: September 1964 1966  "Live" and Out of Sight Released: June 1966 2000  Ban This! Released: October 31, 2000 2001  The Live Ones Released: January 27, 2015 2015  Live on Tour - 1966 Released: January 27, 2015   Support us!

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

Ecoutez La pépite musicale avec Anthony Martin du 26 août 2022

This week Lana and Josh pull a good ol' fashioned song swap where they discuss Tainted Love by Soft Cell (as well as the original Gloria Jones versions) and Got Weird by the great lower case artist dodie.

Dénicher un titre sorti un été il y a quelques années et qui mériterait, selon eux, de figurer dans la playlist de notre été 2022 : cʹest le défi relevé par les programmateurs musicaux de Vertigo. Aujourdʹhui, Bastien Arnold nous ramène à lʹété 1981. Un groupe de new wave anglais, Soft Cell, sort un morceau enregistré en moins de 2 jours. Il sʹagit dʹune reprise dʹun titre écrit pour Gloria Jones par Ed Cobb, 17 ans auparavant, passé sous les radars à lʹépoque. Leur version plus lente et plus basse va, elle, immédiatement cartonner. Et vampiriser lʹété 1981 dès sa sortie le 7 juillet… Elle sera reprise par Marylin Manson vingt ans plus tard. "Tainted Love" par Soft Cell

1981年にGloria Jonesのカヴァー曲、「Tainted Love」が全英シングルチャートNo.1に輝き、シンセポップ（synth-pop)を代表するアーティストとなった Soft Cell (ソフト・セル）。その後、解散、再結成、活動休止期間、そしてパンデミックを経て、20年振りにニューアルバム「Happiness Not Included」をリリースした。収録楽曲「Purple Zone」では、Pet Shop Boys（ペットショップ　ボーイズ）とのコラボレーションも！ 番組の感想は公式facebookまで！ 全英TOP20 m.facebook.com/zenei20

Angelheaded Hipster: The Songs of Marc Bolan & T. Rex documentary showcases the long-lasting influence that Bolan has had not only as a fashion icon but as a musical legend. Family members Gloria Jones and Rolan Bolan and director Ethan Silverman sat down to talk about the importance of this documentary and why everyone needs to go see it at the festival.  Host: Monica Gleberman Editor: Ashley Pelletier Social Media Graphic: Jojo -- Bio: A leader of the glam-rock movement and an early champion of punk, Marc Bolan was always ahead of the curve. This was both an advantage and a stumbling block for the mop-headed T. Rex bandleader, whose unique approach to pop songcraft is highlighted in Angelheaded Hipster: The Songs of Marc Bolan and T. Rex. Director Ethan Silverman was involved in both the creation of this documentary and the 2020 Marc Bolan tribute album of the same name. This gives him intimate access, both to those who knew Bolan best and to the musicians who were profoundly impacted by his work. The list of Bolan acolytes just happens to include some of the biggest names in music, and U2,Billy Idol,Joan Jett, Ringo Starr, Nick Cave, and Elton John are all on hand to celebrate his work in interviews and performance footage. These combine with archival footage to trace Bolan's life from his teenage years digging through Carnaby Street dustbins with David Bowie to his tragic death at the age of 29.--Frederic Boyer

En la sección “Encuentros En La Tercera Frase”, nuestro colaborador Philip MacConnell hace una comparación entre canciones originales y versiones.Suenan Bob Dylan y Bryan Ferry (A Hard Rain's A-Gonna Fall), The Top Notes y The Beatles (Twist And Shout), The Dubliners y Thin Lizzy (Whiskey In The Jar) y Gloria Jones y Soft Cell (Tainted Love).  

El pasado 12 de enero nos dejaba Ronnie Spector, a quien hoy recordamos en los primeros minutos del programa mientras suenan sus canciones con The Ronettes y en solitario. Y no va a ser nuestro único viaje a la década de los 60 pues también recuperamos a Creedance Clearwater Revival para hablarte de "Fortunate son", libro autobiográfico que acaba de publicar su frontman John Fogerty. En nuestro repaso a la actualidad suena lo nuevo de Parquet Cours, Javiera Mena, Cupido, The Magnettes, Aiko el Grupo, Grasias, El Hombre Garabato y Miqui Puig, que hace aparición en el programa para presentarnos su nuevo single. Además te adelantamos los inminentes nuevos discos de Spoon, Lucius, Cate Le Bon, Blushing, Aldous Harding, Guerilla Toss, Mitski, Boy Willows, Wild Rivers, El Último Vecino, Ilegales y Pavement, que en breve verá reeditado su último disco de 1999 con numeroso material extra. Lil Yatchy firma nuestra remezcla de la semana con un tema de Tame Impala que aparecerá en la reedición de su último trabajo y Milky Chance protagoniza nuestra versión destacada con un clásico de Gloria Jones. Completamos el programa recuperando los discos que el pasado año publicaron F.A.N.T.A, Semana Santa, Diamante Negro, Children Collide y Lawson Hull.

La nouveauté du jour : Beach House "Once Twice Melody" Le journal de la musique : - U2 fête les 30 ans d'un album mythique - Des nouvelles d'Adele - Charlotte Cardin arrive chez vous La cover du #DriveRTL2 : Milky Chance reprend "Tainted Love" de Gloria Jones (mais popularisé par Soft Cell) Le live du jour : The Clash "Train in Vain (Stand by Me)" (From Here to Eternity) Le jeu du #DriveRTL2 : Oasis, pas Oasis

durée : 00:03:13 - Histoires d'info - par : Thomas Snégaroff - Ils ont subi un ou des échecs et ils ont été célèbres. Thomas Snégaroff nous fait revivre les moments les plus épiques de leur vie. Gloria Jones a été la première interprète de "Tainted Love", en 1965, qui n'a pas obtenu de grand succès. Sa reprise, 16 ans plus tard, fera le tour du monde.

While many bands of the 80's were focusing on the synth-heavy New Wave or screaming guitars of Hard Rock, one band was taking their inspiration from the 50's roots of Rock.  The Stray Cats came out of New York  in 1979 and developed a devoted following quickly, but moved to the UK after hearing of a revival of the 50's subculture there.  Inspired by the Sun Records artists of the 50's, the Stray Cats combined Rockabilly and Punk genres to form their sound.The Stray Cats were a trio with Brian Setzer on guitar and lead vocals, Lee Rocker on double bass, and Slim Jim Phantom on drums.  They continued to tour and record in the UK, and released two albums there in 1981 before turning their interest back to the States.  Their debut American album, Built for Speed, was comprised of songs selected from their first two albums released in England, plus the previously unreleased title track.The group benefitted from having both a unique sound and air play on the then-new MTV.  Unlike most music of the time, songs were short and tight, without synthesizers or more modern sensibilities.  Also, unlike the music of the time, everything was stripped down to the bare essence in this group.  Phantom's drum set consisted of just a few pieces, worlds away from the massive sets fielded by prog rock groups like Asia and Rush.  Brian Setzer wrote most of the songs, and had the distinctive look that would become associated with the group. Unfortunately, Setzer also tired of the group quickly, and the Stray Cats broke up in 1984.  Setzer would go on to be the concert guitarist for the Honeydrippers (with Robert Plant as front man).  The group would reunite frequently over the years, and each member continued to tour either with their own bands or in support of other musicians.The group continues to tour off and on today, and released a new album in 2021. Built for SpeedThis is the title track and the only song on the album previously unreleased.  It is about cars, and hot rodding on the road.  “Well I'm cruising low and I'm cruising mean, well I'm cruising slow in my dream machine.  You're my hot rod mama and you're really built for speed.”Rock This TownAn easily recognizable hit, “Rock This Town” cracked the top 10.  This song was the introduction to Rockabilly to many people.  It is about hitting the clubs at night, dancing the night away.  The Rock and Roll Hall of Fame lists this song as one of the 500 songs that shaped rock and roll.  “We're gonna rock this town, rock it inside out.”  Baby Blue EyesA deeper cut from the album, this tells the struggle of a guy in love with a pretty girl he just doesn't trust.  While in England, the Stray Cats attracted the attention of many famous artists including members of the Rolling Stones, the Who, and Led Zeppelin.Stray Cat StrutThis track is the most famous of the Stray Cat's tunes, and received significant airplay on both radio and MTV.  It reached number 3 on the charts.  “I'm flat broke but I don't care.  I strut right by with my tail in the air.”  Setzer's songs are original but carry the sound of a 50's cover. ENTERTAINMENT TRACK:Flying Theme from the motion picture “E.T. the Extraterrestrial”The film that made Steven Spielberg a household name was released this month. STAFF PICKS:Space Age Love Song by A Flock of SeagullsRob's staff pick peaked at number 30 on the Billboard charts.  This New Wave group is out of Liverpool.  When they couldn't come up with a name for the track, guitarist Paul Reynolds suggested the name because he thought it sounded like a space age love song.  Mike Score's well-known hairdo was the result of a mistake after his hair was accidentally pushed down in the center before going onstage.Tainted Love/Where Did Our Love Go? by Soft CellBruce features the first hit from vocalist Marc Almond and instrumentalist David Ball, better known as Soft Cell.  Tainted Love was originally recorded as a B-side in 1964 by Gloria Jones, but it didn't chart.  Almond heard it when working in a cloakroom, and the duo started performing it with synthesizers instead of guitars.  It was a big hit in the U.S. as part of the Second British Invasion.  The extended dance version combined Tainted Love with the Supremes' hit “Where Did Our Love Go?”Wake Up Little Susie by Simon and GarfunkelBrian's staff pick hearkens back to the early days of rock with a cover of the Everly Brothers song recorded at Simon and Garfunkel's live concert from Central Park.  The song did well and was part of the inspiration for Simon and Garfunkel's tour in 1983.I Want Candy by Bow Wow WowWayne's staff pick features a cover originally performed in 1965.  Bow Wow Wow's version had both a rockabilly and punk feel to it.  The lead singer was underage at the time, and the risque pictures on the album created considerable controversy. COMEDY TRACK:She Got the Goldmine (I Got the Shaft) by Jerry ReedJerry Reed's cautionary tale reminds us that it is better to learn how to cook than to marry for food as we close out the podcast.

We've got The Fortunes, Dollar, Los Del Rio, Elvis, Del Shannon, Rubettes, Gloria Jones, Dusty.... and even a bit of Northern Soul !

