Podcasts about go let

It's episode 208 and time for us to talk about our Reading Resolutions for 2025! We discuss our love of spreadsheets, the churn of books in public libraries, literacy, unschooling, and more!  You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray

In this episode Nicole dives into the transformative "Let Them Theory" developed by Mel Robbins. Known for her impactful insights on personal growth and motivation, Mel introduces a radical approach to empowerment that challenges the way we think about control and support in our relationships. Join us as we explore the core principles of the Let Them Theory, which encourages us to step back and allow others to take the reins in their own lives.

SUGARCUBES - Motorcrash (Life's Too Good) 1988ENGLISH BEAT - Dream Home in New Zealand (Wha'ppen) 1981SPLIT ENZ - Missing Person (True Colours) 1980XTC - Burning With Optimism's Flames (The Black Sea) 1980HORIZONTAL BRIAN - Playing With The Babies (Vertical) 1983 *request*ADAM ANT - Strip (single) 1983BIG COUNTRY - Harvest Home (The Crossing) 1983THE DAMNED - Is It a Dream (Phantasmagoria) 1985THE CHURCH - Dropping Names (Seance) 1983THE CHAMELEONS - Inside Out (Strange Times) 1986THE CORN DOLLIES - People Gone (Map Of The World EP) 1988THE HOUSEMARTINS - Sitting On a Fence (London O Hull 4) 1986NEW ORDER - All Day Long (Brotherhood) 1986PURE JOY - Turmoil (Unsung) 1988SKELETAL FAMILY - Streetlight (Futile Combat) 1985MODERN DANCE - The Victim (It's All Just To Dance) 1985SIOUXSIE & THE BANSHEES - Candyman (Tinderbox) 1986GENE LOVES JEZEBEL - Desire (12" single) 1986GARY NUMAN - Berzerker (Berzerker) 1984WORLD PARTY - All Comes True (Private Revolution) 1986CONCRETE BLONDE - Happy Birthday (Free) 1989UV PROM - Mobile Home Murder (Field Of Vision EP) 1985THE REDS - Laughing (Shake Appeal EP) 1984THE REPLACEMENTS - Black Diamond (Let It Be) 1984THE VANDALS - Mohawk Town (When in Rome) 1984THE MINUTEMEN - Viet-Nam (Double Nickels on the Dime) 1984ADOLESCENTS - Wrecking Crew (S/t) 1981LAZY COWGIRLS - Time (s/t) 1985THE REDUCERS - Let's Go (Let's Go) 1984X - Breathless (single) 1983HOODOO GURUS - In The Wild (Mars Needs Guitars) 1985

Check out the latest Stay or Go!See omnystudio.com/listener for privacy information.

veronika and kyle are back once again with a magical episode of the nevermind. podcast. This time they talk about their gym experiences, parasocial relationships, and even the tik tok ban? dive in and hear it all.

THE DAMNED - Shadow Of Love (Phantasmagoria) 1985UNTIL DECEMBER - Forgive & Forget (s/t) 1986GENE LOVES JEZEBEL - Drowning Crazy (House of Dolls) 1987LORDS OF THE NEW CHURCH - Livin on Livin (s/t) 1982THE STRANGLERS - All Roads Lead to Rome (Feline) 1982KON KAN - I Beg Your Pardon (single) 1988 *request*NEW ORDER - Sunrise (Low Life) 1985FLESH FOR LULU - So Strange (s/t) 1984DRAMARAMA - Scenario (Cinema Verite) 1985THAT PETROL EMOTION - Big Decision (Babble) 1987WANG CHUNG - Fire in the Twilight (Breakfast Club soundtrack) 1984 *request*THE MEMBERS - Working Girl (s/t) 1982ENGLISH BEAT - Two Swords (I Just Can't Stop It) 1980MADNESS - Missing You/Mrs. Hutchinson (Madness 7) 1981CAMPER VAN BEETHOVEN - Good Guys & Bad Guys (s/t) 1986GALAXIE 500 - Parking Lot (Today) 1988YO LA TENGO - Clunk (New Wave Hot Dogs) 1987THE FELIES - Away (Only Life) 198828th DAY - Burnsite (s/t) 1985THE OPPOSUMS - My Thing (Marsupial Eruptus) 1989LET'S ACTIVE - Easy Does (Cypress) 1984WIRE TRAIN - Love Against Me (In a Chamber) 1983PURE JOY - Standing on a Bridge (Unsung) 1988GRAPES OF WRATH - Stay (Now & Again) 1989WINTER HOURS - Hyacinth Girl (Wait Til the Morning EP) 1986O POSITIVE - With You (Only Breathing EP) 1985THE SPLIFFS - Never Say Goodbye (House of Seven) 1987THE REDUCERS - Let's Go (Let's Go) 1984

