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8 episodes with Goody Goody
3 episodes with Goody Goody
2 episodes with Goody Goody
3 episodes with Goody Goody
3 episodes with Goody Goody
2 episodes with Goody Goody
2 episodes with Goody Goody
2 episodes with Goody Goody
2 episodes with Goody Goody
La vocalista Eugenie Jones acaba de lanzar un nuevo trabajo discográfico titulado 'Eugenie' y que es un álbum de Jazz vocal apto para todos los públicos. Lo estrenamos y repasamos novedades en la música Smooth Jazz de artistas como Kim Scott, Lowell Hopper, Peter White y Frederic Gassita. En el bloque del recuerdo rescatamos el disco lanzado en 1978 por Goody Goody, un proyecto creado por el vibrafonista Vince Montana Jr. tras su salida del sello Salsoul Records.
This week's Better With Running podcast opens with Zacca and Chriso sharing their training updates. Chriso is on the mend, logging 28km total, including some continuous running, and supplementing with strength work and Pilates. His return to running has been successful. Zacca maintained consistency, racking up 78km and switching up his routine with a Saturday long run. He also sought advice from a sports doctor and The Balanced Runner, leading him to implement some technique changes. The #teamrun2pb athlete interview features Auckland-based runner, Tom Pedlar. Tom discusses his running journey, his coach Andy Buchanan, his sub-3-hour marathon PB, and his recent sub-40-minute 10k. The quick-fire questions round reveals the challenges of finding size 15 shoes and confirms the legendary status of Goody Goody Gum Drop ice cream in New Zealand.
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**Music Mick's Mick's Vibez Show Replay On Trax FM & Rendell Radio. This Week Mick & The Mixvibez Show Gave Us 70's & 80's Grooves With Dance Classics From Celi Bee & The Buzzy Bunch, Goody Goody, Sylvester, A Taste Of Honey, Evelyn Champagne King, Loleatta Holloway, France Joli, Sybil, Miquel Brown & More. #originalpirates #soulmusic #70ssoul #80ssoul #disco #danceclassics Catch The Music Mick's Mixvibez Show Every Saturday From 4PM UK Time On Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
Send us a Text Message.An expert in the music of Frank Sinatra's music and all its components. The son of NFL star, Chuck Fenenbock talks about writing the book, “Fireworks Everytime He Touched the Ball."How his affinity for Sinatra began, a funny story seeing him in concert, & does he have a favorite song or albums. The lasting musical legacy of Sinatra that spans four different periods. See the links below to follow his podcast: Sinatra Matters that has over 60 episodes. The excellent explanation of choosing which tracks to do and the brilliant musicians Sinatra worked with that include Nelson Riddle, Don Costa & Count Basie Orchestras, and his longtime pianist, Bill Miller. We get into talking about particulars songs that include All or Nothing at All, Come Fly With Me, I'm Getting Sentimental Over You, Goody Goody, Strangers in the Night, & Send in the Clowns. Sinatra's impact on popular culture which could be its own show. Will there ever be another Frank Sinatra that transitions to the reason why his music will live on forever. Michael Fenenbock Links:Follow Sinatra Matters Podcast: (Spotify) https://open.spotify.com/show/5hN0qfCDIjbRzA1FJ9mEL8Songs talked about on the podcast:All or Nothing at All: https://open.spotify.com/track/290Hwi5fTlIPTAymzadZti?si=a58f48f8897940e9Come Fly With Me: https://open.spotify.com/track/1GcPhT7osBb4LEJnQ0tmfj?si=426704d953da4974I'm Getting Sentimental Over You: https://open.spotify.com/track/1xRcmiaCpezTbsG3ig76cu?si=fc11dac6eec742e4Goody Goody: https://open.spotify.com/track/45zzv95NObWLS55RdiGqlf?si=04730da867754fcaStrangers In the Night: https://open.spotify.com/track/74VR3AkGPhbYXnxcOYa16x?si=400d24a5d2264f43Send In the Clowns: https://open.spotify.com/track/6qj3QuBUEwQINq2LkjhY5Z Before the Lights Links:A Heartbeat & A Guitar: Johnny Cash & the Making of Bitter Tear Docuseries: https://www.beforethelightspod.com/docuseries/bitter-tearsHire Tommy to Speak: https://www.beforethelightspod.com/public-speakingBecome a BTL Member: https://www.beforethelightspod.com/supportBefore the Lights Website: https://www.beforethelightspod.com/Get Tommy a Glass of Vino: httpSupport the Show.Follow the show on Instagram: https://www.instagram.com/beforethelightspodcast/Follow the show on Face Book: https://www.facebook.com/beforethelightspodcast/Follow the show on Tik Tok: https://www.tiktok.com/@beforethelightspodcast?lang=enFollow Tommy on Face Book: https://www.facebook.com/tcanale3Rate & Review: https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Email the host: beforethelightspod@gmail.com
Johnny Mercer fue invitado por la CBS a ir a Nueva York, a partir del 3 de enero de 1939, para la edición de los martes de Camel Caravan, que contaba con la orquesta de Benny Goodman. La asociación de Mercer con Goodman se remontaba a 1935, en la producción cinematográfica Hollywood Hotel. En la primera sesión Camel Caravan, Mercer interpretó sus tres éxitos más recientes: "Goody Goody", "I'm an Old Cowhand" y "You Must Have Been a Beautiful Baby". Con José Manuel Corrales.
Johnny Mercer fue invitado por la CBS a ir a Nueva York, a partir del 3 de enero de 1939, para la edición de los martes de Camel Caravan, que contaba con la orquesta de Benny Goodman. La asociación de Mercer con Goodman se remontaba a 1935, en la producción cinematográfica Hollywood Hotel. En la primera sesión Camel Caravan, Mercer interpretó sus tres éxitos más recientes: "Goody Goody", "I'm an Old Cowhand" y "You Must Have Been a Beautiful Baby". Con José Manuel Corrales.
Supuestamente inspirada en el menú de un restaurante chino de Nueva York, "Goody Goody" era una canción "de cajón" de la época en que Mercer formaba parte de la orquesta de Paul Whiteman. Mercer había anotado la idea, la había guardado en un cajón de la oficina y la volvió a encontrar en California cuando necesitaba desesperadamente un éxito. Con José Manuel Corrales.
Hot Pipes Podcast 321 - Len Rawle Tribute 1938 - 2023 Charles Jenkins - Stories of London (Comprehensive history of Len Rawle's career) Start Name Artist Album Year Comments Let The Heartaches Begin Len Rawle Shimmering Splendour [EMI SCX 6314] 1969 4-20 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 2:58 Falling In Love Again Len Rawle The Sounds Of Tonawanda [Concert Recording CR-0082-T] 1970 4-24 Wurlitzer Opus 1968, Ex-Empire Theatre, Leicester Square, London; Rawle Residence, Chorleywood Hertfordshire 7:04 It's Nice To Go Trav'ling Len Rawle Wurlitzer Magic [TWS 1000] 1972 4-25 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 11:27 September In The Rain Len Rawle Len Rawle Goes North [LTOT 2-CD] 1974 4-14 Wurlitzer, Gaumont Theatre, Manchester, England 15:34 Blaze Away Len Rawle Leave Your Heart In San Francisco - ATOS Program LP 1975 1975 4-23 Wurlitzer, Cap'ns Galley, Redwood City, CA 19:18 Nessun Dorma Len Rawle Rawle Plays Rye [Cassette PRS 0031] 1999 2-6 Wurlitzer, Rye College, East Sussex; ex-Palace, Tottenham, London 22:33 Chattanoogie Shoe Shine Boy Len Rawle A Couple Of Swells [Tonawanda Sound TWS 1004] 1976 3-9 Christie, Tony Manning Residence, Farnborough, Hants 25:26 Olé Guapa Len Rawle Pizza And Parlour [Tonawanda TWS 1003] 1976 4-27 Wurlitzer, Cap'ns Galley Pizza and Pipes, Redwood City, CA 28:07 Canadian Sunset Len Rawle Think Of The Sound [Tonawanda Sound TWS 1010] 1980 Yamaha D65 33:07 Music Len Rawle Rawle At The Hall [LTOT 8621] 1986 4-20 Wurlitzer, Free Trade Hall, Manchester 40:01 Those Magnificent Men in Their Flying Machines Len Rawle A Fond Farewell [TWS2003] 1988 3-8 Wurlitzer, Granada Cinema, Slough, Bucks; final recording immediately before demolition 42:00 Waltz Time Len Rawle Wurlitzer Era 1920-80 [KPM 166] 1991 4-25 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 43:40 Shanghai Nuts Len Rawle Wurlitzer Era 1920-80 [KPM 166] 1991 4-25 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 44:41 Sometimes When We Touch Len Rawle Double Touch 1994 3-10 Wurlitzer, Music Museum, St. Albans; ex-Granada Theatre, Edmonton, London; removed 1969, opened July 1992 48:37 Quickstep Medley; Ma, He's Making Eyes At Me; Ma, I Miss Your Apple Pie; Sweet Georgia Brown; The Varsity Drag; Goody Goody; 'S Wonderful Len Rawle Preview of the Woking Wurlitzer [Cassette] 1995 3-8 Wurlitzer, Leisure Centre, Woking, England; ex-Granada Theatre, Welling 54:01 On My Own Len Rawle One More Time [CD] 1997 4-20 Queen Wurlitzer, Free Trade Hall, Manchester; ex Odeon Manchester 57:37 Can I Canoe You Up The River? Len Rawle At The Riverside 2000 3-12 Wurlitzer plus grand piano, Musical Museum, Brentford, Middx; ex-Regal, Kingston-upon-Thames (2445 seats) 61:31 Begin The Beguine Len Rawle, 'Duke' Blatchly Wonderful Wurlitzer [TWS 2002] retransfer 2002 4-16 Wurlitzer, Top Rank Club (Gaumont State Theatre), Kilburn, London; 'Duke Blachly', saxophone 64:48 The Girl From Corsica Len Rawle Nice 'n Easy [Piping Hot CD] 2003 3-10 Wurlitzer, Ritz Ballroom, Brighouse, Yorkshire 69:17 Wien, du Stadt meiner Träume (Vienna, City of My Dreams) Len Rawle Magische Melodien 2007 3-11 Moller, Organbuilders Laukhuff, Weikersheim, Germany; Opus 7432 (1947); originally residence of Leslie Wenman, Westcliff, South Africa 74:14 Fools Rush In (Where Angels Fear To Tread) Len Rawle Now And Then (2-CD) 2007 3-8 Christie, Castle Hill United Reformed Church, Ipswich, England; ex-Century/Essoldo Cinema, Clacton (1936) 79:51 March for ATOS Len Rawle COS Northern Convention 2017 2017 3-13 Compton-Christie, Town Hall, Ossett, Yorkshire 85:08 There's No Business Like Show Business - signatu...
Today marks the start of NZ Ice Cream & Gelato Week. Lucy Corry joins us with her DIY recipe for a Kiwi favourite.
One of the best sales opportunities that's too often ignored is customer enquiries from inbound phone calls. Colin Pearce explains how to win long-term loyal customers with his six-P's approach. When the phone rings in your business, Colin insists, be prepared to answer promptly. And then, be positive from the outset, be precise when scheduling an appointment, be personal, and – most importantly – be polite. Business Essentials Daily is produced by: SoundCartelsoundcartel.com.au+61 3 9882 8333See omnystudio.com/listener for privacy information.