Премьера нового сингла Coldplay состоялась в космосе. Британские рокеры Coldplay выпустили новый сингл "Higher Power". Он уже размещён на всех популярных стриминговых платформах. Премьера сингла состоялась на специальном канале связи с МКС, где впервые состоялась "внеземная передача" астронавту Европейского космического агентства Томе Песке, который в конце апреля прибыл на борт станции на пилотируемом корабле Crew Dragon-2. В ходе трансляции Песке показал музыкантам виды с борта станции и поделился своими мыслями о хрупкости Земли. Одновременно с синглом группа выпустила клип, в котором музыканты выступают на фоне транспортных контейнеров, а вокруг них танцуют голограммы инопланетян. В твите, анонсирующем "Higher Power", Coldplay сказали, что песня "была создана на маленькой клавиатуре и раковине в ванной в начале 2020 года". Участники группы также отметили, что песня была спродюсирована хитмейкером Максом Мартином, которого они назвали "настоящим чудом Вселенной". "Higher Power" знаменует собой первую новую музыку Coldplay за два года. Последний на сегодняшний день альбом группы "Everyday Life" вышел в 2019 году. Coldplay исполнят новую песню на American Idol в это воскресенье, а также сыграют ее на церемонии вручения Brit Awards во вторник. В конце мая Coldplay станут хедлайнерами виртуального фестиваля Glastonbury, который выйдет в эфир 22 мая. Власти сорвали концерт Noize MC в Оренбурге. Как пояснил Иван в своем обращении к поклонникам, ФСБ, МВД и администрация области до концерта оказывали давление на концертные площадки, с которыми пытались договориться организаторы. Из-за этого выступление пришлось разделить на два и пригласить половину зрителей в одно место, а вторую половину — в другое. Иван пояснил, что он все же смог отыграть акустический сет на первом месте, но когда он собирался ехать на второй концерт, "поступила информация, что и эту площадку тоже накрыли силовые структуры". Он предложил зрителям отмененного концерта не сдавать билеты, пообещав, что организаторы "обязательно что-нибудь придумают", чтобы он состоялся. Сразу после публикации поста Нойза администрация Оренбурга дала комментарий изданию "Подъем", пояснив, что отмена концерта связана с коронавирусными ограничениями и отсутствием лицензии у площадки. "У нас закрыты ночные клубы, а товарищ исполнитель планировал выступить в ночном клубе. Поэтому правоохранительные органы не разрешили проводить мероприятие", - пояснили организаторы. Cинтипоп-дуэт Soft Cell запишет первый альбом за 20 лет. Вокалист Марк Алмонд (Marc Almond) и продюсер/мультиинструменталист Дэйв Болл (Dave Ball) снова в студии! Легендарный синтипоп-дуэт Soft Cell записывает первый альбом за 20 лет. Сегодня Дэйв Болл сообщил в интервью с Daily Star, что новая совместная работа дуэта увидит свет в 2022 году. Он упомянул, что до воссоединения в 2018 году не виделся с Алмондом в течение 15 лет. В 2018 году они дали совместный концерт в лондонской "Арене О2", который был задуман как их финальное шоу. Последний полноформатный LP "Cruelty Without Beauty" дуэт выпустил в 2002 году. Группа существует в режиме регулярных расставаний с 1980 года, записав за эти годы множество знаменитых хитов. По иронии судьбы, самым популярным треком, когда-либо созданным группой, стала кавер-версия. Автор "Tainted Love" - Эд Кобб (Ed Cobb), участник группы Four Preps, написавший эту песню для Глории Джонс (Gloria Jones) в 1964 году. Версия Soft Cell затмила оригинал, однако ни одна их самостоятельная композиция не превзошла успеха кавера. - Мы не пытались написать еще одну „Tainted Love“, хотя, возможно, нам стоило бы!, — иронично говорит Дейв. 3 года колонии строгого режима может получить пользователь ВКонтакте за публикацию клипа Rammstein. Житель Архангельска может получить 3 года колонии строгого режима за публикацию в сети ВКонтакте клипа Rammstein. Обвинение запросило такое наказание для экс-главы архангельского штаба Навального Андрея Боровикова по делу о распространении порнографии - прокуратура посчитала таковой клип на песню "Pussy". Тот факт, что клип был выпущен аж в 2009 году, не запрещён в России и доступен на платформе в сотнях аккаунтов, суд не обеспокоил: дело возбуждено лишь в отношении Андрея. Вину Андрея Боровикова прокуратура усмотрела в том, что в 2014 году он сохранил в разделе "видеозаписи" своего личного аккаунта ВК клип Rammstein. Для обеспечения доказательств использовали стукача: некий грузчик с говорящей фамилией Дурынину якобы решил донести в полицию на Боровикова. Для этого он не только добавился в друзьяк Боровикову, но и сходил к нему с записывающим оборудованием и зафиксировал просмотр клипа с десктопа Андрея. Именно так и ведут себя глубоко оскорблённые люди. Осенью 2020 года полиция возбудила уголовное дело. Обвинение строится на показаниях осведомителя полиции, предложившего Боровикову вместе посмотреть сохраненный ролик , а также на выводах заказанной следствием экспертизы, которая не обнаружила в откровенном клипе всемирно известной группы "художественной ценности". "Со стороны обвинения была проведена культурологическая экспертиза, которая подтвердила, что видео носит порнографический характер, но мы вину не признаём", — сообщил представитель Андрея, адвокат Алексей Кычкин. Как пояснил адвокат, этот ролик просто был размещён в списке видеозаписей на странице в ВК Андрея Боровикова, и тот его никак не афишировал. "Строгий режим за клип Рамштайн… Уроды, — прокомментировал "Открытым медиа требование прокуратуры сам обвиняемый. Защита требует полного оправдания Андрея Боровикова, который не признал вину и указал на ангажированность обвинения. Холзи второй год подряд признана лучшим сонграйтером года на BMI Pop Awards. Но лучшую песню написала не она! Премия BMI Pop Awards вручена - и ее второй год подряд получает Halsey. Авторитетное жюри назвало певицу сонграйтером года за несколько хитов, написанных и изданных в минувшем году - это "Nightmare", "Graveyard", "You Should Be Sad" и "Be Kind", написанная Холзи в соавторстве с Marshmello. Холзи трижды была номинирована на BMI Pop Award и получила ее во второй раз: в 2020-м ее композиция "Without Me" была признана лучшей песней. Премия BMI Pop Awards ежегодно присуждается сонграйтерам, композиторам и издателям музыки. 69-я церемония вручения наград прошла в онлайн-формате 10 мая. В этом году лучшей песней стала "The Bones" Марен Моррис, написанная ею в соавторстве с Лорой Велтц. Лучшим лейблом в девятый раз стал Sony Music Publishing. Награды получили также 50 самых популярных песен года.

Fuego en la Pista de Baile, los éxitos y las novedades más underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Hoy rythm and blues y bluesl! 🎸 Tracklist: 1. Los Deltonos – Hey gente 2. Black Snakes – San Francisco Bay Blues 3. Lonesome Sundown – I’m Gonna Stick To You Baby 4. Professor Longhair – Bald Head 5. Allen Touissaint – Me and You 6. Sherri Taylor – She’s The One Thah Rings My Bell 7. Big Mama Thornton – Looking The World Over 8. Wayne Cochran – Last Kiss 9. Dr. Feelgood – Back In The Night 10. Sean Tyla and His Gang – Midnight Moon 11. Pánico Speed – Estando Contigo 12. The Allnighters – Black Cat 13. Gloria Jones – Heartbeat 14. Diane Barnes – Need Your Love Tonigh 15. Willie Jones – Where Is My Money 16. Zoot Moneys’ Big Roll Band – Walking the Dog 17. Alexis Korner – Gotta Move 18. Earl Hooker – Going On Down The Line 19. The Doors – Back Door Man

Radio show first broadcast on The Face Radio, Brooklyn at 4pm EST on 25 April 2021. Also online at https://thefaceradio.com/ Track List: Mink DeVille – Spanish Stroll The Isley Brothers – Spill The Wine King Floyd – Handle With Care Jimmy Holiday – We Forgot About Love Craig Bratley ft. Amy Douglas – No Inbetween Bo’Vel – Check 4 U Vivian Jones – Flash It And Gwan Lou Hayter – Telephone Moment Of Truth – Helplessly (Original Tom Moulton 12” Mix) Hannah Holland – Beams Marc Bolan & Gloria Jones – To Know You Is To Love You Charles Mingus – Hog Callin’ Blues

This week the Muses discuss June Child, Gloria Jones and their relationships with T Rex frontman Marc Bolan. Chanty begins by discussing June Child, Marc Bolan's manager, muse and wife. Lynx tells us about Gloria Jones, the talented singer and songwriter who also captured Marc's heart. June timestamp: 00:08:50, Gloria timestamp 00:27:00 Join us Tuesdays on Stereo! Download the Stereo App and follow us at stereo.com/lynxmuses & stereo.com/chantymuses This episode is brought to you by Best Fiends. Download Best Fiends on the Apple App store or Google Play. Make sure you head over to www.formulate.co/podcast and use the code MUSES at checkout to get your personalized hair care formulation! Order today and you will get a second order FREE! Pick up your Muses Merch over at https://www.teepublic.com/user/muses Check out other amazing shows on the Lipstick & Vinyl Network Follow us on TikTok Check out our Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

Vaccine Confidence: Building Trust is the third episode in a six-part series featuring conversations about vaccine confidence and public health on the At the Core of Care podcast. The National Nurse-Led Care Consortium is producing this special series as part of its efforts to support nurses and our communities. In this episode, we discuss behavioral techniques nurses are adopting at this time to build confidence in COVID-19 vaccines and how trust and empathy are crucial to the process. Our conversation begins with nurses Dr. Stephen Perez and Jasmine Nakayama from the Centers for Disease Control and Prevention (CDC) and concludes with Dr. Gloria Jones, a family nurse practitioner in Silver Spring, Maryland. Dr. Stephen Perez is a lieutenant in the US Public Health Service and nurse epidemiologist with the Transmission and Molecular Epidemiology Team in the Division of HIV Prevention at the CDC. Recently he served as the clinical lead for the CDC Vaccine Confidence Team. He is succeeded by Jasmine Nakayama, Epidemic Intelligence Officer at the CDC National Center for Chronic Disease Prevention and Health Promotion in the Division of Nutrition, Physical Activity, and Obesity. We also speak to Dr. Gloria Jones, a Maryland-based family nurse practitioner, about her strategies for bolstering vaccine confidence in the community where she provides care for individuals with intellectual and developmental disabilities. This project was funded in part by a cooperative agreement with the Centers for Disease Control and Prevention (grant number NU50CK000580). The Centers for Disease Control and Prevention is an agency within the Department of Health and Human Services (HHS). The contents of this resource center do not necessarily represent the policy of CDC or HHS, and should not be considered an endorsement by the Federal Government.

Join us as Joe and I make our way through cover songs. Special thanks to U2, ROLLING STONES, TAYLOR SWIFT, EARTH WIND AND FIRE, HONEYWAGON, MICHAEL JACKSON, THE EAT IT VIDEO,  PULP, WILLIAM SHATNER, BRENT SPINER, NICK CAVE AND THE BAD SEEDS, UB40, NEIL DIAMOND, TONY TRIBE, POMPLAMOOSE, PANIC AT THE DISCO, QUEEN, MARILYN MANSON, GLORIA JONES, SOFT CELL, STEEL PANTHER, BACKSTREET BOYS, ED SHEERAN, BRITNEY SPEARS, STURGILL SIMPSON, NIRVANA, CREEDENCE CLEARWATER REVIVAL, SHERYL CROW, GUNS N ROSES, MICK JAGGER, DAVID BOWIE, RED HOT CHILI PEPPERS, STEVIE WONDER, SOCIAL DISTORTION, JOHNNY CASH, TRENT REZNOR, LED ZEPPLIN, SMASHING PUMPKINS, FLEETWOOD MAC, FUGEES, ROBERTA FLACK, OUTKAST, THE BEATLES, ELVIS PRESLEY, TOTO, WEEZER, NICKELBACK, CHARLIE DANIELS, COWBOY JUNKIES, VELVET UNDERGROUND, BLUR, ROD STEWART, BONNIE RAITT, JOHN PRINE, ME FIRST AND THE GIMME GIMMES, JOHN DENVER, RICHARD CHEESE, AC/DC,  BEATALLICA, THE BEATLES, JIMI HENDRIX, BOB DYLAN, FIONA APPLE, CHARLES BRADLEY, BLACK SABBATH, SINEAD O'CONNOR, TORI AMOS, ALANIS MORISETTE, NATALIE MERCHANT for letting us steal their songs. Extra Special thanks to @batboyart for helping me remember that one song that one time.Support the show (https://www.patreon.com/iapt)

Se enamoraron profundamente, sentían que eran almas gemelas, que se complementaban, también, que mejor sería que cada uno terminara con sus respectivos matrimonios. Ella logró desplazar el ego del cantante al nivel de que cuando anuncia el nacimiento de su hijo Rolan en 1975 dice que es lo más increíble que le ha pasado en la vida.

Hear, not only the story behind the biggest-selling single of 1981, but also the original recordings by Gloria Jones in 1964 and again with Marc Bolan in 1976. Also included is a breakdown from the Soft Cell version's multitrack to hear how this hit was put together.