Patrice nous présente des sujets de machine à café sur les vedettes. Pierre-François nous parle du respect des convictions des aînés. Marie-Josée a essayé des recettes de vedettes.

Plans go sideways all the time, things happen. How do we greet those moments? And how do we learn to recognize all the places we're stuck? Once we can begin to let go, then we can let things be without getting caught up in the first place. This is the freedom the Buddha promised, "liberation through not clinging."Recorded Dec. 7, 2024 in the virtual worldSend me a text with any questions or comments!Visit Mary's website for more info on classes and teachings.

This message series will help us recognize that much of the weight we carry comes from things God never intended for us to bear & His solution is simple: let go of the unnecessary baggage and start cleaning out this Christmas. By decluttering our we can begin to open up new space and make room for something new God has in store for us.

In this episode of the "Let's Go - Let's Grow" podcast, Des Penny shares a deeply personal journey of self-reflection and renewal. At 70 years old, he admits to having spent too much time listening to others' opinions and not honouring his own beliefs, leading him to tell himself negative stories that undermined his purpose. These false narratives resulted in self-doubt, physical illness, and mental exhaustion.   Des describes how he mistakenly believed that his professional life was over and that he should retreat to make way for the younger generation—a lie he now recognises. Despite his significant achievements, including starting successful businesses, winning national awards, authoring books, and being a devoted father and grandfather, he felt compelled to step back due to societal expectations.   A turning point came when he broke down during a public speaking event, realising that his inner spirit was in conflict with the false stories he had been telling himself. Inspired by reading "Atomic Habits" by James Clear, Des took responsibility for his actions and acknowledged that he had given away his identity. A week of solitude and reflection in Bali helped him reconnect with his purpose.   Des emphasises that helping others has no expiration date and challenges listeners to question whether they are accepting untruths or striving to make things better. He encourages everyone to affirm, "I am enough," and to recognise their value in the ongoing "jigsaw of life." His message is a call to embrace one's true self and continue contributing meaningfully, regardless of age or external opinions.

Attitude of Braditude

In this insightful episode of the "Let's GO – Let's GROW Podcast," host Des Penny takes a deep dive into the concept of "Repositioning Yourself for Growth." Des draws on his extensive experience in leadership and personal development to discuss why staying relevant in a fast-paced, ever-changing world is crucial for both personal and professional success. He explains that growth isn't just about being the biggest or the best, but about constantly repositioning ourselves to remain relevant and aligned with our core values and passions. Des underscores the importance of embracing a growth mindset, where the focus is on continuous learning and adapting rather than striving for perfection. He shares his perspective on resilience, not merely as a means of coping with challenges but as a powerful tool for bouncing back and thriving in the face of adversity. Listeners will learn how to view criticism as an opportunity for growth rather than a setback, and how to use the "KEEP STOP START" model to strategically evaluate what actions and behaviours to maintain, cease, or begin in order to move forward effectively. Throughout the episode, Des also touches on the value of bravery and vulnerability in the process of repositioning. He encourages listeners to align their actions with their beliefs, to trust their instincts, and to take decisive steps even when the path forward is unclear. By being open and authentic, individuals can foster deeper connections and gain the support needed to navigate change successfully. This episode is packed with practical advice and inspiring insights, making it a must-listen for anyone looking to reposition themselves for growth and success. Whether you're facing a significant change in your career or personal life, or simply want to ensure you're moving in the right direction, Des offers valuable guidance to help you make the right decisions. Tune in to discover how to turn challenges into opportunities and take proactive steps toward your goals. Don't miss out on the chance to reposition yourself for a brighter, more successful future.