Social media marketing has taken the personal injury industry by storm. The benefits of TikTok seem endless. It is perfect for humanizing a brand, reaching a large audience, creating an attorney referral network, and flexing those creative skills. Any smartphone user can access the platform and post content. But creating content that converts impressions to leads requires care and tact. Taly Goody, Founder of the Goody Law Group, understands how to use social media correctly. She comes across as genuine and provides a ton of value. She has distilled the components needed to stand out into a replicable formula for success. She shares that recipe with us today. Key takeaways: Find what fits. Tap into what you already enjoy doing when looking for content themes to use regularly. These themes create familiarity, consistency, and provide a break from a steady stream of personal injury content. Avoid dances and trends that don't feel genuine. Add value. Share motivational and educational tips from personal experience. Create content that resonates with your audience. Keep it consistent. When posting content on TikTok, stick to a schedule that fits your workflow. Start with three or four posts a week and ramp up. To take off, posting once a day is recommended. Links and Resources Tip The Scales Podcast Tip the Scales Instagram Maria Monroy Instagram Maria Monroy LinkedIn LawRank Website LawRank Instagram LawRank Facebook LawRank LinkedIn LawRank Twitter Goody Law Group Website Taly Goody LinkedIn Taly Goody TikTok Taly Goody Instagram Ring Light Taly Uses Desk Ring Light Taly Uses Microphone Taly Uses
Social media marketing has taken the personal injury industry by storm. The benefits of TikTok seem endless. It is perfect for humanizing a brand, reaching a large audience, creating an attorney referral network, and flexing those creative skills. Any smartphone user can access the platform and post content. But creating content that converts impressions to leads requires care and tact. Taly Goody, Founder of the Goody Law Group, understands how to use social media correctly. She comes across as genuine and provides a ton of value. She has distilled the components needed to stand out into a replicable formula for success. She shares that recipe with us today. Key takeaways: Find what fits. Tap into what you already enjoy doing when looking for content themes to use regularly. These themes create familiarity, consistency, and provide a break from a steady stream of personal injury content. Avoid dances and trends that don't feel genuine. Add value. Share motivational and educational tips from personal experience. Create content that resonates with your audience. Keep it consistent. When posting content on TikTok, stick to a schedule that fits your workflow. Start with three or four posts a week and ramp up. To take off, posting once a day is recommended. Links and Resources Tip The Scales Podcast Tip the Scales Instagram Maria Monroy Instagram Maria Monroy LinkedIn LawRank Website LawRank Instagram LawRank Facebook LawRank LinkedIn LawRank Twitter Goody Law Group Website Taly Goody LinkedIn Taly Goody TikTok Taly Goody Instagram Microphone Taly Uses
Find out how your favorite songs rank this week in the nation. Hits are played by Paul Whiteman's orchestra. Playlist Goodie Goodie, rank: 7 climbing up from 11 last week.…
Frankie lymon was really interesting to look at and a great performer but they look like a little boy I wonder how old he was when he performed these songs but he is a great performer and I give him his credit --- Send in a voice message: https://podcasters.spotify.com/pod/show/j-w54/message Support this podcast: https://podcasters.spotify.com/pod/show/j-w54/support
This show is considered to be the first DJ Oldies Program... featuring husband and wife team Andy and Virginia Mansfield. Virginia spins contemporary hit songs of the era and then Andy has his turn to play recording of the original versions of the same songs... many are 20 to 30 years older than the contemporary songs... and some sound very different. Fun to compare the two versions. This show and more of the same are stored in the Playlist "Turn Back the Clock" on this Soundcloud.com originating podcast.
This week marks the sad loss of my most favourite ice-cream. Goody goody gum drop! Yes it will still be available in rolling shops but the 2 litre has been removed from the shelves. So who invented GGGD? The flavour was apparently invented 25 years ago by Murray Taylor, Tip Tops technical general manager. The iconic bubblegum flavoured ice-cream with those Gumdrop candies make for a sweet treat. So this week I will show you all how to make a basic vanilla ice-cream without a churn. And then you can add in maybe a touch of green / blue food colouring and drop in some wine gums for a chewy little sweet treat. I will miss you Goody Goody gumdrop. Vanilla Ice-cream Prep time: 30 minutes Serves: 12 1 cup sugar ½ cup water 450 ml cream, beaten to soft peaks 4 egg yolks ½ tsp vanilla paste Heat water and sugar in a pot up to a temperature of 120 degrees Whilst this is happening, beat egg yolks in a mixer till pale. Carefully and slowly! pour in the sugar mixer when it hits 120 degrees. Continue to beat until the mixture cools down slightly. Whisk the cream to VERY soft peaks before folding through the vanilla paste and then the egg yolk mixture. Place into a steel tray. Place into a steel container to freeze. Mike's website – goodfromscratch.co.nz LISTEN ABOVESee omnystudio.com/listener for privacy information.
If you're a fan of White Christmas, then you already know the magic that is Bing Crosby and Rosemary Clooney. The two entertainers teamed up again in 1960 for the Bing Crosby - Rosemary Clooney Show on CBS In 1960, entertainers Bing Crosby and Rosemary Clooney teamed together for The Bing Crosby – Rosemary Clooney Show on CBS. Crosby and Clooney would tape the dialogue weeks in advance, and songs of the two singing separately and together were inserted from a substantial library of content. the show ran until September of 1962. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.
MP3 Link Play via Mixcloud Dave and John at the helm for this week's show with a scorching hot selection of funk, soul jazz, disco, boogie, house, edits and loads more. Featuring tracks by Syreeta & Stevie Wonder, George Duke, Bernard Wright, Goody Goody, Brijean, Fred Everything, Musique, Agora, Paolo Mele, Asha Puthli and many, many more. Enjoy. RSS Feed: 6MS Sessions
**The Groove Doctors Friday Drive Time Show Replay On traxfm.org. This Week The Groove Doctor Featured 80's Grooves/Rare Groove/Contemporary Soul From Ingram, Switch. Tommy McGee. T.S Monk. The Jackson. Sunfire. David Ruffin. Goody Goody. Nature's Divine. L.A Boppers. The Band A.K.A. Bo Kirkland & More The Groove Doctors Drive Time Show Live Tuesday's & Friday's At 5PM UK Time The Station: traxfm.org #traxfm #groovedoctor #drivetimeshow #soul #funk #boogie #raregrooves #70dance #80dance #70ssoul #80ssoul #disco #neosoul #r&b #groovedoctor #contemporarysoul Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net**
If you're a fan of White Christmas, then you already know the magic that is Bing Crosby and Rosemary Clooney. The two entertainers teamed up again in 1960 for the Bing Crosby - Rosemary Clooney Show on CBS In 1960, entertainers Bing Crosby and Rosemary Clooney teamed together for The Bing Crosby – Rosemary Clooney Show on CBS. Crosby and Clooney would tape the dialogue weeks in advance, and songs of the two singing separately and together were inserted from a substantial library of content. the show ran until September of 1962. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.
Episode (178) Shelly Hartman and Rex Schultz invite Adam Lalone, owner Blue Harvest Farms and Brand Creator of Patriot Foods to the show via phone. Adam tells us about raising awareness for consumers buying Blueberries originating from local farms when they are in season. Dr. Max Masters tells us about their program for living a healthier and happier life. Brook Blanchard from the YDC/pal calls in to tell us about their Tye Dye fundraiser, other upcoming fundraisers and the needs of the children in the area. Scott Thaler sits in for Mason Dixon during the middle hour. Intern Bray Plomb joins us by phone the go a little more in-depth on the healthier living program at Masters Chiropractic and Rehabilitation. On Let's Talk Real Estate with Tina Goodrich, short term rentals in South Haven will be the subject. Special in studio appearance by Goody, Tina's husband. It's all here, right now and so much more on Rob Byrd's Moondog Show.
Fun Conversation this week with an amazing friend. Marita is a PT and she explains exactly what she does for a living. (still confused) along the way we have several drinks and a whole of alot more laughs! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/friendly-fuckery/message
If you're a fan of White Christmas, then you already know the magic that is Bing Crosby and Rosemary Clooney. The two entertainers teamed up again in 1960 for the Bing Crosby - Rosemary Clooney Show on CBS In 1960, entertainers Bing Crosby and Rosemary Clooney teamed together for The Bing Crosby – Rosemary Clooney Show on CBS. Crosby and Clooney would tape the dialogue weeks in advance, and songs of the two singing separately and together were inserted from a substantial library of content. the show ran until September of 1962. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.
In this segment of Father Joe: Life Stories of a Hustler Priest, Father Joe introduces Story #5 "Goody-Goody Joey Carroll," which is narrated by author Kathryn Cloward. https://fatherjoehustlerpriest.com
If you're a fan of White Christmas, then you already know the magic that is Bing Crosby and Rosemary Clooney. The two entertainers teamed up again in 1960 for the Bing Crosby - Rosemary Clooney Show on CBS In 1960, entertainers Bing Crosby and Rosemary Clooney teamed together for The Bing Crosby – Rosemary Clooney Show on CBS. Crosby and Clooney would tape the dialogue weeks in advance, and songs of the two singing separately and together were inserted from a substantial library of content. the show ran until September of 1962. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.
When Taly Goody set out to form Goody Law Group, she knew she would need a creative way to find new clients. Despite being slightly skeptical, she took a leap and dedicated herself to building a TikTok presence. Not only have her posts received millions of views, but she's also been able to use the platform to expand her network, attract new clients, and inspire others. In this episode, Taly and I discuss the crucial role social media plays in lead generation, as well as Taly's journey to founding her own firm, and the importance of supporting the next generation of lawyers. What's In This Episode? Who is Taly Goody? Why is it so important that new lawyers find the right area of law to practice? What led Taly to found her own company, and has she discovered any misconceptions in doing so? Why are small and solo practices increasingly popular options for lawyers? How has Taly used TikTok to grow her brand, and what are her top tips for the platform? Why is mentorship so important to Taly, and how is she using TikTok to help a new generation of lawyers?
One of the best sales opportunities that's often ignored is customer enquiries from inbound phone calls. Colin Pearce explains how to win long-term loyal customers with his six-P's approach. When the phone rings in your business, Colin insists, be prepared to answer promptly. And then, be positive from the outset, be precise when scheduling an appointment, be personal, and – most importantly – be polite. Business Essentials Daily is produced by: SoundCartel soundcartel.com.au +61 3 9882 8333 See omnystudio.com/listener for privacy information.
If you're a fan of White Christmas, then you already know the magic that is Bing Crosby and Rosemary Clooney. The two entertainers teamed up again in 1960 for the Bing Crosby - Rosemary Clooney Show on CBS In 1960, entertainers Bing Crosby and Rosemary Clooney teamed together for The Bing Crosby – Rosemary Clooney Show on CBS. Crosby and Clooney would tape the dialogue weeks in advance, and songs of the two singing separately and together were inserted from a substantial library of content. the show ran until September of 1962. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.