Corría el año 1981 y en las discotecas se bailaba el éxito “Tainted love” de Soft Cell. Así la escuché yo… Pero las nuevas generaciones reconocen a “Tainted love” por la versión que hiciera Marilyn Manson en el 2002. Sin embargo, ambas canciones, la de Soft Cell y la de Marilyn Manson son en realidad versiones de original de 1964 grabada por Gloria Jones: “Tainted love”. Autor: Edward C. Cobb Tainted love - Soft Cell (1981) Non-stop erotic cabaret álbum (1981) Canta: Marc Almond Tainted love - Marilyn Manson (2002) The golden age of Grotesque álbum (2002) Tainted love - Gloria Jones (1964) single Tainted love /My bad boy's comin' home (1964) “Así la escuché yo…” Temporada: 1 Episodio: 7 Sergio Productions Cali – Colombia

**DJ Littleman's Beats International Show Replay On www.traxfm.org. DJ Littleman Featured Party/Dance/Reggae/Soul Classics From Harold Melvin & The Bluenotes, Chic, The Police, Maxi Priest, Shabba Ranks, Midnight Star, The Isley Brothers, Double Trouble, Gloria Jones, Priness, Lipps Inc & More. DJ Littleman's Beats International Show Live Every Sunday From 9AM UK Time/7:30PM Australia Time #traxfm #djlittleman #beatsinternationalshow #soul #funk #reggae #ska #soulclassics #rnb #danceclassics #pop #party #northernsoul #retro #motown Listen Here: www.traxfm.org Mixcloud LIVE : mixcloud.com/live/traxfm Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Trax FM Live On Hear This: https://hearthis.at/k8bdngt4/live/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

**DJ Littleman's Beats International Show Replay On www.traxfm.org. DJ Littleman Featured Party/Dance/Reggae/Soul Classics From Harold Melvin & The Bluenotes, Chic, The Police, Maxi Priest, Shabba Ranks, Midnight Star, The Isley Brothers, Double Trouble, Gloria Jones, Priness, Lipps Inc & More. DJ Littleman’s Beats International Show Live Every Sunday From 9AM UK Time/7:30PM Australia Time #traxfm #djlittleman #beatsinternationalshow #soul #funk #reggae #ska #soulclassics #rnb #danceclassics #pop #party #northernsoul #retro #motown Listen Here: www.traxfm.org Mixcloud LIVE : mixcloud.com/live/traxfm Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Trax FM Live On Hear This: https://hearthis.at/k8bdngt4/live/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

Oscar Wilde is credited with the quote, “Imitation is the sincerest form of flattery … ”. But in popular music, a cover version, remake, cover song, revival, or simply cover, is a new performance or recording by someone other than the original artist or composer of a song. Sometimes, a cover version can become even more popular than the original. Enjoy these 34 cover songs from the 1980s. Another musical exhibit from The Music Museum. Enjoy. **** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 **** or by email at dannymemorylane@gmail.com **** In this episode, you’ll hear: 1) La Bamba [Cover of the Ritchie Valens 1958 version] by Los Lobos 2) Venus [Cover of Shocking Blue's 1970 version] by Bananarama 3) Harlem Shuffle [Cover of the Bob & Earl 1963 version] by The Rolling Stones 4) Mony Mony [Cover of the Tommy James & The Shondells 1968 version] by Billy Idol 5) I Think We're Alone Now [Cover of the Tommy James & The Shondells 1967 version] by Tiffany 6) Every Picture Tells A Story [Cover of the Rod Stewart 1971 version] by The Georgia Satellites 7) China Girl [Cover of Iggy Pop's 1977 version] by David Bowie 8) Red, Red Wine [Cover of Neil Diamond's 1967 version] by UB40 9) Let's Stay Together [Cover of Al Green's 1972 version] by Tina Turner 10) Tainted Love [Cover of the Gloria Jones 1964 version] by Soft Cell 11) Our Lips Are Sealed [Cover of The Go-Go's 1981 version] by The Fun Boy Three 12) The Locomotion [Cover of Little Eva's 1962 version] by Kylie Minogue 13) Real Wild Child (Wild One) [Cover of Ivan's 1958 version] by Iggy Pop 14) Pink Cadillac [Cover of the Bruce Springsteen 1983 version] by Natalie Cole 15) You Can't Hurry Love [Cover of The Supremes 1966 version] by Phil Collins 16) The Air That I Breathe [Cover of The Hollies 1974 version] by Simply Red 17) Wild Night [Cover of Van Morrison's 1971 version] by John Mellencamp (with Me'shell Ndegéocello) 18) Some Guys Have All The Luck [Cover of The Persuaders' 1973 version] by Rod Stewart 19) Reason To Believe [Cover of Tim Hardin's 1966 version] by Wilson Phillips 20) Dancing In The Street [Cover of the Martha & The Vandellas 1964 version] by David Bowie (with Mick Jagger) 21) You've Lost That Lovin' Feelin' [Cover of The Righteous Brothers 1965 version] by Hall & Oates 22) Puttin' On The Ritz [Cover of Fred Astaire's original 1930 version] by Taco 23) Hurt So Bad [Cover of the Little Anthony & The Imperials 1965 version] by Linda Ronstadt 24) Cupid / I've Loved You for a Long Time [Cover of the Sam Cooke 1961 version] by The Spinners 25) In The Midnight Hour [Cover of the Wilson Pickett 1965 version] by The Commitments 26) I Can't Help Falling In Love With You [Cover of the Elvis Presley 1961 version] by Corey Hart 27) Thing Called Love [Cover of John Hiatt's 1987 version] by Bonnie Raitt 28) I Want Candy [Cover of The Strangeloves 1965 version] by Bow Wow Wow 29) We Gotta Get Out Of This Place [Cover of The Animals 1965 version] by Katrina & The Waves (with Eric Burdon 30) Summertime Blues [Cover of Eddie Cochran's 1959 version] by Brian Setzer 31) Hippy Hippy Shake [Cover of the Chan Romero 1959 version] by The Georgia Satellites 32) Because The Night [Cover of The Patti Smith Group 1978 version] by Bruce Springsteen 33) How Am I Supposed To Live Without You [Cover of the Laura Branigan 1983 version] by Michael Bolton 34) Let It Be Me [Cover of the Everly Brothers 1960 version] by Julio Iglesias and Art Garfunkel

Bay Area soul singer talks about her collaborations with Larry Bradford and her tenure with the Jerry Garcia Band --- Support this podcast: https://anchor.fm/jake-feinberg/support

Se enamoraron profundamente, sentían que eran almas gemelas, que se complementaban, también, que mejor sería que cada uno terminara con sus respectivos matrimonios. Ella logró desplazar el ego del cantante al nivel de que cuando anuncia el nacimiento de su hijo Rolan en 1975 dice que es lo más increíble que le ha pasado en la vida.