This week the boys are talking about the concept of letting go and letting people do what they will. Email: TheNervousNellies@gmail.comInstagram: Instagram.com/thenervousnelliesPatreon: Patreon.com/thenervousnelliesCover art by Gabriel M instagram.com/xxRoboSexualxxMusic by Yellow Omm provided by FreeMusicArchive.org

Katie has decided to pick her battles and start letting stuff go and Rach asks when do you let them grow up and what's age appropriate.See omnystudio.com/listener for privacy information.

"Connect with Us: Follow us for updates, bonus content, and discussions about all things South Park. On Facebook: @SouthParkPod On YouTube : @SouthParkPod On TikTok : @SouthParkPodOn Twitter: @SouthParkPodsOn Hive : @SouthParkPod  On Instagram: @SouthParkPodcastJoin our community of fans as we laugh, debate, and celebrate the genius of Trey Parker and Matt Stone's iconic creation. https://www.facebook.com/groups/spfanclubSubscribe and Support: Subscribe to SMB South Park Review Crew on your favorite podcast platform to never miss an episodeContact: Got a question, suggestion, or just want to share your thoughts on South Park? Reach out to us at suckmyballspod@gmail.co or visit us at linktr.ee/southparkpod

In this episode I talk you through how letting go really is the best solution

What a conversation over the Mike today with the power of the Holy Spirit and the Word of God as the title says let it go, and let God take the steering wheel of life. Simon and Ben through the revelation of the holy spirit speak openly about letting the worldly attribute go.Biblical reference - Matthew c11 v28-30Support the Show.

Part two and we are in straight to the scripture the title says it all let it go and let God, the fight of letting materialism, ministry, Church, and people go there is a season of change. Have we got the faith to let go and let God, it's time to move on.Biblical reference - Ecclesiastes 3 v1-8Support the Show.

Rains Retreat teachings from 1st August to 17th October 2018. Teachings given by the abbot Ajahn Brahm at Bodhinyana Monastery in Serpentine (southeast of Perth, Western Australia). The main audience was the Sangha.   Track 5/12: Let go, Let it be, Renounce – 5th September 2018. See the full set here. The BSWA is now using Ko-fi for donations. Please join us on Ko-fi and cancel your donations via Patreon. Thanks for your ongoing support! To find and download more precious Dhamma teachings, visit the BSWA teachings page: https://bswa.org/teachings/, choose the teaching you want and click on the audio to open it up on Podbean.

SCRIPTURES luke 6:43-45 2 corinthians 6:11-18 the story of samson judges 14-16 --- Send in a voice message: https://podcasters.spotify.com/pod/show/aliyah-goldson/message Support this podcast: https://podcasters.spotify.com/pod/show/aliyah-goldson/support

With 50 days to go to the Paris Olympics, it's all systems go for athletes, coaches, and media. Sean Ingle will be covering his 7th Olympic Games, and he joins us from Rome's European Track and Field Championships to talk about some of the themes we expect to make the news at these Paris Games. They include tech's pervasive and unavoidable influence on performance, a simmering feud in the world of anti-doping, and the evolution and relevance of the Olympic Games in the face of both external and internal pressures. We also present The Official Science of Sport surveys in which you get to vote for your favourite event of the Games, and our ambitious consensus project to classify the Olympic Sports by their physiological and psychological demands. A busy period of great sport starts here!Show notes:Here is where you sign up to become a Patron and get access to our awesome and informative Discourse communityThe Discourse page, for those who are already Patrons of the pod (you sign in with your Patron log-ins)If you want to join our survey to rate the Olympic sports for their athletic components, here is the link to the once-off surveyOur 'bracket' challenge to pick your most engaging, popular specific eventWe spoke of tech in cycling on the show, and here's an announcement from Team GB/Lotus about their track bikes for their Paris campaignHere's the paper with Kenenisa Bekele has a co-author, that recognizes that the new era performances, powered by super shoes, and aided by wavelights, need an asterisk alongside themFollow Sean Ingle on Twitter/X Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