**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Boogie, Dance Classics, Contemporary Soul & Easy Listening From Air Power, Beckie Bell, Cameo, Goody Goody, Heatwave, Kagney, Lillo Thomas, Nel Oliver, One On One, Reginald Haynes, Special Delivery, Vivian Reed & More. Catch Rendell Every Saturday From 7PM UK Time The Stations: Trax FM & Rendell Radio #traxfm #rendellradio #soul #funk #70ssoul #80ssoul #60s #boogie #disco #easylistening #soulclassics #reggae #nusoul #relaxwithrendell Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
This week: Geoff plays songs arranged by Frank DeVol and performed by Ella Fitzgerald. Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices
This week: Geoff plays music arranged by Frank DeVol and performed by Ella Fitzgerald. Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices
This week: Geoff plays music arranged by Frank DeVol and performed by Ella Fitzgerald, including a 1957 recording of "Night Wind." Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices
This week: Geoff celebrates the career of composer and arranger Frank DeVol. Though best known for writing the theme songs for My Three Sons and The Brady Bunch (and for playing bandleader Happy Kyne on Fernwood Tonight), Frank DeVol was always a brilliant if unheralded musician, and he wrote many memorable arrangements for Ella Fitzgerald. Play list for this show includes: Gone With the Wind, There's a Lull in My Life, Stairway to the Stars, Night Wind, Like Young, Like Someone in Love, My Man, Goody Goody, Moonlight in Vermont, Moonlight Serenade, Can't Buy Me Love, Tenderly, People, A-Tisket A-Tasket (1959 single) Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on GPE: Geoff salutes Ella's many collaborations with jazz pianist Oscar Peterson. Play list for this show includes: Goody Goody, I Hear Music, These Foolish Things, Air Mail Special, Lush Life, Lady Be Good, Midnight Sun, Stompin at the Savoy, Street of Dreams, Angel Eyes, A-Tisket A-Tasket Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on GPE: Geoff salutes Ella's many collaborations with jazz pianist Oscar Peterson, including tracks from the album they recorded together in 1975. Play list for this show includes: Goody Goody, I Hear Music, These Foolish Things, Air Mail Special, Lush Life, Lady Be Good, Midnight Sun, Stompin at the Savoy, Street of Dreams, Angel Eyes, A-Tisket A-Tasket Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on GPE: Geoff celebrates Ella's many collaborations with jazz pianist Oscar Peterson, including a performance of "Angel Eyes" that Ella and Oscar recorded in Amsterdam in 1961. Play list for this show includes: Goody Goody, I Hear Music, These Foolish Things, Air Mail Special, Lush Life, Lady Be Good, Midnight Sun, Stompin at the Savoy, Street of Dreams, Angel Eyes, A-Tisket A-Tasket Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on GPE: Geoff plays select tracks from Ella's many collaborations with jazz pianist Oscar Peterson. Play list for this show includes: Goody Goody, I Hear Music, These Foolish Things, Air Mail Special, Lush Life, Lady Be Good, Midnight Sun, Stompin at the Savoy, Street of Dreams, Angel Eyes, A-Tisket A-Tasket Learn more about your ad choices. Visit megaphone.fm/adchoices
Richard Gonzmart join #Clockedin with Jordan Edwards and discusses about the impact of being in a family business and principals of success for anyone to live a fulfilling life. The fourth-generation “caretaker” of the Columbia Restaurant Group, Richard Gonzmart has been named – as part of more than 100 awards – Community Hero by the Tampa Bay Lightning, the Boys and Girls Clubs, and Big Brothers and Big Sisters. He also has been officially named a Luminary, a Visionary and a Philanthropist of the Year as well as Father of the Year, Hispanic Man of the Year, Businessman of the Year, Alumni of the Year at Jesuit and Academy of the Holy Names, Outstanding Citizen of the Year and Tampa Police Citizen of the Year.He has been inducted into five Hall of Fames, among them, the Distinguished Restaurants of North America (DiRoNA) Hall of Fame. He is a three-time James Beard semi-finalist for Outstanding Restaurateur.Gonzmart serves or has served on dozens of non-profit boards and organizations, including Tampa General Hospital's governing board. He is passionate about the education of our youth and young adults, and about finding a cure for cancer.Richard's great-grandfather started the world-famous Columbia Restaurant in Tampa's historic Ybor City in 1905. Still 100 percent family-owned, it's now the oldest restaurant in Florida. There are seven Columbia restaurants in the state. Other restaurant concepts include Casa Santo Stefano, Cha Cha Coconuts, Ulele, Goody Goody and Café Con Leche Ybor City, increasing the number of restaurants to 14 and brands to six.Richard has been married to his high school sweetheart and first love Melanie Gonzmart since 1973. They have two daughters, Lauren and Andrea. Andrea works with her father in the family business. He has five grandchildren: Twins Isabella and Michael, Maximilian, Alexander and Amelia, who represent the 6th generation.Fun fact is a marathon runner and avid guitar collector over 200 guitars. To learn more about Richard:For more information about the Columbia: https://www.columbiarestaurant.com/The-Columbia-Experience/HistoryHope you find value in this. If so please provide a 5-star and drop a review. Complimentary Edwards Consulting Session: https://calendly.com/jordan-555/intro-call
Today Teresa talks about the expression goody-goody. This idiom is of the straight-up repeated type. It is used to describe a person who behaves extremely well in order to please a superior, a toady or lackey, a person who tries to please someone in order to gain a personal advantage. I think you can hear the word good in there, so the repetition of good in this way goody-goody is really make it seem like the person is too good. If you like the show, please share it with a friend and subscribe to the show. And remember, we'd love to hear from you! You can contact us via email at MyESLQs@gmail.com or on our Facebook page! Until next time, happy learning! This episode was recorded on May 18, 2021.
Peter Boykin sings Popular songsI do not make money from these songs but if you would like to support please consider.To Tip: https://paypal.me/magafirstnewsTo Support: https://Patreon.com/PeterBoykin#PeterBoykin #PeterBoykinSings #KaraokeFollow https://T.Me/RealPeterBoykinSmule: https://www.smule.com/peterboykinYoutube: https://www.youtube.com/channel/UCfjAL7ElwO7gFB1uKNSW78wContact: peterboykin@gorightnews.comNote: Peter Boykin enjoys singing and has a range of vocals, this is pure fun and sometimes the songs come out Excellent and sometimes the songs come out bad... There is no tougher critic than Peter Boykin on his own self. He knows some of these you might just want to hit skip. :)Note: the lyrics and themes in these songs do not always reflect the views of Peter Boykin. Sometimes a cigar is just a cigar and a song is just a song.
Your Hit Parade 36-05-27 First Song - Goody, Goody (#7)
GOODY GOODY – “IT LOOKS LIKE LOVE” DAMON HARRIS – “IT’S MUSIC” (12 MIX) GQ – “DISCO NIGHTS (ROCK FREAK)” THE TRAMMPS – “THATS WHERE THE HAPPY PEOPLE GO” THE STRIKERS – “BODY MUSIC” (ORIGINAL 12′ VERSION) KLEIN & MBO – “DIRTY TALK” (ORIGINAL 12′ INSTRUMENTAL MIX) CLYDE ALEXANDER – “GOT TO GET YOUR LOVE” […] The post The G Spot 24th Jan 2021 appeared first on SSRadio.
The vocal harmony group tradition, known as Doo Wop, developed in the post-World War II era. It was the most popular form of rhythm and blues music among black teenagers, especially those living in the large urban centers of the eastern coast, in Chicago, and in Detroit. To those of us kids who were color-blind, it was just cool music coming from our transistor radios. That was the beauty of radio. Music wasn’t defined by a color, just by the beat and the mood you felt deep in your soul. Many groups specialized in romantic ballads that appealed to the sexual fantasies of teenagers in the late 1940s and early 1950s. By the mid-1950s, vocal harmony groups had transformed the smooth delivery of ballads into a performance style incorporating the nonsense phrase, “Doo Wop-Doo Wop” as vocalized by the bass singers, who provided rhythmic movement for an a cappella song style. In this episode you’ll hear: 1) Those Oldies But Goodies (Remind Me of You) by Little Caesar & The Romans 2) Tonight Could Be The Night by The Velvets (with Virgil Johnson) 3) Oh Gee, Oh Gosh by The Kodaks 4) Streets Of The Bronx by The Earls (aka Larry Chance & The Earls) 5) We Belong Together by Robert & Johnny 6) Hey Good Lookin' by The Jewels (with Billy Abbott) 7) You by The Aquatones (with Lynne Nixon, lead singer) 8) Sorry (I Ran All The Way Home) by The Impalas 9) Angel Baby by Rosie & The Originals 10) Blue Moon by The Marcels 11) Runaround by The Regents 12) Coney Island Baby by The Excellents 13) Two People In The World by Little Anthony & The Imperials 14) (You've Got) The Magic Touch by The Platters 15) Gloria by Vito & The Salutations 16) Six Nights a Week by The Crests 17) I Need A Girl by The Righteous Brothers (aka The Paramours) 18) I Wonder Why by Dion & The Belmonts 19) Some Kind Of Wonderful by The Drifters (with Rudy Lewis, lead) 20) There's A Moon Out Tonight by The Capris 21) When You Dance by The Paramounts 22) Boys by The Shirelles 23) Come On Little Angel by The Belmonts 24) Just To Be With You by The Passions 25) Come Back My Love by The Wrens 26) Juke Box Saturday Night by Nino & The Ebb Tides 27) Let Me In by The Sensations (with Yvonne Mills, vocal) 28) Who's That Knocking by The Genies 29) Tell Me Why by Norman Fox & the Rob Roys 30) Book of Love by The Monotones 31) Church Bells May Ring by The Willows 32) Every Night (I Pray) by The Chantels (With Arlene Smith, lead) 33) Ala Men Sy by The Quotations 34) Stay by Maurice Williams & The Zodiacs 35) Tonight, Tonight by The Mello-Kings 36) This Is My Love by The Emjays 37) Gee Whiz by The Innocents 38) My True Story by The Jive Five (with Eugene Pitt) 39) Oh Why by The Teddy Bears 40) You Cheated by The Slades 41) Heart and Soul by The Cleftones 42) Peek-A-Boo by The Cadillacs 43) Tonight I Fell In Love by The Tokens 44) Dance by the Light of the Moon by The Olympics 45) Silhouettes by The Rays 46) Memories Of El Monte by The Penguins (with Cleve Duncan, lead) 47) Goody Goody by Frankie Lymon and The Teenagers 48) For Your Precious Love by Jerry Butler & The Impressions 49) Shimmy, Shimmy, Ko-Ko-Bop by Little Anthony & The Imperials 50) If I Can't Have You by Etta James & Harvey Fuqua 51) Sandy Went Away by The Impalas (with Joe Frazier, lead vocalist) 52) Lovers Never Say Goodbye by The Flamingos
MP3 Link Play via Mixcloud Dave and John at the controls, playing the usual selections of disco, house, boogie, funk, jazz and much more. Features tracks by Pellegrino, Moodymann, Atmosfear, Loleatta Holloway, Geraldine Hunt, Miss Misty, Voyage, Waldo, Sir Bentley, Ron Carrol, Dave Lee, Sylvester, Goody Goody, and others. Enjoy. RSS Feed: 6MS Sessions
One of the best sales opportunities that's often ignored is customer enquiries from inbound phone calls. Colin Pearce explains how to win long-term loyal customers with his six-P's approach. When the phone rings in your business, Colin insists, be prepared to answer promptly. And then, be positive from the outset, be precise when scheduling an appointment, be personal, and – most importantly – be polite. Business Essentials Daily is produced by: SoundCartel soundcartel.com.au +61 3 9882 8333 See omnystudio.com/listener for privacy information.
KRLD CEO Spotlight with Joe Jansen, Founder & CEO, Goody Goody Liquor See omnystudio.com/listener for privacy information.
Join Lily King as she talks vulnerably and honestly about life the past few weeks in this episode of Goody Goody.
Join Lily King as she shares about growing up as "the good girl" and how to be confident in who you are. Hit play to start a journey towards shooting your shot, finding your passion, and girls encouraging girls. xx lily Instagram: @thelilkingg
A high calorie hour of bubblegum music! Spotlight on Amazing Chan and the Chan Clan! A bit of the H.R. Pufnstuf movie soundtrack! Ray Bolger (the Scarecrow from Wizard of Oz) joins the Partridge Family, along with a dramatic reading from a Partridge Family novel (wherein Shirley risks the family's lives to save a rabbit)! A Giorgio Bubblegum Hall of Fame classic! Late round action from the Riverdale High talent show! Plenty of great music from The Archies, The Royal Guardsmen, Bobby Sherman, 1910 Fruitgum Company, Simonshy, Gene Simmons (not him, the other one), The Arrangement, The Art Movement, The Boston, The Bourbon Family, Café Con Leche, The Doughboys, Barry Mason, Billie Hayes, Jack Wild, Martha Raye, and Helen Love!