Episode 104 of A History of Rock Music in Five Hundred Songs looks at "He's a Rebel", and how a song recorded by the Blossoms was released under the name of the Crystals.  Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Sukiyaki" by Kyu Sakamoto. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. The material on Gene Pitney mostly comes from his page on This is My Story. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both The Crystals and the Blossoms. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief note -- there are some very brief mentions of domestic abuse here. Nothing I think will upset anyone, but you might want to check the transcript if you're at all unsure. Up to this point, whenever we've looked at a girl group, it's been at one that had, to a greater or lesser extent, some control over their own career. Groups like the Marvelettes, the Chantels, and the Bobbettes all wrote their own material, at least at first, and had distinctive personalities before they ever made a record. But today, we're going to look at a group whose identity was so subsumed in that of their producer that the record we're looking at was released under the name of a different group from the one that recorded it. We're going to look at "He's a Rebel", which was recorded by the Blossoms and released by the Crystals. [Excerpt: “The Crystals” (The Blossoms), "He's a Rebel"] The Crystals, from their very beginnings, were intended as a vehicle for the dreams of men, rather than for their own ambitions. Whereas the girl groups we've looked at so far all formed as groups of friends at school before they moved into professional singing, the Crystals were put together by a man named Benny Wells. Wells had a niece, Barbara Alston, who sang with a couple of her schoolfriends, Mary Thomas and Myrna Giraud. Wells put those three together with two other girls, Dee Dee Kenniebrew and Patsy Wright, to form a five-piece vocal group. Wells seems not to have had much concept of what was in the charts at the time -- the descriptions of the music he had the girls singing talk about him wanting them to sound like the Modernaires, the vocal group who sang with Glenn Miller's band in the early 1940s. But the girls went along with Wells, and Wells had good enough ears to recognise a hit when one was brought to him -- and one was brought to him by Patsy Wright's brother-in-law, Leroy Bates. Bates had written a song called "There's No Other Like My Baby", and Wells could tell it had potential. Incidentally, some books say that the song was based on a gospel song called "There's No Other Like My Jesus", and that claim is repeated on Wikipedia, but I can't find any evidence of a song of that name other than people talking about "There's No Other Like My Baby". There is a gospel song called "There's No Other Name Like Jesus", but that has no obvious resemblance to Bates' song, and so I'm going to assume that the song was totally original. As well as bringing the song, Bates also brought the fledgling group a name -- he had a daughter, Crystal Bates, after whom the group named themselves. The newly-named Crystals took their song to the offices of Hill and Range Music, which as well as being a publishing company also owned Big Top Records, the label that had put out the original version of "Twist and Shout", which had so annoyed Bert Berns. And it was there that they ended up meeting up with Phil Spector. After leaving his role at Atlantic, Spector had started working as a freelance producer, including working for Big Top. According to Spector -- a notorious liar, it's important to remember -- he worked during this time on dozens of hits for which he didn't get any credit, just to earn money. But we do know about some of the records he produced during this time. For example, there was one by a new singer called Gene Pitney. Pitney had been knocking around for years, recording for Decca as part of a duo called Jamie and Jane: [Excerpt: Jamie and Jane, "Faithful Our Love"] And for Blaze Records as Billy Bryan: [Excerpt: Billy Bryan, "Going Back to My Love"] But he'd recently signed to Musicor, a label owned by Aaron Schroeder, and had recorded a hit under his own name. Pitney had written "(I Wanna) Love My Life Away", and had taken advantage of the new multitracking technology to record his vocals six times over, creating a unique sound that took the record into the top forty: [Excerpt: Gene Pitney, "(I Wanna) Love My Life Away"] But while that had been a hit, his second single for Musicor was a flop, and so for the third single, Musicor decided to pull out the big guns. They ran a session at which basically the whole of the Brill Building turned up. Leiber and Stoller were to produce a song they'd written for Pitney, the new hot husband-and-wife songwriting team of Barry Mann and Cynthia Weil were there, as was Burt Bacharach, and so were Goffin and King, who wrote the song that *Spector* was to produce for Pitney. All of them were in the control booth, and all of them were chipping in ideas. As you might expect with that many cooks, the session did not go smoothly, and to make matters worse, Pitney was suffering from a terrible cold. The session ended up costing thirteen thousand dollars, at a time when an average recording session cost five hundred dollars. On the song Spector was producing on that session, Goffin and King's "Every Breath I Take", Pitney knew that with the cold he would be completely unable to hit the last note in full voice, and went into falsetto. Luckily, everyone thought it sounded good, and he could pretend it was deliberate, rather than the result of necessity: [Excerpt: Gene Pitney, "Every Breath I Take"] The record only went to number forty-two, but it resuscitated Pitney's singing career, and forged a working relationship between the two men. But soon after that, Spector had flown back to LA to work with his old friend Lester Sill. Sill and producer/songwriter, Lee Hazelwood, had been making records with the guitarist Duane Eddy, producing a string of hits like “Rebel Rouser”: [Excerpt: Duane Eddy, "Rebel Rouser"] But Eddy had recently signed directly to a label, rather than going through Sill and Hazelwood's company as before, and so Sill and Hazelwood had been looking for new artists, and they'd recently signed a group called the Paris Sisters to their production company. Sill had decided to get Spector in to produce the group, and Spector came up with a production that Sill was sure would be a hit, on a song called "I Love How You Love Me", written by Barry Mann with another writer called Jack Keller: [Excerpt: The Paris Sisters, "I Love How You Love Me"] Spector was becoming a perfectionist -- he insisted on recording the rhythm track for that record at one studio, and the string part at another, and apparently spent fifty hours on the mix -- and Sill was spending more and more time in the studio with Spector, fascinated at his attitude to the work he was doing. This led to a breakup between Sill and Hazelwood -- their business relationship was already strained, but Hazelwood got jealous of all the time that Sill was spending with Spector, and decided to split their partnership and go and produce Duane Eddy, without Sill, at Eddy's new label. So Sill was suddenly in the market for a new business partner, and he and Spector decided that they were going to start up their own label, Philles, although by this point everyone who had ever worked with Spector was warning Sill that it was a bad idea to go into business with him. But Spector and Sill kept their intentions secret for a while, and so when Spector met the Crystals at Hill and Range's offices, everyone at Hill and Range just assumed that he was still working for them as a freelance producer, and that the Crystals were going to be recording for Big Top. Freddie Bienstock of Hill & Range later said, "We were very angry because we felt they were Big Top artists. He was merely supposed to produce them for us. There was no question about the fact that he was just rehearsing them for Big Top—hell, he rehearsed them for weeks in our offices. And then he just stole them right out of here. That precipitated a breach of contract with us. We were just incensed because that was a terrific group, and for him to do that shows the type of character he was. We felt he was less than ethical, and, obviously, he was then shown the door.” Bienstock had further words for Spector too, ones I can't repeat here because of content rules about adult language, but they weren't flattering. Spector had been dating Bienstock's daughter, with Bienstock's approval, but that didn't last once Spector betrayed Bienstock. But Spector didn't care. He had his own New York girl group, one that could compete with the Bobbettes or the Chantels or the Shirelles, and he was going to make the Crystals as big as any of them, and he wasn't going to cut Big Top in. He slowed down "There's No Other Like My Baby" and it became the first release on Philles Records, with Barbara Alston singing lead: [Excerpt: The Crystals, "There's No Other Like My Baby"] That record was cut late at night in June 1961. In fact it was cut on Prom Night -- three of the girls came straight to the session from their High School prom, still wearing their prom dresses. Spector wrote the B-side, a song that was originally intended to be the A-side called "Oh Yeah, Maybe Baby", but everyone quickly realised that "There's No Other Like My Baby" was the hit, and it made the top twenty. While Spector was waiting for the money to come in on the first Philles record, he took another job, with Liberty Records, working for his friend Snuff Garrett. He got a thirty thousand dollar advance, made a single flop record with them with an unknown singer named Obrey Wilson, and then quit, keeping his thirty thousand dollars. Once "There's No Other" made the charts, Spector took the Crystals into the studio again, to record a song by Barry Mann and Cynthia Weil that he'd got from Aldon Music. Spector was becoming increasingly convinced that he'd made a mistake in partnering with Lester Sill, and he should really have been working with Don Kirshner, and he was in discussions with Kirshner which came to nothing about them having some sort of joint project. While those discussions fell through, almost all the songs that Spector would use for the next few years would come from Aldon songwriters, and "Uptown" was a perfect example of the new kind of socially-relevant pop songwriting that had been pioneered by Goffin and King, but which Mann and Weil were now making their own. Before becoming a professional songwriter, Weil had been part of the Greenwich Village folk scene, and while she wasn't going to write anything as explicitly political as the work of Pete Seeger, she thought that songs should at least try to be about the real world. "Uptown" was the first example of a theme which would become a major motif for the Crystals' records -- a song about a man who is looked down upon by society, but who the singer believes is better than his reputation. Mann and Weil's song combined that potent teen emotion with an inspiration Weil had had, seeing a handsome Black man pushing a hand truck in the Garment District, and realising that even though he was oppressed by his job, and "a nobody" when he was working downtown, he was still somebody when he was at home. They originally wrote the song for Tony Orlando to sing, but Spector insisted, rightly, that the song worked better with female voices, and that the Crystals should do it. Spector took Mann and Weil's song and gave it a production that evoked the Latin feel of Leiber and Stoller's records for the Drifters: [Excerpt: The Crystals, "Uptown"] By the time of this second record, the Crystals had already been through one lineup change. As soon as she left school, Myrna Giraud got married, and she didn't want to perform on stage any more. She would still sing with the girls in the studio for a little while -- she's on every track of their first album, though she left altogether soon after this recording -- but she was a married woman now and didn't want to be in a group.  The girls needed a replacement, and they also needed something else -- a lead singer. All the girls loved singing, but none of them wanted to be out in front singing lead. Luckily, Dee Dee Kenniebrew's mother was a secretary at the school attended by a fourteen-year-old gospel singer named La La Brooks, and she heard Brooks singing and invited her to join the group. Brooks soon became the group's lead vocalist on stage. But in the studio, Spector didn't want to use her as the lead vocalist. He insisted on Barbara singing the lead on "Uptown", but in a sign of things to come, Mann and Weil weren't happy with her performance -- Spector had to change parts of the melody to accommodate her range -- and they begged Spector to rerecord the lead vocal with Little Eva singing. However, Eva became irritated with Spector's incessant demands for more takes and his micromanagement, cursed him out, and walked out of the studio. The record was released with Barbara's original lead vocal, and while Mann and Weil weren't happy with that, listeners were, as it went to number thirteen on the charts: [Excerpt: The Crystals, "Uptown"] Little Eva later released her own version of the song, on the Dimension Dolls compilation we talked about in the episode on "The Loco-Motion": [Excerpt: Little Eva, "Uptown"] It was Little Eva who inspired the next Crystals single, as well -- as we talked about in the episode on her, she inspired a truly tasteless Goffin and King song called "He Hit Me And It Felt Like A Kiss", which I will not be excerpting, but which was briefly released as the Crystals' third single, before being withdrawn after people objected to hearing teenage girls sing about how romantic and loving domestic abuse is. There seems to be some suggestion that the record was released partly as a way for Spector to annoy Lester Sill, who by all accounts was furious at the release. Spector was angry at Sill over the amount of money he'd made from the Paris Sisters recordings, and decided that he was being treated unfairly and wanted to force Sill out of their partnership. Certainly the next recording by the Crystals was meant to get rid of some other business associates. Two of Philles' distributors had a contract which said they were entitled to the royalties on two Crystals singles. So the second one was a ten-minute song called "The Screw", split over two sides of a disc, which sounded like this: [Excerpt: The Crystals, "The Screw"] Only a handful of promotional copies of that were ever produced. One went to Lester Sill, who by this point had been bought out of his share of the company for a small fraction of what it was worth. The last single Spector recorded for Philles while Sill was still involved with the label was another Crystals record, one that had the involvement of many people Sill had brought into Spector's orbit, and who would continue working with him long after the two men stopped working together. Spector had decided he was going to start recording in California again, and two of Sill's assistants would become regular parts of Spector's new hit-making machine. The first of these was a composer and arranger called Jack Nitzsche, who we'll be seeing a lot more of in this podcast over the next couple of years, in some unexpected places. Nitzsche was a young songwriter, whose biggest credit up to this point was a very minor hit for Preston Epps, "Bongo, Bongo, Bongo": [Excerpt: Preston Epps, "Bongo Bongo Bongo"] Nitzsche would become Spector's most important collaborator, and his arrangements, as much as Spector's production, are what characterise the "Wall of Sound" for which Spector would become famous.  The other assistant of Sill's who became important to Spector's future was a saxophone player named Steve Douglas. We've seen Douglas before, briefly, in the episode on "LSD-25" -- he played in the original lineup of Kip and the Flips, one of the groups we talked about in that episode. He'd left Kip and the Flips to join Duane Eddy's band, and it was through Eddy that he had started working with Sill, when he played on many of Eddy's hits, most famously "Peter Gunn": [Excerpt: Duane Eddy, "Peter Gunn"] Douglas was the union contractor for the session, and for most of the rest of Spector's sixties sessions. This is something we've not talked about previously, but when we look at records produced in LA for the next few years, in particular, it's something that will come up a lot. When a producer wanted to make records at the time, he (for they were all men) would not contact all the musicians himself. Instead, he'd get in touch with a trusted musician and say "I have a session at three o'clock. I need two guitars, bass, drums, a clarinet and a cello" (or whatever combination of instruments), and sometimes might say, "If you can get this particular player, that would be good". The musician would then find out which other musicians were available, get them into the studio, and file the forms which made sure they got paid according to union rules. The contractor, not the producer, decided who was going to play on the session. In the case of this Crystals session, Spector already had a couple of musicians in mind -- a bass player named Ray Pohlman, and his old guitar teacher Howard Roberts, a jazz guitarist who had played on "To Know Him is to Love Him" and "I Love How You Love Me" for Spector already. But Spector wanted a *big* sound -- he wanted the rhythm instruments doubled, so there was a second bass player, Jimmy Bond, and a second guitarist, Tommy Tedesco. Along with them and Douglas were piano player Al de Lory and drummer Hal Blaine. This was the first session on which Spector used any of these musicians, and with the exception of Roberts, who hated working on Spector's sessions and soon stopped, this group put together by Douglas would become the core of what became known as "The Wrecking Crew", a loose group of musicians who would play on a large number of the hit records that would come out of LA in the sixties. Spector also had a guaranteed hit song -- one by Gene Pitney. While Pitney wrote few of his own records, he'd established himself a parallel career as a writer for other people. He'd written "Today's Teardrops", the B-side of Roy Orbison's hit "Blue Angel": [Excerpt: Roy Orbison, "Today's Teardrops"] And had followed that up with a couple of the biggest hits of the early sixties, Bobby Vee's "Rubber Ball": [Excerpt: Bobby Vee, "Rubber Ball"] And Ricky Nelson's "Hello Mary Lou": [Excerpt: Ricky Nelson, "Hello, Mary Lou"] Pitney had written a song, "He's a Rebel", that was very strongly inspired by "Uptown", and Aaron Schroeder, Pitney's publisher, had given the song to Spector. But Spector knew Schroeder, and knew that when he gave you a song, he was going to give it to every other producer who came knocking as well. "He's a Rebel" was definitely going to be a massive hit for someone, and he wanted it to be for the Crystals. He phoned them up and told them to come out to LA to record the song. And they said no. The Crystals had become sick of Spector. He'd made them record songs like "He Hit Me and it Felt Like a Kiss", he'd refused to let their lead singer sing lead, and they'd not seen any money from their two big hits. They weren't going to fly from New York to LA just because he said so. Spector needed a new group, in LA, that he could record doing the song before someone else did it. He could use the Crystals' name -- Philles had the right to put out records by whoever they liked and call it the Crystals -- he just needed a group. He found one in the Blossoms, a group who had connections to many of the people Spector was working with. Jack Nitzsche's wife sometimes sang with them on sessions, and they'd also sung on a Duane Eddy record that Lester Sill had worked on, "Dance With the Guitar Man", where they'd been credited as the Rebelettes: [Excerpt: Duane Eddy, "Dance With the Guitar Man"] The Blossoms had actually been making records in LA for nearly eight years at this point. They'd started out as the Dreamers one of the many groups who'd been discovered by Johnny Otis, back in the early fifties, and had also been part of the scene around the Penguins, one of whom went to school with some of the girls. They started out as a six-piece group, but slimmed down to a quartet after their first record, on which they were the backing group for Richard Berry: [Excerpt: Richard Berry, "At Last"] The first stable lineup of the Dreamers consisted of Fanita James, Gloria Jones (not the one who would later record "Tainted Love"), and the twin sisters Annette and Nanette Williams. They worked primarily with Berry, backing him on five singles in the mid fifties, and also recording songs he wrote for them under their own name, like "Do Not Forget", which actually featured another singer, Jennell Hawkins, on lead: [Excerpt: The Dreamers, "Do Not Forget"] They also sang backing vocals on plenty of other R&B records from people in the LA R&B scene -- for example it's them singing backing vocals, with Jesse Belvin, on Etta James' "Good Rocking Daddy": [Excerpt: Etta James, "Good Rocking Daddy"] The group signed to Capitol Records in 1957, but not under the name The Dreamers -- an executive there said that they all had different skin tones and it made them look like flowers, so they became the Blossoms. They were only at Capitol for a year, but during that time an important lineup change happened -- Nanette quit the group and was replaced by a singer called Darlene Wright. From that point on The Blossoms was the main name the group went under, though they also recorded under other names, for example using the name The Playgirls to record "Gee But I'm Lonesome", a song written by Bruce Johnston, who was briefly dating Annette Williams at the time: [Excerpt: The Playgirls, "Gee But I'm Lonesome"] By 1961 Annette had left the group, and they were down to a trio of Fanita, Gloria, and Darlene. Their records, under whatever name, didn't do very well, but they became the first-call session singers in LA, working on records by everyone from Sam Cooke to Gene Autry.  So it was the Blossoms who were called on in late 1962 to record "He's a Rebel", and it was Darlene Wright who earned her session fee, and no royalties, for singing the lead on a number one record: [Excerpt: The "Crystals" (The Blossoms), "He's a Rebel"] From that point on, the Blossoms would sing on almost every Spector session for the next three years, and Darlene, who he renamed Darlene Love, would become Spector's go-to lead vocalist for records under her own name, the Blossoms, Bob B. Soxx and the Blue Jeans, and the Crystals. It was lucky for Spector that he decided to go this route rather than wait for the Crystals, not only because it introduced him to the Blossoms, but because  he'd been right about Aaron Schroeder. As Spector and Sill sat together in the studio where they were mastering the record, some musicians on a break from the studio next door wandered in, and said, "Hey man. we were just playing the same goddam song!" Literally in the next room as Spector mastered the record, his friend Snuff Garrett was producing Vicki Carr singing "He's a Rebel": [Excerpt: Vicki Carr, "He's a Rebel"] Philles got their version out first, and Carr's record sank without trace, while "The Crystals" went to number one, keeping the song's writer off the top spot, as Gene Pitney sat at number two with a Bacharach and David song, "Only Love Can Break a Heart": [Excerpt: Gene Pitney, "Only Love Can Break a Heart"] The Crystals were shocked that Spector released a Crystals record without any of them on it, but La La Brooks had a similar enough voice to Darlene Love's that they were able to pull the song off live. They had a bit more of a problem with the follow-up, also by the Blossoms but released as the Crystals: [Excerpt: "The Crystals"/The Blossoms, "He's Sure the Boy I Love"] La La could sing that fine, but she had to work on the spoken part -- Darlene was from California and La La had a thick Brooklyn accent. She managed it, just about. As La La was doing such a good job of singing Darlene Love's parts live -- and, more importantly, as she was only fifteen and so didn't complain about things like royalties -- the Crystals finally did get their way and have La La start singing the leads on their singles, starting with "Da Doo Ron Ron". The problem is, none of the other Crystals were on those records -- it was La La singing with the Blossoms, plus other session singers. Listen out for the low harmony in "Da Doo Ron Ron" and see if you recognise the voice: [Excerpt: The Crystals, "Da Doo Ron Ron"] Cher would later move on to bigger things than being a fill-in Crystal. "Da Doo Ron Ron" became another big hit, making number three in the charts, and the follow-up, "Then He Kissed Me", with La La once again on lead vocals, also made the top ten, but the group were falling apart -- Spector was playing La La off against the rest of the group, just to cause trouble, and he'd also lost interest in them once he discovered another group, The Ronettes, who we'll be hearing more about in future episodes. The singles following "Then He Kissed Me" barely scraped the bottom of the Hot One Hundred, and the group left Philles in 1964. They got a payoff of five thousand dollars, in lieu of all future royalties on any of their recordings. They had no luck having hits without Spector, and one by one the group members left, and the group split up by 1966. Mary, Barbara, and Dee Dee briefly reunited as the Crystals in 1971, and La La and Dee Dee made an album together in the eighties of remakes of the group's hits, but nothing came of any of these. Dee Dee continues to tour under the Crystals name in North America, while La La performs solo in America and under the Crystals name in Europe. Barbara, the lead singer on the group's first hits, died in 2018. Darlene Love continues to perform, but we'll hear more about her and the Blossoms in future episodes, I'm sure. The Crystals were treated appallingly by Spector, and are not often treated much better by the fans, who see them as just interchangeable parts in a machine created by a genius. But it should be remembered that they were the ones who brought Spector the song that became the first Philles hit, that both Barbara and La La were fine singers who sang lead on classic hit records, and that Spector taking all the credit for a team effort doesn't mean he deserved it. Both the Crystals and the Blossoms deserved better than to have their identities erased in return for a flat session fee, in order to service the ego of one man.