OMD - Radio Waves (Dazzle Ships) 1983PETE SHELLEY - Telephone Operator (XL-1) 1983THE FOUNTAINHEAD - Someone Like You (Voice of Reason) 1988THE SUBURBS - Love Is The Law (s/t) 1984MIDNIGHT OIL - Sometimes (Diesel & Dust) 1988RED ROCKERS - Fanfare For Metropolis (Good As Gold) 1983THE THREE O'CLOCK - I Go Wild (Baroque Hoedown EP) 1982PURE JOY - Standing on a Bridge (Unsung) 1988THE DICKIES - Rosemary (Stukas Over Disneyland) 1983HUSKER DU - Something I Learned Today (Zen Arcade) 1984DRIVIN N CRYIN - Scarred But Smarter (Scarred But Smarter) 1986GUN CLUB - Sex Beat (Fire Of Love) 1981X - Los Angeles (Los Angeles) 1980THE REDUCERS - Let's Go (Let's Go) 1984THE REPLACEMENTS - Shiftless When Idle (Sorry Ma...) 1981THE FALL - Cruisers Creek (This Nation's Saving Grace) 1985SOFT CELL - Mr. Self Destruct (This Last Night in Sodom) 1984POLYROCK - Changing Hearts (Changing Hearts) 1981A CERTAIN RATIO - The Fox (Graveyard & The Ballroom) 1980JOY DIVISION - Dead Souls (Still) 1981JAPAN - Quiet Life (Quiet Life) 1979THE PRIME MOVERS - Hear The Call (Museum) 1984DEL AMITRI - Hammering Heart (s/t) 1985GO-BETWEENS - Head Full of Steam (Liberty Belle & The Black Diamond Express) 1986THE JACK RUBIES - Book Of Love (Money In Your Smile) 1989INXS - This Time (Listen Like Thieves) 1985ENGLISH BEAT - Save It For Later (Special Beat Service) 1982THE SPECIALS - Gangsters (single) 1979JOE JACKSON - Tonight & Forever (Big World) 1986THE JAM - Set The House Ablaze (Sound Affects) 1980U2 - Like a Song (War) 1983

Warning: I drop F

Genjo Marinello Osho gave this Teisho on the first day of Spring Sesshin, 2024. This talk examines how to pass through the gateless barrier of Zen using the mantra: let go, let be. It also explores Genjo's relationship to Dr. Glenn Kangan Webb.

Mini chat about understanding your worth and taking the leap into unknown territory. Reflect back on your successes, allow the universe to show you better. --- Send in a voice message: https://podcasters.spotify.com/pod/show/shawn670/message Support this podcast: https://podcasters.spotify.com/pod/show/shawn670/support

Sometimes manifesting your desires is as simple as letting go of control. In this conversation, Kimbaley inspires you to release control, let go, and let flow.This conversation is sponsored by:Astro-Numerologist, LLoyd StrayhornDownload the free Astar8 numerology app: https://www.astar8.comContact LLoyd Strayhorn, Astro-Numerologist: https://linktr.ee/numbersandyouJoin The Manifest On Purpose Community:Click support on the following webpage. https://www.spreaker.com/show/manifest-on-purposeSoul Therapy Sessions By Kimbaleyhttps://www.kimbaley.comLimited Time Promo Code (soul). Enter at checkout.Numerology Reports:Personal Numerology Reports, Yearly Report, Relationship Compatibility Report, Business Numerology Report.https://www.kimbaley.com/category/numerology-chartsMagickal Crown Hair OilThe all natural hair oil that strengthens, lengthens, protects, and repairs your hair. Protect your crown.https://www.kimbaley.com/category/all-productsInterested In PodcastingLearn the business of podcasting or create your own. Sign up for podcast mentorship or get your podcast set up for you.Podcasting ServicesPlease Subscribe: https://www.manifestonpurpose.netwww.kimbaley.comEmail Kimbaley With Your Comments and Topic Suggestions: connect@kimbaley.comI am forever grateful for your love and support. To show love and gratitude: (Cash app): $KimbaleyWilliamsBecome a supporter of this podcast: https://www.spreaker.com/podcast/manifest-on-purpose--4746925/support.