Iain Lee's live on talkRADIO between 10pm-1am Monday to Fridays but, if for some inexplicable reason you miss the show, you can get the best bits every day right here.Or, to be absolutely certain you don't miss out, subscribe to the podcast on iTunes. Hosted on Acast. See acast.com/privacy for more information.
We welcome the "COOL" TJ Glover who we had the pleasure to meet at the Night of Superstars. He introduces us to the All American Premium Wheat Vodka perfected in Texas. MVP Vodka is distilled 6X, making it gluten free even though its made with wheat. He is an investor and President of Sales. Roy Lee Williams, is a former American college and professional football player who was a safety in the National Football League for nine seasons. He is the main boss behind MVP Vodka. BJ Johnson who is also a football player is the co founder of MVP Vodka. We learn about the beginning when they would all meet to test all their favorite vodkas. Bernie asks how they went about creating a special, different recipe to stand out in the flooded Vodka market. We cannot believe that the name MVP Vodka was available for them.They have been in business for 4 years and it can be found at Specs, Goody Goody, Total Wine stores. They also have a deal with MGM in Las Vegas. TJ tells us how difficult it is to get into stores. He shares with us that it was a 2 year process to come up with the bottles, manufacturing etc. They want a show bottle that stands out on the shelves. We learn that night clubs want money to get your alcohol into the bar and to make it a feature. The big brands have major pull. TJ tells us that the goal for MVP Vodka is acquisition. The deal with MGM came about with Celebrity Bar Tender Russel Davis from TV's popular Bar Rescue series. MVP Vodka has amazing recipes on their website that everyone should try. We also learn that Vodka can relieve jelly fish stings. Then TJ tells us all about Friday Night Lights and he just went home for his 20 year reunion for the 1999 National Championship team. They even got inducted into the Midland, Texas Hall of Fame.We learn all about TJ's private life, how he grew up, his road to college, his journey to playing on the Arena Football Team Lubbock Lone Stars for 4 years. He met his wife who is a 6 foot tall stunner and has a 1 and 3 year old. Find mvpvodka on all social media handles. P and P Talk with Miss Polly:Have you ever fantasized about a sexual encounter with the same sex?This segment is quite possibly one of our funniest segments we have ever done. Definitely worth a listen. Question of the Day:You have broken up with your long term partner of 4 plus years, 5 months ago. Do you text them for their birthday?The banter is once again super funny. Don't miss it.
With Frankie Lymon & The Teenagers, Elvis Presley, Brenda Lee, Major Lance, Neil Sedaka, The Clovers... Goody Goody and King Creole get us started this week, a comeback hit for Miss Dynamite and our twin spin this week is former Dovell singer Len Barry "1-2-3" and its b-side "Bullseye" for the class of '65.
Introducing the first Brain Bubblegum ‘Gumdrop’ - a short, bite-size episode format that chews over ‘where stuff comes from’. For our first gumdrop episode, I think it’s appropriate that we ruminate over the origins of … well, gumdrops!
Episode thirty-five of A History of Rock Music in Five Hundred Songs looks at “Why Do Fools Fall in Love?” by Frankie Lymon and the Teenagers, and at the terrible afterlife of child stardom. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Space Guitar” by Johnny “Guitar” Watson. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no books on the Teenagers, as far as I know, so as I so often do when talking about vocal groups I relied heavily on Marv Goldberg’s website. Some information also comes from Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. Some background on George Goldner was from Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz. And for more on Morris Levy, see Me, the Mob, and the Music, by Tommy James with Martin Fitzpatrick. This compilation contains every recording by Frankie Lymon and the Teenagers, together or separately, as well as recordings by Lewis Lymon and the Teenchords, a group led by Lymon’s brother. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript The story of Frankie Lymon and the Teenagers is, like so many of the stories we’re dealing with in this series, a story of heartbreak and early death, a story of young people of colour having their work become massively successful and making no money off it because of wealthy businessmen stealing their work. But it’s also a story of what happens when you get involved with the Mafia before you hit puberty, and your career peaks at thirteen. The Teenagers only had one really big hit, but it was one of the biggest hits of the fifties, and it was a song that is almost universally known to this day. So today we’re going to talk about “Why Do Fools Fall in Love?” The Teenagers started when two black teenagers from New York, Jimmy Merchant and Sherman Garnes, left the vocal group they’d formed, which was named “the Earth Angels” after the Penguins song, and hooked up with two Latino neighbours, Joe Negroni and Herman Santiago. They named themselves the Ermines. Soon after, they were the support act for local vocal group the Cadillacs: [Excerpt, The Cadillacs, “Speedoo”] They were impressed enough by the Cadillacs that in honour of them they changed their name, becoming the Coup de Villes, and after that the Premiers. They used to practice in the hallway of the apartment block where Sherman Garnes lived, and eventually one of the neighbours got sick of hearing them sing the same songs over and over. The neighbour decided to bring out some love letters his girlfriend had written, some of which were in the form of poems, and say to the kids “why don’t you turn some of these into songs?” And so they did just that — they took one of the letters, containing the phrase “why do birds sing so gay?” and Santiago and Merchant worked out a ballad for Santiago to sing containing that phrase. Soon after this, the Premiers met up with a very young kid, Frankie Lymon, who sang and played percussion in a mambo group. I suppose I should pause here to talk briefly about the mambo craze. Rock and roll wasn’t the only musical style that was making inroads in the pop markets in the fifties — and an impartial observer, looking in 1953 or 1954, might easily have expected that the big musical trend that would shape the next few decades would be calypso music, which had become huge in the US for a brief period. But that wasn’t the only music that was challenging rock and roll. There were a whole host of other musics, usually those from Pacific, Latin-American and/or Caribbean cultures, which tend to get lumped together as “exotica” now, and “mambo” was one of those. This was a craze named after a song by the Cuban bandleader Perez Prado, “Mambo Jambo”: [Excerpt: Perez Prado, “Mambo Jambo”] That song was popular enough that soon everyone was jumping on the bandwagon — for example, Bill Haley and the Comets with “Mambo Rock”: [Excerpt: Bill Haley and the Comets, “Mambo Rock”] The group that Frankie Lymon was performing with was one of those groups, but he was easily persuaded instead to join the Premiers. He was the young kid who hung around with them when they practiced, not the leader, and not even a major part of the group. Not yet, anyway. But everything changed for the group when Richie Barrett heard them singing on a street corner near him. These days, Barrett is best-known for his 1962 single “Some Other Guy”, which was later covered by the Beatles, among others: [Excerpt: Richie Barrett, “Some Other Guy”] But at the time he was the lead singer of a group called the Valentines: [Excerpt: The Valentines, “Tonight Kathleen”] He was also working for George Goldner at Rama Records as a talent scout and producer, doing the same kind of things that Ike Turner had been doing for Chess and Modern, or that Jesse Stone did for Atlantic — finding the acts, doing the arrangements, doing all the work involved in turning some teenage kid into someone who could become a star. Goldner was someone for whom most people in the music industry seem to have a certain amount of contempt — he was, by most accounts, a fairly weak-willed figure who got himself into great amounts of debt with dodgy people. But one thing they’re all agreed on is that he had a great ear for a hit, because as Jerry Leiber put it he had the taste of a fourteen-year-old girl. George Goldner had actually got into R&B through the mambo craze. When Goldner had started in the music industry, it had been as the owner of a chain of nightclubs which featured Latin music. The clubs became popular enough that he also started Tico Records, a label that put out Latin records, most notably early recordings by Tito Puente. [Excerpt: Tito Puente: “Vibe Mambo”] When the mambo boom hit, a lot of black teenagers started attending Goldner’s clubs, and he became interested in the other music they were listening to. He started first Rama Records, as a label for R&B singles, and then Gee records, named after the most successful record that had been put out on Rama, “Gee”, by the Crows. However, Goldner had a business partner, and his name was Morris Levy, and Levy was *not* someone you wanted involved in your business in any way. In this series we’re going to talk about a lot of horrible people — and in fact we’ve already covered more than a few of them — yet Morris Levy was one of the worst people we’re going to look at. While most of the people we’ve discussed are either terrible people in their personal life (if they were a musician) or a minor con artist who ripped off musicians and kept the money for themselves, Morris Levy was a terrible human being *and* a con artist, someone who used his Mafia connections to ensure that the artists he ripped off would never even think of suing him, because they valued their lives too much. We’ll be looking at at least one rock and roll star, in the 1960s, who died in mysterious circumstances after getting involved with Levy. Levy had been the founder of Birdland, the world-famous jazz club, in the 1940s, but when ASCAP came to him asking for the money they were meant to get for their songwriters from live performances, Levy had immediately seen the possibilities in music publishing. Levy then formed a publishing company, Patricia Music, and a record label, Roulette, and started into the business of properly exploiting young black people, not just having them work in his clubs for a night, but having them create intellectual property he could continue exploiting for the rest of his life. Indeed, Levy was so keen to make money off dubious intellectual property that he actually formed a company with his friend Alan Freed which attempted to trademark the phrase “rock and roll”, on the basis that this way any records that came out labelled as such would have to pay them for the privilege. Thankfully, the term caught on so rapidly that there was no way for them to enforce the trademark, and it became genericised. But this is who Levy was, and how he made his money — at least his more legitimate money. Where he got the rest from is a matter for the true crime podcasts. There are several people who report death threats, or having to give up their careers, or suddenly move thousands of miles away from home, to avoid Levy’s revenge on artists who didn’t do exactly what he said. So when we’re looking at a group of literal teenage kids — and black teenagers at that, with the smallest amount of institutional privilege possible, you can be sure that he was not going to treat them with the respect that they were due. Levy owned fifty percent of Goldner’s record companies, and would soon grow to own all of them, as Goldner accumulated more gambling debts and used his record labels to pay them off. But at the start of their career, the group didn’t yet have to worry about Levy. That would come later. For now, they were dealing with George Goldner. And Goldner was someone who was actually concerned with the music, and who had been producing hits consistently for the last few years. At the time the Premiers signed with him, for example, he had just produced “You Baby You” for the Cleftones. [Excerpt: The Cleftones, “You Baby You”] When Richie Barrett brought the Premiers to Goldner, he was intrigued because two of the members were Latino, and he was such a lover of Latin music. But he quickly latched on to the potential of Frankie Lymon as a star. Lymon was a captivating performer, and when you watch video footage of him now you can’t help but think of Michael Jackson, who followed almost exactly the same early career trajectory a decade later. While the other band members were the normal kind of teenage kids who joined doo-wop groups, and were clearly a little reserved, Lymon just *went for it*, working the crowd like a young James Brown with absolutely no self-consciousness at all. He also had a gorgeous falsetto voice, and knew how to use it. As we’ve heard, many of the doo-wop groups of the fifties weren’t particularly proficient singers, but Lymon did have a real vocal talent. He was clearly a potential star. Frankie Lymon wasn’t even originally meant to be the lead singer on “Why Do Fools Fall in Love?” — that distinctive falsetto that makes the record so memorable was a late addition. The song was originally meant to be sung by Herman Santiago, and it was only in the studio that the song was rearranged to instead focus on the band’s youngest — and youngest-sounding — member. [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] When the record came out, it wasn’t credited to the Premiers, but to “The Teenagers, featuring Frankie Lymon”. Goldner hadn’t liked the group’s name, and decided to focus on their big selling point — their youth, and in particular the youth of their new lead singer. Much of the work to make the record sound that good was done not by the Teenagers or by Goldner, but by the session saxophone player Jimmy Wright, who ended up doing the arrangements on all of the Teenagers’ records, and whose idea it was to start them with Sherman Garnes’ bass intros. Again, as with so many of these records, there