Episode 104 of A History of Rock Music in Five Hundred Songs looks at “He’s a Rebel”, and how a song recorded by the Blossoms was released under the name of the Crystals.  Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Sukiyaki” by Kyu Sakamoto. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. The material on Gene Pitney mostly comes from his page on This is My Story. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both The Crystals and the Blossoms. I’ve referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He’s a Rebel by Mark Ribkowsky. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief note — there are some very brief mentions of domestic abuse here. Nothing I think will upset anyone, but you might want to check the transcript if you’re at all unsure. Up to this point, whenever we’ve looked at a girl group, it’s been at one that had, to a greater or lesser extent, some control over their own career. Groups like the Marvelettes, the Chantels, and the Bobbettes all wrote their own material, at least at first, and had distinctive personalities before they ever made a record. But today, we’re going to look at a group whose identity was so subsumed in that of their producer that the record we’re looking at was released under the name of a different group from the one that recorded it. We’re going to look at “He’s a Rebel”, which was recorded by the Blossoms and released by the Crystals. [Excerpt: “The Crystals” (The Blossoms), “He’s a Rebel”] The Crystals, from their very beginnings, were intended as a vehicle for the dreams of men, rather than for their own ambitions. Whereas the girl groups we’ve looked at so far all formed as groups of friends at school before they moved into professional singing, the Crystals were put together by a man named Benny Wells. Wells had a niece, Barbara Alston, who sang with a couple of her schoolfriends, Mary Thomas and Myrna Giraud. Wells put those three together with two other girls, Dee Dee Kenniebrew and Patsy Wright, to form a five-piece vocal group. Wells seems not to have had much concept of what was in the charts at the time — the descriptions of the music he had the girls singing talk about him wanting them to sound like the Modernaires, the vocal group who sang with Glenn Miller’s band in the early 1940s. But the girls went along with Wells, and Wells had good enough ears to recognise a hit when one was brought to him — and one was brought to him by Patsy Wright’s brother-in-law, Leroy Bates. Bates had written a song called “There’s No Other Like My Baby”, and Wells could tell it had potential. Incidentally, some books say that the song was based on a gospel song called “There’s No Other Like My Jesus”, and that claim is repeated on Wikipedia, but I can’t find any evidence of a song of that name other than people talking about “There’s No Other Like My Baby”. There is a gospel song called “There’s No Other Name Like Jesus”, but that has no obvious resemblance to Bates’ song, and so I’m going to assume that the song was totally original. As well as bringing the song, Bates also brought the fledgling group a name — he had a daughter, Crystal Bates, after whom the group named themselves. The newly-named Crystals took their song to the offices of Hill and Range Music, which as well as being a publishing company also owned Big Top Records, the label that had put out the original version of “Twist and Shout”, which had so annoyed Bert Berns. And it was there that they ended up meeting up with Phil Spector. After leaving his role at Atlantic, Spector had started working as a freelance producer, including working for Big Top. According to Spector — a notorious liar, it’s important to remember — he worked during this time on dozens of hits for which he didn’t get any credit, just to earn money. But we do know about some of the records he produced during this time. For example, there was one by a new singer called Gene Pitney. Pitney had been knocking around for years, recording for Decca as part of a duo called Jamie and Jane: [Excerpt: Jamie and Jane, “Faithful Our Love”] And for Blaze Records as Billy Bryan: [Excerpt: Billy Bryan, “Going Back to My Love”] But he’d recently signed to Musicor, a label owned by Aaron Schroeder, and had recorded a hit under his own name. Pitney had written “(I Wanna) Love My Life Away”, and had taken advantage of the new multitracking technology to record his vocals six times over, creating a unique sound that took the record into the top forty: [Excerpt: Gene Pitney, “(I Wanna) Love My Life Away”] But while that had been a hit, his second single for Musicor was a flop, and so for the third single, Musicor decided to pull out the big guns. They ran a session at which basically the whole of the Brill Building turned up. Leiber and Stoller were to produce a song they’d written for Pitney, the new hot husband-and-wife songwriting team of Barry Mann and Cynthia Weil were there, as was Burt Bacharach, and so were Goffin and King, who wrote the song that *Spector* was to produce for Pitney. All of them were in the control booth, and all of them were chipping in ideas. As you might expect with that many cooks, the session did not go smoothly, and to make matters worse, Pitney was suffering from a terrible cold. The session ended up costing thirteen thousand dollars, at a time when an average recording session cost five hundred dollars. On the song Spector was producing on that session, Goffin and King’s “Every Breath I Take”, Pitney knew that with the cold he would be completely unable to hit the last note in full voice, and went into falsetto. Luckily, everyone thought it sounded good, and he could pretend it was deliberate, rather than the result of necessity: [Excerpt: Gene Pitney, “Every Breath I Take”] The record only went to number forty-two, but it resuscitated Pitney’s singing career, and forged a working relationship between the two men. But soon after that, Spector had flown back to LA to work with his old friend Lester Sill. Sill and producer/songwriter, Lee Hazelwood, had been making records with the guitarist Duane Eddy, producing a string of hits like “Rebel Rouser”: [Excerpt: Duane Eddy, “Rebel Rouser”] But Eddy had recently signed directly to a label, rather than going through Sill and Hazelwood’s company as before, and so Sill and Hazelwood had been looking for new artists, and they’d recently signed a group called the Paris Sisters to their production company. Sill had decided to get Spector in to produce the group, and Spector came up with a production that Sill was sure would be a hit, on a song called “I Love How You Love Me”, written by Barry Mann with another writer called Jack Keller: [Excerpt: The Paris Sisters, “I Love How You Love Me”] Spector was becoming a perfectionist — he insisted on recording the rhythm track for that record at one studio, and the string part at another, and apparently spent fifty hours on the mix — and Sill was spending more and more time in the studio with Spector, fascinated at his attitude to the work he was doing. This led to a breakup between Sill and Hazelwood — their business relationship was already strained, but Hazelwood got jealous of all the time that Sill was spending with Spector, and decided to split their partnership and go and produce Duane Eddy, without Sill, at Eddy’s new label. So Sill was suddenly in the market for a new business partner, and he and Spector decided that they were going to start up their own label, Philles, although by this point everyone who had ever worked with Spector was warning Sill that it was a bad idea to go into business with him. But Spector and Sill kept their intentions secret for a while, and so when Spector met the Crystals at Hill and Range’s offices, everyone at Hill and Range just assumed that he was still working for them as a freelance producer, and that the Crystals were going to be recording for Big Top. Freddie Bienstock of Hill & Range later said, “We were very angry because we felt they were Big Top artists. He was merely supposed to produce them for us. There was no question about the fact that he was just rehearsing them for Big Top—hell, he rehearsed them for weeks in our offices. And then he just stole them right out of here. That precipitated a breach of contract with us. We were just incensed because that was a terrific group, and for him to do that shows the type of character he was. We felt he was less than ethical, and, obviously, he was then shown the door.” Bienstock had further words for Spector too, ones I can’t repeat here because of content rules about adult language, but they weren’t flattering. Spector had been dating Bienstock’s daughter, with Bienstock’s approval, but that didn’t last once Spector betrayed Bienstock. But Spector didn’t care. He had his own New York girl group, one that could compete with the Bobbettes or the Chantels or the Shirelles, and he was going to make the Crystals as big as any of them, and he wasn’t going to cut Big Top in. He slowed down “There’s No Other Like My Baby” and it became the first release on Philles Records, with Barbara Alston singing lead: [Excerpt: The Crystals, “There’s No Other Like My Baby”] That record was cut late at night in June 1961. In fact it was cut on Prom Night — three of the girls came straight to the session from their High School prom, still wearing their prom dresses. Spector wrote the B-side, a song that was originally intended to be the A-side called “Oh Yeah, Maybe Baby”, but everyone quickly realised that “There’s No Other Like My Baby” was the hit, and it made the top twenty. While Spector was waiting for the money to come in on the first Philles record, he took another job, with Liberty Records, working for his friend Snuff Garrett. He got a thirty thousand dollar advance, made a single flop record with them with an unknown singer named Obrey Wilson, and then quit, keeping his thirty thousand dollars. Once “There’s No Other” made the charts, Spector took the Crystals into the studio again, to record a song by Barry Mann and Cynthia Weil that he’d got from Aldon Music. Spector was becoming increasingly convinced that he’d made a mistake in partnering with Lester Sill, and he should really have been working with Don Kirshner, and he was in discussions with Kirshner which came to nothing about them having some sort of joint project. While those discussions fell through, almost all the songs that Spector would use for the next few years would come from Aldon songwriters, and “Uptown” was a perfect example of the new kind of socially-relevant pop songwriting that had been pioneered by Goffin and King, but which Mann and Weil were now making their own. Before becoming a professional songwriter, Weil had been part of the Greenwich Village folk scene, and while she wasn’t going to write anything as explicitly political as the work of Pete Seeger, she thought that songs should at least try to be about the real world. “Uptown” was the first example of a theme which would become a major motif for the Crystals’ records — a song about a man who is looked down upon by society, but who the singer believes is better than his reputation. Mann and Weil’s song combined that potent teen emotion with an inspiration Weil had had, seeing a handsome Black man pushing a hand truck in the Garment District, and realising that even though he was oppressed by his job, and “a nobody” when he was working downtown, he was still somebody when he was at home. They originally wrote the song for Tony Orlando to sing, but Spector insisted, rightly, that the song worked better with female voices, and that the Crystals should do it. Spector took Mann and Weil’s song and gave it a production that evoked the Latin feel of Leiber and Stoller’s records for the Drifters: [Excerpt: The Crystals, “Uptown”] By the time of this second record, the Crystals had already been through one lineup change. As soon as she left school, Myrna Giraud got married, and she didn’t want to perform on stage any more. She would still sing with the girls in the studio for a little while — she’s on every track of their first album, though she left altogether soon after this recording — but she was a married woman now and didn’t want to be in a group.  The girls needed a replacement, and they also needed something else — a lead singer. All the girls loved singing, but none of them wanted to be out in front singing lead. Luckily, Dee Dee Kenniebrew’s mother was a secretary at the school attended by a fourteen-year-old gospel singer named La La Brooks, and she heard Brooks singing and invited her to join the group. Brooks soon became the group’s lead vocalist on stage. But in the studio, Spector didn’t want to use her as the lead vocalist. He insisted on Barbara singing the lead on “Uptown”, but in a sign of things to come, Mann and Weil weren’t happy with her performance — Spector had to change parts of the melody to accommodate her range — and they begged Spector to rerecord the lead vocal with Little Eva singing. However, Eva became irritated with Spector’s incessant demands for more takes and his micromanagement, cursed him out, and walked out of the studio. The record was released with Barbara’s original lead vocal, and while Mann and Weil weren’t happy with that, listeners were, as it went to number thirteen on the charts: [Excerpt: The Crystals, “Uptown”] Little Eva later released her own version of the song, on the Dimension Dolls compilation we talked about in the episode on “The Loco-Motion”: [Excerpt: Little Eva, “Uptown”] It was Little Eva who inspired the next Crystals single, as well — as we talked about in the episode on her, she inspired a truly tasteless Goffin and King song called “He Hit Me And It Felt Like A Kiss”, which I will not be excerpting, but which was briefly released as the Crystals’ third single, before being withdrawn after people objected to hearing teenage girls sing about how romantic and loving domestic abuse is. There seems to be some suggestion that the record was released partly as a way for Spector to annoy Lester Sill, who by all accounts was furious at the release. Spector was angry at Sill over the amount of money he’d made from the Paris Sisters recordings, and decided that he was being treated unfairly and wanted to force Sill out of their partnership. Certainly the next recording by the Crystals was meant to get rid of some other business associates. Two of Philles’ distributors had a contract which said they were entitled to the royalties on two Crystals singles. So the second one was a ten-minute song called “The Screw”, split over two sides of a disc, which sounded like this: [Excerpt: The Crystals, “The Screw”] Only a handful of promotional copies of that were ever produced. One went to Lester Sill, who by this point had been bought out of his share of the company for a small fraction of what it was worth. The last single Spector recorded for Philles while Sill was still involved with the label was another Crystals record, one that had the involvement of many people Sill had brought into Spector’s orbit, and who would continue working with him long after the two men stopped working together. Spector had decided he was going to start recording in California again, and two of Sill’s assistants would become regular parts of Spector’s new hit-making machine. The first of these was a composer and arranger called Jack Nitzsche, who we’ll be seeing a lot more of in this podcast over the next couple of years, in some unexpected places. Nitzsche was a young songwriter, whose biggest credit up to this point was a very minor hit for Preston Epps, “Bongo, Bongo, Bongo”: [Excerpt: Preston Epps, “Bongo Bongo Bongo”] Nitzsche would become Spector’s most important collaborator, and his arrangements, as much as Spector’s production, are what characterise the “Wall of Sound” for which Spector would become famous.  The other assistant of Sill’s who became important to Spector’s future was a saxophone player named Steve Douglas. We’ve seen Douglas before, briefly, in the episode on “LSD-25” — he played in the original lineup of Kip and the Flips, one of the groups we talked about in that episode. He’d left Kip and the Flips to join Duane Eddy’s band, and it was through Eddy that he had started working with Sill, when he played on many of Eddy’s hits, most famously “Peter Gunn”: [Excerpt: Duane Eddy, “Peter Gunn”] Douglas was the union contractor for the session, and for most of the rest of Spector’s sixties sessions. This is something we’ve not talked about previously, but when we look at records produced in LA for the next few years, in particular, it’s something that will come up a lot. When a producer wanted to make records at the time, he (for they were all men) would not contact all the musicians himself. Instead, he’d get in touch with a trusted musician and say “I have a session at three o’clock. I need two guitars, bass, drums, a clarinet and a cello” (or whatever combination of instruments), and sometimes might say, “If you can get this particular player, that would be good”. The musician would then find out which other musicians were available, get them into the studio, and file the forms which made sure they got paid according to union rules. The contractor, not the producer, decided who was going to play on the session. In the case of this Crystals session, Spector already had a couple of musicians in mind — a bass player named Ray Pohlman, and his old guitar teacher Howard Roberts, a jazz guitarist who had played on “To Know Him is to Love Him” and “I Love How You Love Me” for Spector already. But Spector wanted a *big* sound — he wanted the rhythm instruments doubled, so there was a second bass player, Jimmy Bond, and a second guitarist, Tommy Tedesco. Along with them and Douglas were piano player Al de Lory and drummer Hal Blaine. This was the first session on which Spector used any of these musicians, and with the exception of Roberts, who hated working on Spector’s sessions and soon stopped, this group put together by Douglas would become the core of what became known as “The Wrecking Crew”, a loose group of musicians who would play on a large number of the hit records that would come out of LA in the sixties. Spector also had a guaranteed hit song — one by Gene Pitney. While Pitney wrote few of his own records, he’d established himself a parallel career as a writer for other people. He’d written “Today’s Teardrops”, the B-side of Roy Orbison’s hit “Blue Angel”: [Excerpt: Roy Orbison, “Today’s Teardrops”] And had followed that up with a couple of the biggest hits of the early sixties, Bobby Vee’s “Rubber Ball”: [Excerpt: Bobby Vee, “Rubber Ball”] And Ricky Nelson’s “Hello Mary Lou”: [Excerpt: Ricky Nelson, “Hello, Mary Lou”] Pitney had written a song, “He’s a Rebel”, that was very strongly inspired by “Uptown”, and Aaron Schroeder, Pitney’s publisher, had given the song to Spector. But Spector knew Schroeder, and knew that when he gave you a song, he was going to give it to every other producer who came knocking as well. “He’s a Rebel” was definitely going to be a massive hit for someone, and he wanted it to be for the Crystals. He phoned them up and told them to come out to LA to record the song. And they said no. The Crystals had become sick of Spector. He’d made them record songs like “He Hit Me and it Felt Like a Kiss”, he’d refused to let their lead singer sing lead, and they’d not seen any money from their two big hits. They weren’t going to fly from New York to LA just because he said so. Spector needed a new group, in LA, that he could record doing the song before someone else did it. He could use the Crystals’ name — Philles had the right to put out records by whoever they liked and call it the Crystals — he just needed a group. He found one in the Blossoms, a group who had connections to many of the people Spector was working with. Jack Nitzsche’s wife sometimes sang with them on sessions, and they’d also sung on a Duane Eddy record that Lester Sill had worked on, “Dance With the Guitar Man”, where they’d been credited as the Rebelettes: [Excerpt: Duane Eddy, “Dance With the Guitar Man”] The Blossoms had actually been making records in LA for nearly eight years at this point. They’d started out as the Dreamers one of the many groups who’d been discovered by Johnny Otis, back in the early fifties, and had also been part of the scene around the Penguins, one of whom went to school with some of the girls. They started out as a six-piece group, but slimmed down to a quartet after their first record, on which they were the backing group for Richard Berry: [Excerpt: Richard Berry, “At Last”] The first stable lineup of the Dreamers consisted of Fanita James, Gloria Jones (not the one who would later record “Tainted Love”), and the twin sisters Annette and Nanette Williams. They worked primarily with Berry, backing him on five singles in the mid fifties, and also recording songs he wrote for them under their own name, like “Do Not Forget”, which actually featured another singer, Jennell Hawkins, on lead: [Excerpt: The Dreamers, “Do Not Forget”] They also sang backing vocals on plenty of other R&B records from people in the LA R&B scene — for example it’s them singing backing vocals, with Jesse Belvin, on Etta James’ “Good Rocking Daddy”: [Excerpt: Etta James, “Good Rocking Daddy”] The group signed to Capitol Records in 1957, but not under the name The Dreamers — an executive there said that they all had different skin tones and it made them look like flowers, so they became the Blossoms. They were only at Capitol for a year, but during that time an important lineup change happened — Nanette quit the group and was replaced by a singer called Darlene Wright. From that point on The Blossoms was the main name the group went under, though they also recorded under other names, for example using the name The Playgirls to record “Gee But I’m Lonesome”, a song written by Bruce Johnston, who was briefly dating Annette Williams at the time: [Excerpt: The Playgirls, “Gee But I’m Lonesome”] By 1961 Annette had left the group, and they were down to a trio of Fanita, Gloria, and Darlene. Their records, under whatever name, didn’t do very well, but they became the first-call session singers in LA, working on records by everyone from Sam Cooke to Gene Autry.  So it was the Blossoms who were called on in late 1962 to record “He’s a Rebel”, and it was Darlene Wright who earned her session fee, and no royalties, for singing the lead on a number one record: [Excerpt: The “Crystals” (The Blossoms), “He’s a Rebel”] From that point on, the Blossoms would sing on almost every Spector session for the next three years, and Darlene, who he renamed Darlene Love, would become Spector’s go-to lead vocalist for records under her own name, the Blossoms, Bob B. Soxx and the Blue Jeans, and the Crystals. It was lucky for Spector that he decided to go this route rather than wait for the Crystals, not only because it introduced him to the Blossoms, but because  he’d been right about Aaron Schroeder. As Spector and Sill sat together in the studio where they were mastering the record, some musicians on a break from the studio next door wandered in, and said, “Hey man. we were just playing the same goddam song!” Literally in the next room as Spector mastered the record, his friend Snuff Garrett was producing Vicki Carr singing “He’s a Rebel”: [Excerpt: Vicki Carr, “He’s a Rebel”] Philles got their version out first, and Carr’s record sank without trace, while “The Crystals” went to number one, keeping the song’s writer off the top spot, as Gene Pitney sat at number two with a Bacharach and David song, “Only Love Can Break a Heart”: [Excerpt: Gene Pitney, “Only Love Can Break a Heart”] The Crystals were shocked that Spector released a Crystals record without any of them on it, but La La Brooks had a similar enough voice to Darlene Love’s that they were able to pull the song off live. They had a bit more of a problem with the follow-up, also by the Blossoms but released as the Crystals: [Excerpt: “The Crystals”/The Blossoms, “He’s Sure the Boy I Love”] La La could sing that fine, but she had to work on the spoken part — Darlene was from California and La La had a thick Brooklyn accent. She managed it, just about. As La La was doing such a good job of singing Darlene Love’s parts live — and, more importantly, as she was only fifteen and so didn’t complain about things like royalties — the Crystals finally did get their way and have La La start singing the leads on their singles, starting with “Da Doo Ron Ron”. The problem is, none of the other Crystals were on those records — it was La La singing with the Blossoms, plus other session singers. Listen out for the low harmony in “Da Doo Ron Ron” and see if you recognise the voice: [Excerpt: The Crystals, “Da Doo Ron Ron”] Cher would later move on to bigger things than being a fill-in Crystal. “Da Doo Ron Ron” became another big hit, making number three in the charts, and the follow-up, “Then He Kissed Me”, with La La once again on lead vocals, also made the top ten, but the group were falling apart — Spector was playing La La off against the rest of the group, just to cause trouble, and he’d also lost interest in them once he discovered another group, The Ronettes, who we’ll be hearing more about in future episodes. The singles following “Then He Kissed Me” barely scraped the bottom of the Hot One Hundred, and the group left Philles in 1964. They got a payoff of five thousand dollars, in lieu of all future royalties on any of their recordings. They had no luck having hits without Spector, and one by one the group members left, and the group split up by 1966. Mary, Barbara, and Dee Dee briefly reunited as the Crystals in 1971, and La La and Dee Dee made an album together in the eighties of remakes of the group’s hits, but nothing came of any of these. Dee Dee continues to tour under the Crystals name in North America, while La La performs solo in America and under the Crystals name in Europe. Barbara, the lead singer on the group’s first hits, died in 2018. Darlene Love continues to perform, but we’ll hear more about her and the Blossoms in future episodes, I’m sure. The Crystals were treated appallingly by Spector, and are not often treated much better by the fans, who see them as just interchangeable parts in a machine created by a genius. But it should be remembered that they were the ones who brought Spector the song that became the first Philles hit, that both Barbara and La La were fine singers who sang lead on classic hit records, and that Spector taking all the credit for a team effort doesn’t mean he deserved it. Both the Crystals and the Blossoms deserved better than to have their identities erased in return for a flat session fee, in order to service the ego of one man.