www.wonbuddhismnc.org/donations

Join us for Episode 11, our final episode of The Write Attention podcast Season 1. Brittany and Jeannetta reflect on the conversations and lessons learned this year.  We discuss how our process has changed over a year, including how we have learned from other art forms, which guests/ideas from the podcast which have influenced us, and importantly, how to let-go and let-come in our process.    Questions What, if anything, have you integrated into your own practice or what about your practice has changed in this last year as a result of the conversations we have had on the podcast? What other art forms have you been exploring (and how) to add to your writing practice? What do you appreciate about your writing this year? What would we like to explore in the next season?   Show Notes   The Book Project,https://lighthousewriters.org/   Erika Krouse, https://www.erikakrousewriter.com/  Toni Morrison quote on you controlling your characters, https://www.instagram.com/p/CyV-dhjNXcX/ Arianne Reiche, Episode 7, “Place, Pecularity & Persistence” https://writeattention.podbean.com/e/place-peculiarity-persistence/ ,  Collette Walker, Episode 9, “Personal Revelation & Reader Responsibility”, https://writeattention.podbean.com/e/personal-revelation-audience-responsibility/  Twila Tharpe, The Creative Habit, https://www.goodreads.com/book/show/254799.The_Creative_Habit  Johnny Ray Gill, https://www.imdb.com/name/nm3331401/  Nicola Andrews, “Mentorship and Community”, https://writeattention.podbean.com/e/mentorship-community/  Annie Ernaux, A Woman's Story, https://www.goodreads.com/book/show/59452779-a-woman-s-story  Helle Helle, https://www.goodreads.com/author/list/1203754.Helle_Helle  James Baldwin,  https://lithub.com/write-a-sentence-as-clean-as-a-bone-and-other-advice-from-james-baldwin/ Save the Cat, https://savethecat.com/ Lauren Samblanet, Episode 6, “Support and Embodiment  for the Writing Self,” https://writeattention.podbean.com/e/support-and-embodiment-for-the-writing-self/ Episode 1, “Show, Tell and Practice,” https://writeattention.podbean.com/e/show-tell-practice/ Radical Honesty, https://www.radicalhonesty.com/

You all heard the song let it go well this is the Star Wars parody of let it flow honestly I think it's improvement

Anne de la Croix, PhD,  co-author of the Reflective Zombie, talks about what not to do with learners when it comes to Professional Identity Formation (PIF), what stimulates PIF, the importance of reflection and when reflection should occur with Barbara Lewis, MBA. 

The Blazer Focused Podcast, hosted by The Oregonian/OregonLive's Aaron Fentress and Craig Birnbach, gets you ready for Tuesday's start of Training Camp with a recap of what went down during Media Day. Deandre Ayton expressed confidence. Anfernee Simons is ready to assume a leadership role. Scoot Henderson and Shaedon Sharpe need time to grow. And GM Joe Cronin publicly discusses the messy summer that ended with trading away Damian Lillard. Learn more about your ad choices. Visit megaphone.fm/adchoices

Time to forgive and release anyone/thing that is standing in the way of your Divine plan and purpose. So you go activate your success and victory. Like, share and subscribe to our podcast. Join the Vivalife SPF ME experience: https://www.vivalifespfme.com/vivalifeexperiencepackages