was a white cover version that came out almost immediately — this time by the Diamonds, a group of Canadians who copied the formula of their fellow countrymen the Crew Cuts and more or less cornered the market in white remakes of doo-wop hits. [Excerpt: The Diamonds, “Why Do Fools Fall in Love?”] But in a sign of how the times were changing, the Diamonds’ version of the song only went to number twelve, while the Teenagers’ version went to number six, helped by a massive push from Morris Levy’s good friend Alan Freed. Partly this may have been down to the fact that all the Diamonds were adults, and they simply couldn’t compete with the novelty sound of a boy who sounded prepubescent, singing in falsetto. Falsetto had, of course, always been a part of the doo-wop vocal blend, but it had been a minor part up to this point. Lead vocals would generally be sung in a smooth high tenor, but would very rarely reach to the truly high notes. Lymon, by virtue of his voice not yet having broken, introduced a new timbre into rock and roll lead vocals, and he influenced almost every vocal group that followed. There might have been a Four Seasons or a Jan and Dean or a Beach Boys without Lymon, but I doubt it. There was also a British cover version, by Alma Cogan, a middle-of-the-road singer known as “the girl with the giggle in her voice”. [Excerpt: Alma Cogan, “Why Do Fools Fall In Love?”] This sort of thing was common in Britain well into the sixties, as most US labels didn’t have distribution in the UK, and so if British people wanted to hear American rock and roll songs, they would often get them in native cover versions. Cogan was a particular source of these, often recording songs that had been R&B hits. We will see a lot more of this in future episodes, as we start to look more at the way rock and roll affected the UK. The Teenagers followed the success of “Why Do Fools Fall in Love?” with “I Want You to Be My Girl”: [Excerpt, Frankie Lymon and the Teenagers, “I Want You to Be My Girl”] This one did almost as well, reaching a peak of number thirteen in the pop charts. But the singles after that did less well, although “I’m Not A Juvenile Delinquent” became a big hit in the UK. The record label soon decided that Lymon needed to become a solo star, rather than being just the lead singer of the Teenagers. Quite why they made this decision was difficult to say, as one would not normally deliberately break up a hit act. But presumably the calculation was that they would then have two hit acts — solo Frankie Lymon, and the Teenagers still recording together. It didn’t work out like that. Lymon inadvertently caused another crisis in the ongoing battle of rock and roll versus racism. Alan Freed had a new TV series, The Big Beat, which was a toned-down version of Freed’s radio show. By this point, real rock and roll was already in a temporary decline as the major labels fought back, and so Freed’s show was generally filled with the kind of pre-packaged major label act, usually named Bobby, that we’ll be talking about when we get to the later fifties. For all that Freed had a reputation as a supporter of black music, what he really was was someone with the skill to see a bandwagon and jump on it. But still, some of the black performers were still popular, and so Freed had Lymon on his showr. But his show was aimed at a white audience, and so the studio audience was white, and dancing. And Frankie Lymon started to dance as well. A black boy, dancing with a white girl. This did not go down well at all with the Southern network affiliates, and within a couple of weeks Freed’s show had been taken off the TV. And that appearance, the one that destroyed Freed’s show, was almost certainly Lymon’s very first ever solo performance. One might think that this did not augur well for his future career, and that assessment would be largely correct. Neither Lymon nor the Teenagers would ever have another hit after they split. The last few records credited to Frankie Lymon and the Teenagers were in fact Lymon solo recordings, performed with other backing singers. “Goody Goody” did manage to reach number twenty on the pop charts: [Excerpt: Frankie Lymon and the Teenagers, “Goody Goody”] Everything after that did worse. Lymon’s first solo single, “My Girl”, failed to chart: [Excerpt: Frankie Lymon, “My Girl”] He continued making records for another couple of years, but nothing came of any of them, and when his voice broke he stopped sounding much like himself. The last recording he made that came even close to being a hit was a remake of Bobby Day’s “Little Bitty Pretty One” from 1960. [Excerpt: Frankie Lymon, “Little Bitty Pretty One”] And the Teenagers didn’t fare much better. They went through several new lead singers. There was Billy Lobrano, a white kid who according to Jimmy Merchant sounded more like Eddie Fisher than like Lymon: [Excerpt: The Teenagers, “Mama Wanna Rock”] Then there was Freddie Houston, who would go on to be the lead singer in one of the many Ink Spots lineups touring in the sixties, and then they started trying to focus on the other original group members, for example calling themselves “Sherman and the Teenagers” when performing the Leiber and Stoller song “The Draw”: [Excerpt: Sherman and the Teenagers, “The Draw”] As you can hear, none of these had the same sound as they’d had with Lymon, and they eventually hit on the idea of getting a woman into the group instead. They got in Sandra Doyle, who would later be Zola Taylor’s replacement in the Platters, and struggled on until 1961, when they finally split up. Lymon’s life after leaving the Teenagers was one of nothing but tragedy. He married three times, every time bigamously, and his only child died two days after the birth. Lymon would apparently regularly steal from Zola Taylor, who became his second wife, to feed his heroin addiction. He briefly reunited with the Teenagers in 1965, but they had little success. He spent a couple of years in the army, and appeared to have got himself clean, and even got a new record deal. But the night before he was meant to go back into the studio, he fell off the wagon, for what would be the last time. Frankie Lymon died, aged just twenty-five, and a has-been for almost half of his life, of a heroin overdose, in 1968. The other Teenagers would reunite, with Lymon’s brother joining them briefly, in the 70s. Sherman Garnes died in 1977, and Joe Negroni in 1978, but Santiago and Merchant continued, off and on, with a lineup of the Teenagers — a version of the band continues to this day, still featuring Herman Santiago, and Merchant remained with the band until his retirement a few years ago. But their first hit caused legal problems: [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] “Why Do Fools Fall In Love?” was written by Herman Santiago, with the help of Jimmy Merchant. But neither Santiago or Merchant were credited on the song when it came out. The credited songwriters for the song are Frankie Lymon — who did have some input into rewriting it in the studio — and Morris Levy, who had never even heard the song until after it was a massive hit. George Goldner was originally credited as Lymon’s co-writer, and of course Goldner never wrote it either, but at least he was in the studio when it was recorded. But when Levy bought out Goldner’s holdings in his companies, he also bought out his rights to songs he was credited for, so Levy became the legal co-writer of “Why Do Fools Fall in Love?” In 1992 Santiago and Merchant finally won the credit for having written “Why Do Fools Fall In Love?”, but in 1996 the ruling was overturned. They’d apparently waited too long to take legal action over having their song stolen, and so the rights reverted to Lymon and Morris Levy — who had never even met the band when they wrote the song. But, of course, Lymon wasn’t alive to get the money. But his widow was. Or rather, his widows, plural, were. In the 1980s, three separate women claimed to be Lymon’s widow and thus his legitimate heir. One was his first wife, who he had married in 1964 while she was still married to her first husband. One was Zola Taylor, who Lymon supposedly married bigamously a year after his first marriage, but who couldn’t produce any evidence of this, and the third was either his second or third wife, who he married bigamously in 1967 while still married to his first, and possibly his second, wife. That third wife eventually won the various legal battles and is now in charge of the Frankie Lymon legacy. “Why Do Fools Fall In Love?” has gone on to be a standard, recorded by everyone from Joni Mitchell to the Beach Boys to Diana Ross. But Frankie Lymon and the Teenagers stand as a cautionary tale, an example that all too many people were still all too eager to follow.
Episode thirty-five of A History of Rock Music in Five Hundred Songs looks at “Why Do Fools Fall in Love?” by Frankie Lymon and the Teenagers, and at the terrible afterlife of child stardom. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Space Guitar” by Johnny “Guitar” Watson. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no books on the Teenagers, as far as I know, so as I so often do when talking about vocal groups I relied heavily on Marv Goldberg’s website. Some information also comes from Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. Some background on George Goldner was from Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz. And for more on Morris Levy, see Me, the Mob, and the Music, by Tommy James with Martin Fitzpatrick. This compilation contains every recording by Frankie Lymon and the Teenagers, together or separately, as well as recordings by Lewis Lymon and the Teenchords, a group led by Lymon’s brother. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript The story of Frankie Lymon and the Teenagers is, like so many of the stories we’re dealing with in this series, a story of heartbreak and early death, a story of young people of colour having their work become massively successful and making no money off it because of wealthy businessmen stealing their work. But it’s also a story of what happens when you get involved with the Mafia before you hit puberty, and your career peaks at thirteen. The Teenagers only had one really big hit, but it was one of the biggest hits of the fifties, and it was a song that is almost universally known to this day. So today we’re going to talk about “Why Do Fools Fall in Love?” The Teenagers started when two black teenagers from New York, Jimmy Merchant and Sherman Garnes, left the vocal group they’d formed, which was named “the Earth Angels” after the Penguins song, and hooked up with two Latino neighbours, Joe Negroni and Herman Santiago. They named themselves the Ermines. Soon after, they were the support act for local vocal group the Cadillacs: [Excerpt, The Cadillacs, “Speedoo”] They were impressed enough by the Cadillacs that in honour of them they changed their name, becoming the Coup de Villes, and after that the Premiers. They used to practice in the hallway of the apartment block where Sherman Garnes lived, and eventually one of the neighbours got sick of hearing them sing the same songs over and over. The neighbour decided to bring out some love letters his girlfriend had written, some of which were in the form of poems, and say to the kids “why don’t you turn some of these into songs?” And so they did just that — they took one of the letters, containing the phrase “why do birds sing so gay?” and Santiago and Merchant worked out a ballad for Santiago to sing containing that phrase. Soon after this, the Premiers met up with a very young kid, Frankie Lymon, who sang and played percussion in a mambo group. I suppose I should pause here to talk briefly about the mambo craze. Rock and roll wasn’t the only musical style that was making inroads in the pop markets in the fifties — and an impartial observer, looking in 1953 or 1954, might easily have expected that the big musical trend that would shape the next few decades would be calypso music, which had become huge in the US for a brief period. But that wasn’t the only music that was challenging rock and roll. There were a whole host of other musics, usually those from Pacific, Latin-American and/or Caribbean cultures, which tend to get lumped together as “exotica” now, and “mambo” was one of those. This was a craze named after a song by the Cuban bandleader Perez Prado, “Mambo Jambo”: [Excerpt: Perez Prado, “Mambo Jambo”] That song was popular enough that soon everyone was jumping on the bandwagon — for example, Bill Haley and the Comets with “Mambo Rock”: [Excerpt: Bill Haley and the Comets, “Mambo Rock”] The group that Frankie Lymon was performing with was one of those groups, but he was easily persuaded instead to join the Premiers. He was the young kid who hung around with them when they practiced, not the leader, and not even a major part of the group. Not yet, anyway. But everything changed for the group when Richie Barrett heard them singing on a street corner near him. These days, Barrett is best-known for his 1962 single “Some Other Guy”, which was later covered by the Beatles, among others: [Excerpt: Richie Barrett, “Some Other Guy”] But at the time he was the lead singer of a group called the Valentines: [Excerpt: The Valentines, “Tonight Kathleen”] He was also working for George Goldner at Rama Records as a talent scout and producer, doing the same kind of things that Ike Turner had been doing for Chess and Modern, or that Jesse Stone did for Atlantic — finding the acts, doing the arrangements, doing all the work involved in turning some teenage kid into someone who could become a star. Goldner was someone for whom most people in the music industry seem to have a certain amount of contempt — he was, by most accounts, a fairly weak-willed figure who got himself into great amounts of debt with dodgy people. But one thing they’re all agreed on is that he had a great ear for a hit, because as Jerry Leiber put it he had the taste of a fourteen-year-old girl. George Goldner had actually got into R&B through the mambo craze. When Goldner had started in the music industry, it had been as the owner of a chain of nightclubs which featured Latin music. The clubs became popular enough that he also