Uur 1 1. Fascination – Nat King Cole 2. The albatross – Lobo 3. J’ai essayé – Vianney 4. Onderweg – Willem Vermandere 5. In the land of make believe – Dusty Springfield 6. Better times will come – Mary Black 7. Leonel el feo – Melingo 8. Adagio – Shirley Bassey 9. Homeless – Paul Simon & Ladysmith Black Mambazo 10. Brug over troebel water – Liesbeth List 11. The people that we used to be – Julian Velard 12. Near you – Andrews Sisters 13. Rotterdam or anywhere – Beautiful South 14. Wat als later nu is – Rob de Nijs 15. All the things you are – Dizzy Gillespie & Charlie Parker Uur 2 1. So far away – Carole King 2. Am I losing you – Jim Reeves 3. Een nieuw begin – Maartje & Kine & Paul de Munnik 4. Sogna fiore mio – Lucilla Galeazzi 5. Keep your head up – Ben Howard 6. Come along Buddy - Joachim Cooder 7. On s’habitue a tout – Renan Luce 8. Ik wil alleen zijn met de zee – Izaline Calister 9. All at once you love her – Perry Como 10. All er nothin’ – Seth MacFarlane 11. I wonder why – Kacy & Clayton with Marlon Williams 12. Een kwart van mijn hart – Kasper van Kooten 13. The fez – Steely Dan 14. Mudjei – Elida Almeida 15. Tainted love – Gloria Jones 16. Pink Panther Theme – Henry Mancini

Gloria's extensive education and many years of experience in the financial industry have equipped her with an innovative, practical approach to designing custom solutions for her clients. Her aim is to listen well to each of her clients so she may assist them with their unique situations in a conscious and effective manner. Through the operation of her own business, Gloria has acquired an unparalleled understanding of how to remain competitive and persistently aware of the rapid changes in our world today. Gloria values an open and personable approach to financial planning that fosters learning and security.