The Rockin' Eddy Oldies Radio Oldies Show featuring Hank Ballard & The Midnighters - "Let's Go Let's Go Let's Go", Gene Pitney - "24 Hours From Tulsa", Conway Twitty - "I Need Your Lovin", Dick Dale & His Deltones - "Let's Go Trippin", Marty Robbins - "The Story Of My Life", (Twin Spin) Billy Myles - "The Joker" / "Honey Bee", The Sherrys - "Pop Pop Pie", Kai Winding - "More", Chubby Checker - "Popeye Hitchhiker", Sam Cooke - "Summertime", Marvelettes - "Beechwood 45789", Nelson Riddle - "Route 66", The Beach Boys - "Spirit of America", The Everly Brothers - "Devoted To You", The Continentals - "Picture of Love", The Duprees - "My Own True Love", Neil Sedaka - "Living Next Door To An Angel", Fleetwoods - "Lovers By Night, Lovers By Day", Dave Brubeck - "Take Five"

What are you willing to release in order to be happy? Are you willing to give up everything standing in the way of your happiness and authentic self? As you move forward, you shouldn't take everything with you. Dragging things from your past into each of your new todays makes your life very heavy, and it becomes difficult to see it for what it truly is. In this episode of the For Kick-ass Women Only podcast, Kathy explains the importance of letting go of your past and the things stopping you from becoming the best version of yourself. She also explains the power of releasing lies you tell yourself, your expectations of others, and the expectation that your life will change without your participation. Listen in to learn why it's time to step into your power and take accountability that you will change your life.   WHAT YOU WILL LEARN: Why you shouldn't carry your past into your present to make your life less heavy. The importance of releasing your old disappointment and making your current life what you want it to be. Release the lies you're telling yourself and be honest about how you truly feel. Release the expectation that everything will improve on its own without you participating in it. Step into your power and take accountability that you will change your life. Release the expectations that others will show up in a certain way in your life. What would you be willing to give up in order to be happy? You deserve more, and you must be willing to release things standing in the way of your authentic self.   STANDOUT QUOTES: “The should is like this fantasy life that you created, and your current life can never live up to that fantasy life because you're making it all up.”- Kathy [03:07] “Release the lies that you're telling yourself and just get super honest about your life and how you feel about everything.”- Kathy [05:27]   TIME TO RELAX AND RESET!  Ladies, it's summer! Woo hoo! Usually, summer is a chance to relax and kick back before moving into the Fall when everything goes back to 'business as usual'. But what if THIS summer could be an opportunity to springboard you into the life you truly want to be living? If you're ready for a life reset, then go to: https://iwanttopivot.com and purchase the SUMMER RESET BUNDLE. For ONLY $11.11 you get access to two amazing resources that will walk you through the process of re-envisioning yourself and your life, figuring out what is most important to you where you are today, and writing an amazing next chapter of your life.   STAY CONNECTED: Check out the video of this episode on my YouTube channel: https://youtu.be/BDrxOGgq7N4 Learn more about me here: https://coachkathywilson.com  

Are you truly living the life of Enlightenment?

LETS GO   Seventh Sunday of Easter, John 15:26-16:4

In today's episode; Trisha, Jeanette, Matt, and Shawn discuss the upcoming 2023 Summer Tour.  They also discuss the three shows in Mexico and introduce a new scoring scale.