started Tico Records, a label that put out Latin records, most notably early recordings by Tito Puente. [Excerpt: Tito Puente: “Vibe Mambo”] When the mambo boom hit, a lot of black teenagers started attending Goldner’s clubs, and he became interested in the other music they were listening to. He started first Rama Records, as a label for R&B singles, and then Gee records, named after the most successful record that had been put out on Rama, “Gee”, by the Crows. However, Goldner had a business partner, and his name was Morris Levy, and Levy was *not* someone you wanted involved in your business in any way. In this series we’re going to talk about a lot of horrible people — and in fact we’ve already covered more than a few of them — yet Morris Levy was one of the worst people we’re going to look at. While most of the people we’ve discussed are either terrible people in their personal life (if they were a musician) or a minor con artist who ripped off musicians and kept the money for themselves, Morris Levy was a terrible human being *and* a con artist, someone who used his Mafia connections to ensure that the artists he ripped off would never even think of suing him, because they valued their lives too much. We’ll be looking at at least one rock and roll star, in the 1960s, who died in mysterious circumstances after getting involved with Levy. Levy had been the founder of Birdland, the world-famous jazz club, in the 1940s, but when ASCAP came to him asking for the money they were meant to get for their songwriters from live performances, Levy had immediately seen the possibilities in music publishing. Levy then formed a publishing company, Patricia Music, and a record label, Roulette, and started into the business of properly exploiting young black people, not just having them work in his clubs for a night, but having them create intellectual property he could continue exploiting for the rest of his life. Indeed, Levy was so keen to make money off dubious intellectual property that he actually formed a company with his friend Alan Freed which attempted to trademark the phrase “rock and roll”, on the basis that this way any records that came out labelled as such would have to pay them for the privilege. Thankfully, the term caught on so rapidly that there was no way for them to enforce the trademark, and it became genericised. But this is who Levy was, and how he made his money — at least his more legitimate money. Where he got the rest from is a matter for the true crime podcasts. There are several people who report death threats, or having to give up their careers, or suddenly move thousands of miles away from home, to avoid Levy’s revenge on artists who didn’t do exactly what he said. So when we’re looking at a group of literal teenage kids — and black teenagers at that, with the smallest amount of institutional privilege possible, you can be sure that he was not going to treat them with the respect that they were due. Levy owned fifty percent of Goldner’s record companies, and would soon grow to own all of them, as Goldner accumulated more gambling debts and used his record labels to pay them off. But at the start of their career, the group didn’t yet have to worry about Levy. That would come later. For now, they were dealing with George Goldner. And Goldner was someone who was actually concerned with the music, and who had been producing hits consistently for the last few years. At the time the Premiers signed with him, for example, he had just produced “You Baby You” for the Cleftones. [Excerpt: The Cleftones, “You Baby You”] When Richie Barrett brought the Premiers to Goldner, he was intrigued because two of the members were Latino, and he was such a lover of Latin music. But he quickly latched on to the potential of Frankie Lymon as a star. Lymon was a captivating performer, and when you watch video footage of him now you can’t help but think of Michael Jackson, who followed almost exactly the same early career trajectory a decade later. While the other band members were the normal kind of teenage kids who joined doo-wop groups, and were clearly a little reserved, Lymon just *went for it*, working the crowd like a young James Brown with absolutely no self-consciousness at all. He also had a gorgeous falsetto voice, and knew how to use it. As we’ve heard, many of the doo-wop groups of the fifties weren’t particularly proficient singers, but Lymon did have a real vocal talent. He was clearly a potential star. Frankie Lymon wasn’t even originally meant to be the lead singer on “Why Do Fools Fall in Love?” — that distinctive falsetto that makes the record so memorable was a late addition. The song was originally meant to be sung by Herman Santiago, and it was only in the studio that the song was rearranged to instead focus on the band’s youngest — and youngest-sounding — member. [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] When the record came out, it wasn’t credited to the Premiers, but to “The Teenagers, featuring Frankie Lymon”. Goldner hadn’t liked the group’s name, and decided to focus on their big selling point — their youth, and in particular the youth of their new lead singer. Much of the work to make the record sound that good was done not by the Teenagers or by Goldner, but by the session saxophone player Jimmy Wright, who ended up doing the arrangements on all of the Teenagers’ records, and whose idea it was to start them with Sherman Garnes’ bass intros. Again, as with so many of these records, there was a white cover version that came out almost immediately — this time by the Diamonds, a group of Canadians who copied the formula of their fellow countrymen the Crew Cuts and more or less cornered the market in white remakes of doo-wop hits. [Excerpt: The Diamonds, “Why Do Fools Fall in Love?”] But in a sign of how the times were changing, the Diamonds’ version of the song only went to number twelve, while the Teenagers’ version went to number six, helped by a massive push from Morris Levy’s good friend Alan Freed. Partly this may have been down to the fact that all the Diamonds were adults, and they simply couldn’t compete with the novelty sound of a boy who sounded prepubescent, singing in falsetto. Falsetto had, of course, always been a part of the doo-wop vocal blend, but it had been a minor part up to this point. Lead vocals would generally be sung in a smooth high tenor, but would very rarely reach to the truly high notes. Lymon, by virtue of his voice not yet having broken, introduced a new timbre into rock and roll lead vocals, and he influenced almost every vocal group that followed. There might have been a Four Seasons or a Jan and Dean or a Beach Boys without Lymon, but I doubt it. There was also a British cover version, by Alma Cogan, a middle-of-the-road singer known as “the girl with the giggle in her voice”. [Excerpt: Alma Cogan, “Why Do Fools Fall In Love?”] This sort of thing was common in Britain well into the sixties, as most US labels didn’t have distribution in the UK, and so if British people wanted to hear American rock and roll songs, they would often get them in native cover versions. Cogan was a particular source of these, often recording songs that had been R&B hits. We will see a lot more of this in future episodes, as we start to look more at the way rock and roll affected the UK. The Teenagers followed the success of “Why Do Fools Fall in Love?” with “I Want You to Be My Girl”: [Excerpt, Frankie Lymon and the Teenagers, “I Want You to Be My Girl”] This one did almost as well, reaching a peak of number thirteen in the pop charts. But the singles after that did less well, although “I’m Not A Juvenile Delinquent” became a big hit in the UK. The record label soon decided that Lymon needed to become a solo star, rather than being just the lead singer of the Teenagers. Quite why they made this decision was difficult to say, as one would not normally deliberately break up a hit act. But presumably the calculation was that they would then have two hit acts — solo Frankie Lymon, and the Teenagers still recording together. It didn’t work out like that. Lymon inadvertently caused another crisis in the ongoing battle of rock and roll versus racism. Alan Freed had a new TV series, The Big Beat, which was a toned-down version of Freed’s radio show. By this point, real rock and roll was already in a temporary decline as the major labels fought back, and so Freed’s show was generally filled with the kind of pre-packaged major label act, usually named Bobby, that we’ll be talking about when we get to the later fifties. For all that Freed had a reputation as a supporter of black music, what he really was was someone with the skill to see a bandwagon and jump on it. But still, some of the black performers were still popular, and so Freed had Lymon on his showr. But his show was aimed at a white audience, and so the studio audience was white, and dancing. And Frankie Lymon started to dance as well. A black boy, dancing with a white girl. This did not go down well at all with the Southern network affiliates, and within a couple of weeks Freed’s show had been taken off the TV. And that appearance, the one that destroyed Freed’s show, was almost certainly Lymon’s very first ever solo performance. One might think that this did not augur well for his future career, and that assessment would be largely correct. Neither Lymon nor the Teenagers would ever have another hit after they split. The last few records credited to Frankie Lymon and the Teenagers were in fact Lymon solo recordings, performed with other backing singers. “Goody Goody” did manage to reach number twenty on the pop charts: [Excerpt: Frankie Lymon and the Teenagers, “Goody Goody”] Everything after that did worse. Lymon’s first solo single, “My Girl”, failed to chart: [Excerpt: Frankie Lymon, “My Girl”] He continued making records for another couple of years, but nothing came of any of them, and when his voice broke he stopped sounding much like himself. The last recording he made that came even close to being a hit was a remake of Bobby Day’s “Little Bitty Pretty One” from 1960. [Excerpt: Frankie Lymon, “Little Bitty Pretty One”] And the Teenagers didn’t fare much better. They went through several new lead singers. There was Billy Lobrano, a white kid who according to Jimmy Merchant sounded more like Eddie Fisher than like Lymon: [Excerpt: The Teenagers, “Mama Wanna Rock”] Then there was Freddie Houston, who would go on to be the lead singer in one of the many Ink Spots lineups touring in the sixties, and then they started trying to focus on the other original group members, for example calling themselves “Sherman and the Teenagers” when performing the Leiber and Stoller song “The Draw”: [Excerpt: Sherman and the Teenagers, “The Draw”] As you can hear, none of these had the same sound as they’d had with Lymon, and they eventually hit on the idea of getting a woman into the group instead. They got in Sandra Doyle, who would later be Zola Taylor’s replacement in the Platters, and struggled on until 1961, when they finally split up. Lymon’s life after leaving the Teenagers was one of nothing but tragedy. He married three times, every time bigamously, and his only child died two days after the birth. Lymon would apparently regularly steal from Zola Taylor, who became his second wife, to feed his heroin addiction. He briefly reunited with the Teenagers in 1965, but they had little success. He spent a couple of years in the army, and appeared to have got himself clean, and even got a new record deal. But the night before he was meant to go back into the studio, he fell off the wagon, for what would be the last time. Frankie Lymon died, aged just twenty-five, and a has-been for almost half of his life, of a heroin overdose, in 1968. The other Teenagers would reunite, with Lymon’s brother joining them briefly, in the 70s. Sherman Garnes died in 1977, and Joe Negroni in 1978, but Santiago and Merchant continued, off and on, with a lineup of the Teenagers — a version of the band continues to this day, still featuring Herman Santiago, and Merchant remained with the band until his retirement a few years ago. But their first hit caused legal problems: [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] “Why Do Fools Fall In Love?” was written by Herman Santiago, with the help of Jimmy Merchant. But neither Santiago or Merchant were credited on the song when it came out. The credited songwriters for the song are Frankie Lymon — who did have some input into rewriting it in the studio — and Morris Levy, who had never even heard the song until after it was a massive hit. George Goldner was originally credited as Lymon’s co-writer, and of course Goldner never wrote it either, but at least he was in the studio when it was recorded. But when Levy bought out Goldner’s holdings in his companies, he also bought out his rights to songs he was credited for, so Levy became the legal co-writer of “Why Do Fools Fall in Love?” In 1992 Santiago and Merchant finally won the credit for having written “Why Do Fools Fall In Love?”, but in 1996 the ruling was overturned. They’d apparently waited too long to take legal action over having their song stolen, and so the rights reverted to Lymon and Morris Levy — who had never even met the band when they wrote the song. But, of course, Lymon wasn’t alive to get the money. But his widow was. Or rather, his widows, plural, were. In the 1980s, three separate women claimed to be Lymon’s widow and thus his legitimate heir. One was his first wife, who he had married in 1964 while she was still married to her first husband. One was Zola Taylor, who Lymon supposedly married bigamously a year after his first marriage, but who couldn’t produce any evidence of this, and the third was either his second or third wife, who he married bigamously in 1967 while still married to his first, and possibly his second, wife. That third wife eventually won the various legal battles and is now in charge of the Frankie Lymon legacy. “Why Do Fools Fall In Love?” has gone on to be a standard, recorded by everyone from Joni Mitchell to the Beach Boys to Diana Ross. But Frankie Lymon and the Teenagers stand as a cautionary tale, an example that all too many people were still all too eager to follow.