Kelly and Ian go head-to-head in this Thursday's PopMaster podcast with Ken Bruce.

Deeper Roots this week digs into popular culture in the late 20th century...not so much the deeper aspect, but certainly the roots aspect. The big hits can often be traced back to the originals...sometimes in the same year, sometimes many decades before. We'll be spinning up 'the originals' this week on our community radio show. We'll take a peek at the hits and share the full blown hits including tracks from Barbie Gaye, Richard Berry, Bessie Banks, and Gloria Jones. You'll hear the originals of James Brown's "I Got You", Soft Cell's "Tainted Love", Bill Haley's "Rock Around the Clock", and a couple dozen more.

My (currently) weekly funk voyage continues with another mixed bag of funky delights. This week I bring you something from birthday boy Stevie Wonder and something from the dearly departed Betty Wright alongside some choice selections from Gloria Jones, Magnifique, Kleeer, Jayl Funk, Bill Withers, Patrice Rushen and more. Then I turn up the tempo in preparation for this week's guest mix... In hour 2 I hand over to @tshabee, all the way from Hungary. I came across this DJ via his excellent mix for The Magic Track, so I'm thrilled to welcome him to the Funkier Radio family. I love this guest mix because it's a different interpretation of funkiness to the previous guests I've had on - it's definitely more peak time, with a ghetto/ Dirtybird flavour to it - booty shaking kinda stuff. Funk is a broad church and comes in all shapes and sizes! There are a couple of his own productions in there, so if you like the sound of those please check out tshabee's Soundcloud page I'll be back with more goodness next week. Keep on being funky! HOUR 1 TRACKLIST Stevie Wonder - Superstition (Dave Gerrard Edit) Lo Fidelity Allstars - Deep Ellum... (feat. Jaime Liddell) Gloria Jones - Windstorm Betty Wright - Let Me Be Your Lovemaker Selection - Madly Computa Games - Computer Rock Second Hand Audio - Got It Like That Kleeer - Tonight Jayl Funk - Dynamite Funk The Family's Jam - Feelz Good George Clinton - Loopzilla Magnifique - Home Made Bill Withers - She Wants To (Get on Down) Patrice Rushen - Never Gonna Give You Up Won't Let You Be Claude VonStroke - Who's Afraid Of Detroit Wetness - I Think I Wanna Dance With You The Mauskovic Dance Band - Down in the Basement Vhyce - Just to Make Me TSHABEE GUEST MIX Justin Martin - Hood Rich Daft Punk - Get Lucky (DJ Madd Boat Party Garage Remix) tshabee - Fresh Funky Bass Phrixus - Here's Not the Same (Fritz Carlton Remix) Alix Perez feat. Sam Wills - Annie's Song (Shadow Child Remix) Addison Groove & Die - HydroPump tshabee - Blazin Irie Maffia - Fever In Her Eyes (Stamusic. Remix) Elder Island - Bonfires (Gallago Remix) Justin Jay - The Dip (Prince Club Dip It Good- Re-Work) Betoko & Climbers - Give Me! Claude VonStroke & Christian Martin - Peanut Butter Jelly Time Yazoo - Don't Go (Kolombo Edit)

The astonishing Gloria Jones, the incredible By Divine Right, the bountiful Joe Quijano & His Orchestra, the brilliant Oh Susanna! and the mysterious Homo Trans Futura - what more could you ask for????

Fresh from her appearance at the Skegness Northern Soul weekender, Gloria recounts her career, discusses unreleased material and her mission to improve the lives of Sierra Leon children through a self financed free school.

On Episode 2 of ALBUM SHOTS with DJ/musicologist GREG CAZ, you will hear the stories of several soul, funk, jazz, reggae and rare groove artists from the 1970's who didn't get their due.  Included are spectacular stories and sounds of Gloria Jones, John Gary Williams, Nucleus, Cornell Campbell, Louis and the Lovers and more. Find out more about these and other albums featured on DJ Greg Caz's instagram page @the_real_greg_caz

This week Ed n Gaz pull out a Pick n' Mix selection from their music bag and deliver a diversity of delights from the likes of Brinsley Schwarz, Gloria Jones, Helen Shapiro and T.Rex + brand new releases from Graham Coxon, Sensation Seekers, Fleur, Richard Dawson, The Blackheart Orchestra and Nicholas Godin. This week's Packet of Three come courtesy of Psychic TV. Tune in and turn up!Tune into new broadcasts of Atlantic Tunnel every Monday from 4-6PM EST / 9-11PM GMT.Facebook: https://www.facebook.com/AtlanticTunnel/ Twitter: https://twitter.com/ATunnelradio Email: atlantictunnell@thefaceradio.com Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

Uma versão de uma música que passou despercebida pelos anos 60, cruzou o Atlântico nos anos 70 e só chegou aos clubes ingleses porque um marinheiro queria um cigarro. No Resumo do Som de hoje eu conto essa louca trajetória da música Tainted Love, na versão do Soft Cell. Soft Cell: David Ball e Marc Almond. A cantora Gloria Jones (circa 1964)Capa do single de Owner of a Lonely Heart Tainted Love está disponível em:       Tainted Love foi escrita por Ed Cobb© 1965 Champion Records Músicas utilizadas nesta edição:Gloria Jones - Tainted LoveRuth Swann - Tainted LoveT. Rex - Truck on (Tyke)The Yardbirds - Heart Full Of Soul E também do YouTube Music LibrarySextile - DreamsRoljui - Bout NahLee Rosevere - Star SongVibe Mountain - Great HopeVibe Mountain - Santorini 2 Agradecimentos aos produtores virtuais pelo apoio:Fabiano F. M. Cordeiro Ricardo Bunnyman Gostaria de apoiar o 80 WATTS? É só escolher a plataforma de sua preferência.      This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

The 80s-est song that ever 80s-ed didn't do so well when it tried to 64 . This week we look at Tainted Love, originally by Gloria Jones, covered by Soft Cell and by Marilyn Manson.The 80s-est song that ever 80s-ed didn't do so well when it tried to 64 . This week we look at Tainted Love, originally by Gloria Jones, covered by Soft Cell and by Marilyn Manson. Outro music is Toxic by Britney Spears.

“Woman to Woman” (March 21, 1996) Don’t think of it as another Golden Girls or Designing Women, because Living Single is actually the show that originated the model for Friends. Yeah, Friends is just an all-white Living Single, and this episode proves how the original can handle a coming out story a lot better than its imitator. Dr. Justin Young joins Glen and Drew to talk Tootie, Latifah, Cousin Pam and Dr. Mary. Watch Justin’s movie, That’s Me on the Right Check out A Love Bizarre, downtown Los Angeles’ new queer art space Support us on Patreon! Follow: GEE on Twitter • Drew on Twitter • Glen on Twitter Listen: iTunes • Spotify • Stitcher • Google Play • Google Podcasts • Himalaya • TuneIn  TAnd yes, we do have an official website! And we even have episode transcripts courtesy of Sarah Neal. Our logo was designed by Rob Wilson. This is a TableCakes podcast. This episode’s outro track is “Tainted Love” by Gloria Jones.

In our "bits and chunks" episode of What Difference Does It Make, we discuss a couple Levis commercials, Principal Vernon from The Breakfast Club and the love affair between Gloria Jones and Marc Bolan. In between the discussions, we manage to talk about songs 40 to 31 that KROQ listed on their year end chart from 1982. Listen to the music on the What Difference Does It Make Spotify playlist. https://spoti.fi/2Evkc8d Follow us at https://www.wddimpodcast.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wddim/message

1. Black Rebel Motorcycle Club（黑色叛逆者摩托车俱乐部），歌名是Spread Your Love《散播你的爱》，非常好听，老派摇滚风，听起来有点儿像Led Zeppelin或者类似的乐队。2. Gloria Jones（格劳丽亚*琼斯）这首《被玷污的爱》（Tainted Love）。很多人都熟知Soft Cell（软细胞）乐队的版本，但这个才是原版，节奏感强，带有Northern Soul的感觉，每次放这首歌总是能让人跳起舞来，人声也唱得特别好。3. The Cure（治愈）乐队的A Forest《一片森林》，我从十几岁就是他们的超级乐迷，虽然我喜欢他们更晚期的作品，譬如Disintegration《瓦解》和Bloodflowers《血花》那样的作品，但这首是他们非常早期的作品，非常简单，奇怪的是有点儿像是一首舞曲作品，非常棒的歌曲。4. 我播放的另一首The Cure（治愈）乐队的歌是In Between Days《彷徨的日子》, 听起来就能激动人心，而且还朗朗上口，原音吉他的部分非常好听，律动滚滚向前。5. Yeah Yeah Yeahs乐队的Heads Will Roll，他们有很多歌我都想放，每次看他们的现场，女主唱都特别投入，他们总是充满活力，令人振奋，而且这首歌也总是能赢得听众。6. Beck（贝克）是另一个我能播放他上百首歌中的任何一首歌的艺术家，Sexx Laws《性诱法则》这首歌太有趣了，这种虚张声势的灵魂乐作品真是做到了极致，歌词荒谬可笑，管乐的使用也不可思议，但就很好听。7. Cat's Eyes（猫眼）乐队演唱的同名歌曲Cat's Eyes《猫眼》，主唱Faris是之前The Horrors（恐怖），他是一位接受过古典音乐训练的歌手，这首歌带着些60年代女声流行曲的味道，我太喜欢这首了，他们将这种风格演绎得非常好。

1. Black Rebel Motorcycle Club（黑色叛逆者摩托车俱乐部），歌名是Spread Your Love《散播你的爱》，非常好听，老派摇滚风，听起来有点儿像Led Zeppelin或者类似的乐队。2. Gloria Jones（格劳丽亚*琼斯）这首《被玷污的爱》（Tainted Love）。很多人都熟知Soft Cell（软细胞）乐队的版本，但这个才是原版，节奏感强，带有Northern Soul的感觉，每次放这首歌总是能让人跳起舞来，人声也唱得特别好。3. The Cure（治愈）乐队的A Forest《一片森林》，我从十几岁就是他们的超级乐迷，虽然我喜欢他们更晚期的作品，譬如Disintegration《瓦解》和Bloodflowers《血花》那样的作品，但这首是他们非常早期的作品，非常简单，奇怪的是有点儿像是一首舞曲作品，非常棒的歌曲。4. 我播放的另一首The Cure（治愈）乐队的歌是In Between Days《彷徨的日子》, 听起来就能激动人心，而且还朗朗上口，原音吉他的部分非常好听，律动滚滚向前。5. Yeah Yeah Yeahs乐队的Heads Will Roll，他们有很多歌我都想放，每次看他们的现场，女主唱都特别投入，他们总是充满活力，令人振奋，而且这首歌也总是能赢得听众。6. Beck（贝克）是另一个我能播放他上百首歌中的任何一首歌的艺术家，Sexx Laws《性诱法则》这首歌太有趣了，这种虚张声势的灵魂乐作品真是做到了极致，歌词荒谬可笑，管乐的使用也不可思议，但就很好听。7. Cat's Eyes（猫眼）乐队演唱的同名歌曲Cat's Eyes《猫眼》，主唱Faris是之前The Horrors（恐怖），他是一位接受过古典音乐训练的歌手，这首歌带着些60年代女声流行曲的味道，我太喜欢这首了，他们将这种风格演绎得非常好。