Sometimes it's hurting you more to hold on than to let go. Just let it go. --- Send in a voice message: https://podcasters.spotify.com/pod/show/brandon-snow/message

Letting go can bring us peace, relaxation and even new directions and opportunities in our life. But it's hard to let go of our fears and need for control. It can be hard to trust that the Universe has our back and that God really knows what He's doing. How do we let go and let Goddess? ----- ⁠Please follow me on Insight Timer!⁠ Rate, Review & Subscribe on Apple Podcasts. If you like this podcast ⁠click here,⁠ scroll to the bottom, tap to rate with five stars, and select "Write a Review." Then be sure to let us know what you loved most about the episode! Support Spiritual Psi-Kology on ⁠Patreon.⁠ Renee's book, workbook and guided audio series "Allies & Demons: Working With Spirit For Power And Healing." is now available on ⁠Amazon,  Kindle and Audible⁠. Awaken the wisdom of your authentic self with these 15 transformative processes of Spiritual PsI-Kology. -- ⁠Click for a FREE Download⁠: Ch. 1 and 1st Inner Journey of Allies & Demons. Spiritual Psi-Kology combines the ancient healing and wisdom traditions of Shamanism and Buddhist philosophy with the best of Western psychology to create a powerful medicine for the mind, body and spirit. If you'd like to learn more about how Spiritual Psi-Kology might be helpful in your life, get details about my Mentorship program, or set up a FREE 30 minute consultation, please visit ⁠ReneeMcKenna.com ⁠ Follow me on ⁠Instagram⁠ . --- Send in a voice message: https://podcasters.spotify.com/pod/show/spiritualpsikology/message

In this first episode of the 2023 season Alan gets back in the studio for some good advise and conversation about the technology being used in the industry now and in the future. Alan also makes special announcement of the newly released Licensing+ course being offered by the The Adjuster Guy.com school. Check out this episode for good solid conversation as well as what new with training at TAG.

This episode discusses the struggles we encounter with accepting Allah's timing when it's against our own plans. How can we Let Go and Let Allah in times of uncertainty?

Can You Rebrand and Rebuild Yourself? Yes, Team 243: Let it Go. Let it Be. Exploring and building purpose in chaos. Turning uncertainty into purposeful action. What men really want, it's probably not what you think. A look at Dr. Viktor Frankl's work and how it can benefit you. Improve your relationships with Logo Therapy. Perfect your passion. Our lives and time is precious. Do you consider your life, or have you been told that your life is worthless or rubbish.   Be sure to Like and Follow us on our facebook page.  Get daily inspiration from our blog www.wayofwarrior.blog. Learn about our non profit work at www.likeitmatters.net/nonprofit. Check out our website www.LikeItMatters.Net.   See omnystudio.com/listener for privacy information.

Hello and welcome back to the Oasis Podcast! Today we are going deep breaking down Go Let It Out Support the show patreon.com/oasispod Guests are - Danny Tipping from The Kynd  Follow @KyndThe Check out the new album https://thekynduk.bandcamp.com/ or stream it everywhere I'll be at the gig in Jericho Tavern 16th June come along if you can https://www.datathistle.com/event/2069310-speakeasy-presents-the-institutes-and-the-kynd/ Plus Nick Johnson @blueinyorkshire. Check out his show on https://realrockradio.co.uk/ plus Oasis tribute Standing On The Shoulder Of Oasis https://standingontheshoul.wixsite.com/sotsoo Also audio messages from Ollie Ford @MrOllieFord and Steve Mahoney @MahoneyReturns - check out Steve's upcoming gig March 24th at The Harrison in London https://www.wegottickets.com/event/573270?fbclid=IwAR1ICVK9A_Ay2IMMom2V5Zlwy-lzQIBbqt3P9gnmTy4kjJgm9PTeeJ

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Cheers to another year! Make sure yall stay tapped in for episodes dropping every Monday! Start your weeks off with some music from LOUD Radio. Special shoutout to all the artist from Milwaukee and beyond that has sent music to the show in the last 4 years. This year, LR takes off!Merch coming soon, be on the lookout!Happy Black History Month! WE ARE BLACK HISTORY #LOUDRADIOSocial Media: @loudradiopodcast @sheedfarraMusic By:D. Mayo- POP SHITToneDaMan- Out of FavorsA1Freshh- Fuckin WitchuCardiac Da Pulse- Up and UpQuierra Imani- Let Me Show YouIradescent- ExhaleDr. Swavy- Let's Go Let's RollGrey Genius- Willing414 Dank- Come ThruMoney Hooks- Numbers Game414 Lil Moe- UnderestimatedP. Tae- Ms StrangeTajh Virgil- Trust IssuesBre Bougie- Like DatA.C. the Ruler x Saint Miguel- Night SongBrav3- Vibe TonightPaperstacks- FullBlkShaggy- Unbelievable