Episode thirty-five of A History of Rock Music in Five Hundred Songs looks at "Why Do Fools Fall in Love?" by Frankie Lymon and the Teenagers, and at the terrible afterlife of child stardom. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Space Guitar" by Johnny "Guitar" Watson. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no books on the Teenagers, as far as I know, so as I so often do when talking about vocal groups I relied heavily on Marv Goldberg's website. Some information also comes from Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. Some background on George Goldner was from Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz. And for more on Morris Levy, see Me, the Mob, and the Music, by Tommy James with Martin Fitzpatrick. This compilation contains every recording by Frankie Lymon and the Teenagers, together or separately, as well as recordings by Lewis Lymon and the Teenchords, a group led by Lymon's brother. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript The story of Frankie Lymon and the Teenagers is, like so many of the stories we're dealing with in this series, a story of heartbreak and early death, a story of young people of colour having their work become massively successful and making no money off it because of wealthy businessmen stealing their work. But it's also a story of what happens when you get involved with the Mafia before you hit puberty, and your career peaks at thirteen. The Teenagers only had one really big hit, but it was one of the biggest hits of the fifties, and it was a song that is almost universally known to this day. So today we're going to talk about "Why Do Fools Fall in Love?" The Teenagers started when two black teenagers from New York, Jimmy Merchant and Sherman Garnes, left the vocal group they'd formed, which was named "the Earth Angels" after the Penguins song, and hooked up with two Latino neighbours, Joe Negroni and Herman Santiago. They named themselves the Ermines. Soon after, they were the support act for local vocal group the Cadillacs: [Excerpt, The Cadillacs, "Speedoo"] They were impressed enough by the Cadillacs that in honour of them they changed their name, becoming the Coup de Villes, and after that the Premiers. They used to practice in the hallway of the apartment block where Sherman Garnes lived, and eventually one of the neighbours got sick of hearing them sing the same songs over and over. The neighbour decided to bring out some love letters his girlfriend had written, some of which were in the form of poems, and say to the kids "why don't you turn some of these into songs?" And so they did just that -- they took one of the letters, containing the phrase "why do birds sing so gay?" and Santiago and Merchant worked out a ballad for Santiago to sing containing that phrase. Soon after this, the Premiers met up with a very young kid, Frankie Lymon, who sang and played percussion in a mambo group. I suppose I should pause here to talk briefly about the mambo craze. Rock and roll wasn't the only musical style that was making inroads in the pop markets in the fifties -- and an impartial observer, looking in 1953 or 1954, might easily have expected that the big musical trend that would shape the next few decades would be calypso music, which had become huge in the US for a brief period. But that wasn't the only music that was challenging rock and roll. There were a whole host of other musics, usually those from Pacific, Latin-American and/or Caribbean cultures, which tend to get lumped together as "exotica" now, and "mambo" was one of those. This was a craze named after a song by the Cuban bandleader Perez Prado, "Mambo Jambo": [Excerpt: Perez Prado, "Mambo Jambo"] That song was popular enough that soon everyone was jumping on the bandwagon -- for example, Bill Haley and the Comets with "Mambo Rock": [Excerpt: Bill Haley and the Comets, "Mambo Rock"] The group that Frankie Lymon was performing with was one of those groups, but he was easily persuaded instead to join the Premiers. He was the young kid who hung around with them when they practiced, not the leader, and not even a major part of the group. Not yet, anyway. But everything changed for the group when Richie Barrett heard them singing on a street corner near him. These days, Barrett is best-known for his 1962 single "Some Other Guy", which was later covered by the Beatles, among others: [Excerpt: Richie Barrett, "Some Other Guy"] But at the time he was the lead singer of a group called the Valentines: [Excerpt: The Valentines, "Tonight Kathleen"] He was also working for George Goldner at Rama Records as a talent scout and producer, doing the same kind of things that Ike Turner had been doing for Chess and Modern, or that Jesse Stone did for Atlantic -- finding the acts, doing the arrangements, doing all the work involved in turning some teenage kid into someone who could become a star. Goldner was someone for whom most people in the music industry seem to have a certain amount of contempt -- he was, by most accounts, a fairly weak-willed figure who got himself into great amounts of debt with dodgy people. But one thing they're all agreed on is that he had a great ear for a hit, because as Jerry Leiber put it he had the taste of a fourteen-year-old girl. George Goldner had actually got into R&B through the mambo craze. When Goldner had started in the music industry, it had been as the owner of a chain of nightclubs which featured Latin music. The clubs became popular enough that he also started Tico Records, a label that put out Latin records, most notably early recordings by Tito Puente. [Excerpt: Tito Puente: "Vibe Mambo"] When the mambo boom hit, a lot of black teenagers started attending Goldner's clubs, and he became interested in the other music they were listening to. He started first Rama Records, as a label for R&B singles, and then Gee records, named after the most successful record that had been put out on Rama, "Gee", by the Crows. However, Goldner had a business partner, and his name was Morris Levy, and Levy was *not* someone you wanted involved in your business in any way. In this series we're going to talk about a lot of horrible people -- and in fact we've already covered more than a few of them -- yet Morris Levy was one of the worst people we're going to look at. While most of the people we've discussed are either terrible people in their personal life (if they were a musician) or a minor con artist who ripped off musicians and kept the money for themselves, Morris Levy was a terrible human being *and* a con artist, someone who used his Mafia connections to ensure that the artists he ripped off would never even think of suing him, because they valued their lives too much. We'll be looking at at least one rock and roll star, in the 1960s, who died in mysterious circumstances after getting involved with Levy. Levy had been the founder of Birdland, the world-famous jazz club, in the 1940s, but when ASCAP came to him asking for the money they were meant to get for their songwriters from live performances, Levy had immediately seen the possibilities in music publishing. Levy then formed a publishing company, Patricia Music, and a record label, Roulette, and started into the business of properly exploiting young black people, not just having them work in his clubs for a night, but having them create intellectual property he could continue exploiting for the rest of his life. Indeed, Levy was so keen to make money off dubious intellectual property that he actually formed a company with his friend Alan Freed which attempted to trademark the phrase "rock and roll", on the basis that this way any records that came out labelled as such would have to pay them for the privilege. Thankfully, the term caught on so rapidly that there was no way for them to enforce the trademark, and it became genericised. But this is who Levy was, and how he made his money -- at least his more legitimate money. Where he got the rest from is a matter for the true crime podcasts. There are several people who report death threats, or having to give up their careers, or suddenly move thousands of miles away from home, to avoid Levy's revenge on artists who didn't do exactly what he said. So when we're looking at a group of literal teenage kids -- and black teenagers at that, with the smallest amount of institutional privilege possible, you can be sure that he was not going to treat them with the respect that they were due. Levy owned fifty percent of Goldner's record companies, and would soon grow to own all of them, as Goldner accumulated more gambling debts and used his record labels to pay them off. But at the start of their career, the group didn't yet have to worry about Levy. That would come later. For now, they were dealing with George Goldner. And Goldner was someone who was actually concerned with the music, and who had been producing hits consistently for the last few years. At the time the Premiers signed with him, for example, he had just produced "You Baby You" for the Cleftones. [Excerpt: The Cleftones, "You Baby You"] When Richie Barrett brought the Premiers to Goldner, he was intrigued because two of the members were Latino, and he was such a lover of Latin music. But he quickly latched on to the potential of Frankie Lymon as a star. Lymon was a captivating performer, and when you watch video footage of him now you can't help but think of Michael Jackson, who followed almost exactly the same early career trajectory a decade later. While the other band members were the normal kind of teenage kids who joined doo-wop groups, and were clearly a little reserved, Lymon just *went for it*, working the crowd like a young James Brown with absolutely no self-consciousness at all. He also had a gorgeous falsetto voice, and knew how to use it. As we've heard, many of the doo-wop groups of the fifties weren't particularly proficient singers, but Lymon did have a real vocal talent. He was clearly a potential star. Frankie Lymon wasn't even originally meant to be the lead singer on "Why Do Fools Fall in Love?" -- that distinctive falsetto that makes the record so memorable was a late addition. The song was originally meant to be sung by Herman Santiago, and it was only in the studio that the song was rearranged to instead focus on the band's youngest -- and youngest-sounding -- member. [Excerpt: Frankie Lymon and the Teenagers, "Why Do Fools Fall In Love?"] When the record came out, it wasn't credited to the Premiers, but to "The Teenagers, featuring Frankie Lymon". Goldner hadn't liked the group's name, and decided to focus on their big selling point -- their youth, and in particular the youth of their new lead singer. Much of the work to make the record sound that good was done not by the Teenagers or by Goldner, but by the session saxophone player Jimmy Wright, who ended up doing the arrangements on all of the Teenagers' records, and whose idea it was to start them with Sherman Garnes' bass intros. Again, as with so many of these records, there was a white cover version that came out almost immediately -- this time by the Diamonds, a group of Canadians who copied the formula of their fellow countrymen the Crew Cuts and more or less cornered the market in white remakes of doo-wop hits. [Excerpt: The Diamonds, "Why Do Fools Fall in Love?"] But in a sign of how the times were changing, the Diamonds' version of the song only went to number twelve, while the Teenagers' version went to number six, helped by a massive push from Morris Levy's good friend Alan Freed. Partly this may have been down to the fact that all the Diamonds were adults, and they simply couldn't compete with the novelty sound of a boy who sounded prepubescent, singing in falsetto. Falsetto had, of course, always been a part of the doo-wop vocal blend, but it had been a minor part up to this point. Lead vocals would generally be sung in a smooth high tenor, but would very rarely reach to the truly high notes. Lymon, by virtue of his voice not yet having broken, introduced a new timbre into rock and roll lead vocals, and he influenced almost every vocal group that followed. There might have been a Four Seasons or a Jan and Dean or a Beach Boys without Lymon, but I doubt it. There was also a British cover version, by Alma Cogan, a middle-of-the-road singer known as "the girl with the giggle in her voice". [Excerpt: Alma Cogan, "Why Do Fools Fall In Love?"] This sort of thing was common in Britain well into the sixties, as most US labels didn't have distribution in the UK, and so if British people wanted to hear American rock and roll songs, they would often get them in native cover versions. Cogan was a particular source of these, often recording songs that had been R&B hits. We will see a lot more of this in future episodes, as we start to look more at the way rock and roll affected the UK. The Teenagers followed the