1. Black Rebel Motorcycle Club（黑色叛逆者摩托车俱乐部），歌名是Spread Your Love《散播你的爱》，非常好听，老派摇滚风，听起来有点儿像Led Zeppelin或者类似的乐队。2. Gloria Jones（格劳丽亚*琼斯）这首《被玷污的爱》（Tainted Love）。很多人都熟知Soft Cell（软细胞）乐队的版本，但这个才是原版，节奏感强，带有Northern Soul的感觉，每次放这首歌总是能让人跳起舞来，人声也唱得特别好。3. The Cure（治愈）乐队的A Forest《一片森林》，我从十几岁就是他们的超级乐迷，虽然我喜欢他们更晚期的作品，譬如Disintegration《瓦解》和Bloodflowers《血花》那样的作品，但这首是他们非常早期的作品，非常简单，奇怪的是有点儿像是一首舞曲作品，非常棒的歌曲。4. 我播放的另一首The Cure（治愈）乐队的歌是In Between Days《彷徨的日子》, 听起来就能激动人心，而且还朗朗上口，原音吉他的部分非常好听，律动滚滚向前。5. Yeah Yeah Yeahs乐队的Heads Will Roll，他们有很多歌我都想放，每次看他们的现场，女主唱都特别投入，他们总是充满活力，令人振奋，而且这首歌也总是能赢得听众。6. Beck（贝克）是另一个我能播放他上百首歌中的任何一首歌的艺术家，Sexx Laws《性诱法则》这首歌太有趣了，这种虚张声势的灵魂乐作品真是做到了极致，歌词荒谬可笑，管乐的使用也不可思议，但就很好听。7. Cat's Eyes（猫眼）乐队演唱的同名歌曲Cat's Eyes《猫眼》，主唱Faris是之前The Horrors（恐怖），他是一位接受过古典音乐训练的歌手，这首歌带着些60年代女声流行曲的味道，我太喜欢这首了，他们将这种风格演绎得非常好。

1. Donnie Elbert - A Little Piece of Leather  - 19652. O'Nita Hammond & Group - Mighty Fine - 19623. Little Gigi - Take The Bitter With The Sweet - 19644. The Sonics - Shot down - 19655. Tigermen - Close That Door - 19666. Bunker Hill - You Can't Make Me Doubt My Baby - 19637. Gloria Jones  - Heartbeat (Part.1)  - 19658. Shepherd Sisters - Don't Mention My Name - 19639. Dead Brothers - I can't get enough - 200610. The Bees - A Minha Menina - 200411. The Super Supers - Mama Soul - 200312. Sherri Taylor - He's The One That Rings My Bell - 196113. Lulu Reed - What Makes You So Cold - 196114. Millie Foster - What a Thrill - 196315. The Skatalites feat. Jackie Opel - Old Rocking Chair  - 196416. Byron Lee & The Dragonaires - Jamaica Ska - 196417. Ken Boothe and Stranger Cole - Arte Bella - 196518. Jackie Shane  - You are my sunshine - 196719. Dusty Wilson - Can't Do Without You - 196420. Charlie Rich - Midnight Blues - 196221. Rose Mitchell  - Baby please don't go - 195422. Miss Toni Magestro - Broken Hearted Over You - 196023. April Stevens - Teach Me Tiger  - 195924. Wanda Jackson - Funnel Of Love - 196125. The King Khan & BBQ Show - Love you so - 200226. The Pacifics  - You Can't Judge A Book - 201127. The Del-Gators - Get Down (And Get Stupid!) - 2001DOWNLOAD | SUBSCRIBE TO RAMPAGE | SUBSCRIBE TO RADIOMUTATION | FACEBOOK | ITUNES | TWITTER| INSTAGRAM|

In de uitzending een uur vol originelen van bekende nummers. De covers hadden heel vaak meer succes, maar zijn lang niet altijd beter..... Je hoort Barry McGuire, Sam Cooke, Peggy Seeger, Gloria Jones, The Great Society en Lionel Hampton.

Welcome back, Dead Freaks! In this episode we return to finish our look at the final shows of Keith and Donna. Winter '79 featured some good music but spotty coverage in the form of soundboard tapes. Fortunately, some of the audience recordings hold up and we even feature one such tape in the show. We've got some first set rockers and second set jammers on the decks. Before we get down with that, we take a few minutes to celebrate the life and voice of Jerry Garcia Band vocalist, Gloria Jones, who passed last week. Joining Jerry's side band in Fall of 1984, she sang with him and for us until Jerry passed. She then carried on with Melvin and Jackie in JGB. Gloria will be missed and fondly remembered forever. We've added some items to the redbubble shop. Additional t-shirts, hoodies, and whatnot can be found there and the prices have been reduced. Why lower prices? Because it's a final blow-out before I close out that shop and move on to the next phase of BrokedownPod merch. What's next, you ask? Who can say? Better cop a fresh logo shirt now before they're gone! The Brokedown Podcast is part of the Osiris family. Osiris is creating a community that connects people like you with podcasts and live experiences about artists and topics you love. lots of great stuff lined up for the year ahead, which will include live events, artist interviews, contests, and more. Sign up for the newsletter at OsirisPod.com to stay in the loop. Don't forget to follow the @BrokedownPod twitter account for regular news, live tweetstorms of shows as I listen, and other minutiae. We also have an Instagram account. If you like pictures of things, you can find that here: BrokedownPod Instagram. Also, if you use iTunes, please consider posting a review as it really help get the word out.

Comedians Sal Demilio and Bob Phillips visit Hyde Park Prime Steakhouse in Beachwood, Ohio. The One Hit Wonder is “Tainted Love” by Soft Cell, and the original version by Gloria Jones. The guys blab about their gigs over the weekend and kibitz about what movies to watch out for in 2019. Their lovely assistant Abby joins in and lessons are learned about why no one but Kevin Pollak should ever do a Christopher Walken impression. All on this edition of The Sal and Bob Show. Follow along on Twitter: @SalandBobShow Follow along on Facebook: facebook.com/SalAndBobShow

The best blues & soul music we can find, every week! Plus the London Gig Guide. This time: Kara Marni, Dua Lipa, Amber Mark, Desta French, Elli Ingram, Jakob Ogawa, Silk City, Mark Ronson, Moon Boots, Sipprell, Charlie Puth, Kehlani, Olivia Nelson, JGrrey, Gloria Jones, JONES, Tom Misch, Jaz Karis If you like us, tell your friends. Tweet us @londonbluesoul Thanks for listening.

Prof. Udo Dahmen, Künstlerischer Leiter der Popakademie in Mannheim, über den Megahit des britischen Duos aus dem Jahr 1981. Ursprünglich aufgenommen von Gloria Jones 1964, trafen der Sänger Marc Almond und der Produzent und Keyboarder David Ball mit ihrer Coverversion den Nerv der 1980er Jahre: mit einem kompletten Revirement durch elektronische Sounds, Synthesizer und Drum Machine.

Our opening Salvo brings us back to "Tuesday Afternoon" covered by NJ's own Doughboys....hopefully they'll be no "Morning Dew" via The Jeff Beck Group. If there is let's hope "Mr. Soul" and the Buffalo Springfield can handle Elvis Costello and his "American Gangster Time". Set 2....On this day in 1960 PSYCHO from Alfred Hitchcock debuted so why not mark the day with The Sonics from 5 years later with their punk offering: "Psycho".....Porter Wagoner had a pretty shitty time of it when he came home to find his wife with another man....so he tells us about the "Cold Hard Facts Of Life". Keeping with the [Alt] Country vibe is Sarah Shook & the Disarmers whose songs take on the usual country spin on shitty relationships, bad decisions, and excessive alcohol consumption for damn good reasons "The bottle never lets me down"...time to pick up the pace with "My baby likes to boogaloo" via a 45 on Tru-Glo-Town / 1965 by Don Gardner. Set 3....we're visiting Brisbane Australia and The Saints "Know Your Product". The Saints were one of the first punk bands predating The Sex Pistols of the UK by about 6 months....Angela McClusky checks in from Scotland with "It's Been Done"...what a set of great pipes from 2004! Dave Pike asks the question "Why Not?" off his LP from 1961 called Pike's Peak and The Clutters cover Gloria Jones classic "Tainted Love".. Set 4 and out...… Abunai! 's take on The Stones "Citadel" leads into Yo La Tengo's "Black Flowers" off of "I Am Not Afraid Of You And I Will Beat Your Ass"... That covers it for this week......

One artist's flop is another artist's ticket to fame. We listen to the 1965 b-side failure "Tainted Love" by Gloria Jones and it's revival through English synthpop duo Soft Cell.

Join us for a discussion of toxic obsession pretending to be love, as we review episodes of The Twilight Zone, Tales From the Crypt, and Friday the 13th: The Series.    Thanks as always to Chris for our show theme! Outro Music: "Tainted Love", performed by Gloria Jones  

This is season two's bonus episode — one like we've never done before. Today's episode features an entire EP of covers recorded by LA-based singer/songwriter C.S. Armstrong. Across a low key but illustrious career Armstrong has developed a sound that is ruthlessly soulful, one that calls back to decades past while charging forward and defying boundaries.  This is an EP of covers, composed of timeless songs recorded by Armstrong with the intention of being placed in major motion pictures. For reaons unknown many of these songs never received soundtrack placement, however Armstrong's rendition of Bobby Bland's "Ain't No Love in the Heart of the City" is currently in Taraji P. Henson's latest film Proud Mary. Joining the table for today's episode is a NOT97 alum, our first ever recurring guest, Amsterdam's own Van Common. Since August, the Dutch artist has been traveling around America and was gracious enough to book end his trip with appereances on the show — from season one's bonus episode to now.  01 "Five to One" originally by The Doors 02 "Not At All (interlude)" by C.S. Armstrong 03 "Ain't No Love in the Heart of the City" Originally by Bobby "Blue" Bland 04 "With a Little Help From My Friends" Originally by The Beatles 05 "Tainted Love Originally" by Gloria Jones 06 "I Need You" by C.S. Armstrong Album available: https://soundcloud.com/lifeofarmstrong/sets/covers-ep Art by Michael Brennan © NOT 97. All music ℗ & © their rights holders, used by NOT 97 with explicit permission.  

Songs by The Leaves, Love, Gloria Jones, Half Man Half Biscuit, The Clique and Johnny Pineapple are played and discussed, as the theme is original versions of songs you probably didn't know were covered.

Sue Norris explores how a B-side by a little known American singer, Gloria Jones became a cult hit on the 1970s English northern soul scene, before being turned into one of the most recognizable pop songs of all time by Soft Cell. Credits: Universal Music TV, Universal Music Enterprises, Parlophone UK, Interscope Records, The Island Def Jam Music Group, Tacca Musique See acast.com/privacy for privacy and opt-out information.

The End of the World Vol 1 A collection of '60s girl group favorites... 1) He's Got the Power by The Exciters 2) Break-A-Way by Irma Thomas 3) He Hit Me (And It Felt Like A Kiss) by The Crystals 4) You Bet I Would by The Ronettes 5) Our Love It Grows by Myrna March 6) Baby Roo by Connie Francis 7) Bang Bang (My Baby Shot Me Down) by Cher 8) Drummer Man by Nancy Sinatra 9) Now That You're My Baby by The Chiffons 10) Heartbeat by Gloria Jones 11) Blame It On the Bossa Nova by Edie Gorme 12) You'll Lose A Good Thing by Barbara Lynn 13) Train from Kansas City by The Shangri Las 14) Coming On Strong by Brenda Lee 15) Some of Your Lovin' by Honey & the Bees 16) The End of the World by Skeeter Davis

Part 6/6 of the show's third "sesonal episode" and its ninth overall episode, where Paul, Ice T, Merryn and Maria discuss cover songs that happen to be love songs. 

A volte ritornano! Nina Zilli ci porta alla scoperta delle sue canzoni preferite. Stavolta si comincia con Gloria Jones, Samuele Bersani, Little Tony, Nas e Damian Marley, John Holt, Four Tops, Alicia Keys e tanti altri. E il nostro momento preferito della giornata: la rubrica beat!