Jackie's family had always wanted to live in America so her family moved to LA, but for various reasons, it didn't work out. She needed to set something up that was relevant to her degree in order for it to be seen as successful in the eyes of Immigration and be able to stay in the States. She stumbled across Bookkeeper Business Launch in 2016 and it showed her a way to make her plan real. [4:50] Jackie officially launched her business in January of 2017, and she landed her first client a few weeks into the new year. She invested in SEO and advertising and tried to do the marketing herself until she realized that she had to stop trying to do everything and going through the feast or famine cycle. [6:40] Jackie now has 21 clients, most of which are being billed a set amount each month. A few of them have the habit of showing up in August needing all the accounts up to date for the previous year. [8:10] The best part of the business is in analyzing the data, interpreting the numbers, and forecasting where the business is going. That's where Jackie can make a real difference in her client's businesses. [10:40] Jackie isn't going to settle for a mini empire; she's going to build a mega empire. She wants her business to also be her retirement. She would like to grow a sustainable business that is either possible to sell or for someone else like her to take it over and run it without her having to be there. [14:30] Building a business to be sold makes it worth much more than a job that is disguised as a business. [15:20] The challenge that Jackie is facing today is two fold. She needs to be more strategic, and she also needs to get the right people in place, but she's run into some trouble on that front and is now questioning her judgment. [18:15] Jackie does not take time out to educate herself. She feels like she isn't taking the time to absorb content that would help her develop personally. If she wants to change this, she needs to schedule in time for educating herself when she's at her best. Start with a small amount of time in a place where you don't usually work. A change of environment can change the way you think. [26:15] Make it a date with yourself and make it sacred. It doesn't matter where you go, but that you enjoy it and your brain is primed to focus on yourself. It's also not necessarily about reading more books, you can find a lot of clarity simply by writing out your thoughts on a regular basis. [28:40] Creating a vivid vision for your life is even more important than the vision for your business. If you reverse the order, your life will contort around your business instead of your business being shaped around your life. [30:05] In order to create a business empire, it has to be able to run without you. Eventually, you want to only be involved with things that are your unique abilities. [32:15] Jackie wants to have someone sitting alongside her, but she has had some big difficulties with it, either with wasting time correcting mistakes or trying to train someone who is unable to learn. Someone who is willing to challenge Jackie is what she is looking for, so maybe what she actually needs is an accountability partner or coach instead of just an employee. The people you ultimately hire should complement your weaknesses. [38:45] Jackie's existing team is servicing the clients really well, and sometimes the person you need to hire already works for you. Being able to leverage your team more can be the solution you're looking for. [42:15] Start with the task audit and offloading the low hanging fruit to them, then start mining your existing team as a source for more people if you still need to. [43:35] Jackie's first action will be to book an hour and a half for herself to read, write, and develop. Then, she's going to reach out to her former employee and see if she would be interested in working with her as an accountability partner.   Mentioned in this episode: AllCents Bookkeeping     Contact us about the show: hello@ilovebookkeeping.com

Schick and Nick discuss Scott Frost's opening statement. Schick discovers that the real stumble happened with the moderator. The guys examine the moderator's flub ad nauseum. Spectrum News gets a plug. Nick uses a meat thermometer. Tom Shatel puts Frost on blast. The guys listen to past opening statements from Scott Frost. What Frost should've said. Does he regret coming back to Nebraska? Skeptimism. The boys read a great Sipple Twitter thread.Connect with us! SchickandNick.com Facebook, Twitter, or email We would hate it if you missed an episode! So PLEASE subscribe, rate the pod, and throw us a review. It helps us out so much! We'd likey that. A Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.