success of "Why Do Fools Fall in Love?" with "I Want You to Be My Girl": [Excerpt, Frankie Lymon and the Teenagers, "I Want You to Be My Girl"] This one did almost as well, reaching a peak of number thirteen in the pop charts. But the singles after that did less well, although "I'm Not A Juvenile Delinquent" became a big hit in the UK. The record label soon decided that Lymon needed to become a solo star, rather than being just the lead singer of the Teenagers. Quite why they made this decision was difficult to say, as one would not normally deliberately break up a hit act. But presumably the calculation was that they would then have two hit acts -- solo Frankie Lymon, and the Teenagers still recording together. It didn't work out like that. Lymon inadvertently caused another crisis in the ongoing battle of rock and roll versus racism. Alan Freed had a new TV series, The Big Beat, which was a toned-down version of Freed's radio show. By this point, real rock and roll was already in a temporary decline as the major labels fought back, and so Freed's show was generally filled with the kind of pre-packaged major label act, usually named Bobby, that we'll be talking about when we get to the later fifties. For all that Freed had a reputation as a supporter of black music, what he really was was someone with the skill to see a bandwagon and jump on it. But still, some of the black performers were still popular, and so Freed had Lymon on his showr. But his show was aimed at a white audience, and so the studio audience was white, and dancing. And Frankie Lymon started to dance as well. A black boy, dancing with a white girl. This did not go down well at all with the Southern network affiliates, and within a couple of weeks Freed's show had been taken off the TV. And that appearance, the one that destroyed Freed's show, was almost certainly Lymon's very first ever solo performance. One might think that this did not augur well for his future career, and that assessment would be largely correct. Neither Lymon nor the Teenagers would ever have another hit after they split. The last few records credited to Frankie Lymon and the Teenagers were in fact Lymon solo recordings, performed with other backing singers. "Goody Goody" did manage to reach number twenty on the pop charts: [Excerpt: Frankie Lymon and the Teenagers, "Goody Goody"] Everything after that did worse. Lymon's first solo single, "My Girl", failed to chart: [Excerpt: Frankie Lymon, "My Girl"] He continued making records for another couple of years, but nothing came of any of them, and when his voice broke he stopped sounding much like himself. The last recording he made that came even close to being a hit was a remake of Bobby Day's "Little Bitty Pretty One" from 1960. [Excerpt: Frankie Lymon, "Little Bitty Pretty One"] And the Teenagers didn't fare much better. They went through several new lead singers. There was Billy Lobrano, a white kid who according to Jimmy Merchant sounded more like Eddie Fisher than like Lymon: [Excerpt: The Teenagers, "Mama Wanna Rock"] Then there was Freddie Houston, who would go on to be the lead singer in one of the many Ink Spots lineups touring in the sixties, and then they started trying to focus on the other original group members, for example calling themselves "Sherman and the Teenagers" when performing the Leiber and Stoller song "The Draw": [Excerpt: Sherman and the Teenagers, "The Draw"] As you can hear, none of these had the same sound as they'd had with Lymon, and they eventually hit on the idea of getting a woman into the group instead. They got in Sandra Doyle, who would later be Zola Taylor's replacement in the Platters, and struggled on until 1961, when they finally split up. Lymon's life after leaving the Teenagers was one of nothing but tragedy. He married three times, every time bigamously, and his only child died two days after the birth. Lymon would apparently regularly steal from Zola Taylor, who became his second wife, to feed his heroin addiction. He briefly reunited with the Teenagers in 1965, but they had little success. He spent a couple of years in the army, and appeared to have got himself clean, and even got a new record deal. But the night before he was meant to go back into the studio, he fell off the wagon, for what would be the last time. Frankie Lymon died, aged just twenty-five, and a has-been for almost half of his life, of a heroin overdose, in 1968. The other Teenagers would reunite, with Lymon's brother joining them briefly, in the 70s. Sherman Garnes died in 1977, and Joe Negroni in 1978, but Santiago and Merchant continued, off and on, with a lineup of the Teenagers -- a version of the band continues to this day, still featuring Herman Santiago, and Merchant remained with the band until his retirement a few years ago. But their first hit caused legal problems: [Excerpt: Frankie Lymon and the Teenagers, "Why Do Fools Fall In Love?"] "Why Do Fools Fall In Love?" was written by Herman Santiago, with the help of Jimmy Merchant. But neither Santiago or Merchant were credited on the song when it came out. The credited songwriters for the song are Frankie Lymon -- who did have some input into rewriting it in the studio -- and Morris Levy, who had never even heard the song until after it was a massive hit. George Goldner was originally credited as Lymon's co-writer, and of course Goldner never wrote it either, but at least he was in the studio when it was recorded. But when Levy bought out Goldner's holdings in his companies, he also bought out his rights to songs he was credited for, so Levy became the legal co-writer of "Why Do Fools Fall in Love?" In 1992 Santiago and Merchant finally won the credit for having written "Why Do Fools Fall In Love?", but in 1996 the ruling was overturned. They'd apparently waited too long to take legal action over having their song stolen, and so the rights reverted to Lymon and Morris Levy -- who had never even met the band when they wrote the song. But, of course, Lymon wasn't alive to get the money. But his widow was. Or rather, his widows, plural, were. In the 1980s, three separate women claimed to be Lymon's widow and thus his legitimate heir. One was his first wife, who he had married in 1964 while she was still married to her first husband. One was Zola Taylor, who Lymon supposedly married bigamously a year after his first marriage, but who couldn't produce any evidence of this, and the third was either his second or third wife, who he married bigamously in 1967 while still married to his first, and possibly his second, wife. That third wife eventually won the various legal battles and is now in charge of the Frankie Lymon legacy. "Why Do Fools Fall In Love?" has gone on to be a standard, recorded by everyone from Joni Mitchell to the Beach Boys to Diana Ross. But Frankie Lymon and the Teenagers stand as a cautionary tale, an example that all too many people were still all too eager to follow.
1. Paralysed by Private Agenda | 2. It Looks Like Love (12" Album Mix) by Goody Goody | 3. Tutti Frutti by New Order Feat. Elly Jackson | 4. Dancer (12" Album Mix) by Gino Soccio | 5. You can shine Dan Beaumont & Luke Soloman remix) by Andy Butler | 6. Number One by Ray Mang | 7. Double Feature by Midland | 8. Running by Luke Solomon | 9. Space Bass by Slick | 10. Over And Over ?[?Special 12" Disco Mix?]? by Sylvester |Broadcast October 2015
01. Biblical Jones & DJ Dell feat. Donna Marie - So Happy So Blessed (Original Mix) [Brooklyn BeatDown Music] 02. Block & Crown - On The Frontline (Original Mix) [RH2] 03. Denise Montana from Goody Goody - #1 Dee Jay (Pagany Back To Funk Vocal) [Stereocity] 04. Donald Glaude & Felipe Avelar - Dance All Night (Original Mix) [Ammo Recordings] 05. featuring_me - Don't Let Me Go (Extended Mix) [SHOONZ] 06. Frank Lamboy & Jenn Cuneta - Eternal Love (Original Mix) [Re_vibe Music] 07. Ian Carrera - Here We Go Again (2019 Rework) [NU TRAXX Records] 08. Luca Debonaire - How We Party (Original Mix) [Next-Gen-Records] 09. R.e.d. - Let Me Show You (Doctor Si Remix) [House Of Rose] 10. Amorhouse & Tonix - Jumping (Original Mix) [Ocean Trax Music _ The Saifam Group Srl] 11. Soledrifter - Call It House (Original Mix) [Frosted Recordings] 12. AVA (IT) - Loose Control (Original Mix) [RH2] 13. Bonna Ft. Richelle Hicks - Get What I Need (DJ Passion Remix) [Plastik People Digital] 14. Delgado & Darren Fletcher - Saxyness (Original Mix) [Cruise Music] 15. Johan S feat. DJ Spen - Gotta Have House (Johan S Remix) [Subtractive Recordings] 16. Roy Jazz Grant - Long Gone (Club Mix) [House Miami Records]
01. Biblical Jones & DJ Dell feat. Donna Marie - So Happy So Blessed (Original Mix) [Brooklyn BeatDown Music] 02. Block & Crown - On The Frontline (Original Mix) [RH2] 03. Denise Montana from Goody Goody - #1 Dee Jay (Pagany Back To Funk Vocal) [Stereocity] 04. Donald Glaude & Felipe Avelar - Dance All Night (Original Mix) [Ammo Recordings] 05. featuring_me - Don't Let Me Go (Extended Mix) [SHOONZ] 06. Frank Lamboy & Jenn Cuneta - Eternal Love (Original Mix) [Re_vibe Music] 07. Ian Carrera - Here We Go Again (2019 Rework) [NU TRAXX Records] 08. Luca Debonaire - How We Party (Original Mix) [Next-Gen-Records] 09. R.e.d. - Let Me Show You (Doctor Si Remix) [House Of Rose] 10. Amorhouse & Tonix - Jumping (Original Mix) [Ocean Trax Music _ The Saifam Group Srl] 11. Soledrifter - Call It House (Original Mix) [Frosted Recordings] 12. AVA (IT) - Loose Control (Original Mix) [RH2] 13. Bonna Ft. Richelle Hicks - Get What I Need (DJ Passion Remix) [Plastik People Digital] 14. Delgado & Darren Fletcher - Saxyness (Original Mix) [Cruise Music] 15. Johan S feat. DJ Spen - Gotta Have House (Johan S Remix) [Subtractive Recordings] 16. Roy Jazz Grant - Long Gone (Club Mix) [House Miami Records]
With tracks from Sworn Virgins, John Davis & The Monster Orchestra, Mangabey, Winx, Lady B, Pastaboys, Syncbeat, Win2Win (Lauer & Fabrizio Mammarella), Terranova, Soulphiction, Pitto, Gary Martin, K-Hand, Nyra, Goody Goody, Mr Raoul K, A.J. Sound, Third Son, Moscoman, Zombies In Miami, Ten Ven, Lay-Far. Contact: dj@ribeaud.ch.
Good is supposed to make the dumb stop. If good doesn't do it, the dumb not only continues but can grow. Finding good makes the dumb stop. Cring takes us on the mission. Good news and better news: a weekly podcast where we endeavor to put the pin back in the grenade. We just take a little time to talk some common sense, laugh a lot, sometimes play some music, and leave refreshed. After all, humanity isn't really hopeless--we just have a tendency to act helpless. Be sure to also check out Cring's daily blog: Jonathots Daily Blog, a bit of entertaining inspiration with a humorous twist--and a different approach every day. It can be found at https://jonathots.wordpress.com/. Then there's Jonathots, Jr.! "A Thoughtful Way to Start Your Day" in just a sentence of two. And don't fail to check out Words from Dic(tionary)--Jonathan's mostly humorous take on the definitions of words--in the dictionary order. We invite you to join us on this journey. We've decided to abstain the race--we just want to enjoy the human walk together.
Hi all Enjoy my last #Radio-Mix-Show On #HouseStationRadio www.housestationradio.com With this awesome play-list What i invited you to discover absolutely : Anthony Poteat-All And All (Gene Leone, Simon Master W Walking Dog Bass Mix)Marivent Music Digital https://www.youtube.com/watch?v=7oGzvzCNW6A Danny Cruz-I Love You More (Original Mix)Cruise Music https://www.traxsource.com/title/1087127/i-love-you-more Guido P, Mara J Boston-Believe (Original Mix)Hsr Records https://www.traxsource.com/track/5695595/believe-original-mix Paolo Maffia & Mara J Boston - My World Is You(Club Mix)Karmic Power Records https://www.traxsource.com/track/6088177/my-world-is-you-club-mix Phyllis Hyman - Heavenly (Jeremy Rosebrook's Heavenly Mix) https://soundcloud.com/jeremy-rosebrook/phyllis-hyman-heavenly-jeremy-rosebrooks-heavenly-mixfree-download Sandy H Feat U.R.A-Up To You (Tony King Remix)4th Quarter Music https://www.youtube.com/watch?v=yMp2Z_wq7Uo Atlantic Starr - Silver Shadow (Extended Rework Strange Rollers Deep Edit) https://soundcloud.com/richiek/atlantic-starr-silver-shadow-strange-rollers-remix Mustafa, Lisa Millett-Wake Up Everybody (Classic Mix)Staff Productions https://www.traxsource.com/track/853788/wake-up-everybody-classic- Rosie Gaines-Be Strong (Hippie Torrales Tribute Mix)Dredlix Music https://www.amazon.com/Strong-Hippie-Torrales-Tribute-Mix/dp/B00SL8YX8S Denise Montana from Goody Goody-#1 Dee Jay (Pagany Back To Funk Vocal)Stereocity Records Whigfield Ft Shawn Christopher-Another Day (The Glee Club Mix) https://www.youtube.com/watch?v=xPyPOJxm1Iw DJ DS-Hey Hey True House La (My Last Production) https://www.junodownload.com/products/dj-ds-hey-hey/4071313-02/ Thank u for love and support Next Rendez vous together Wednesday March 13th 2019 On #HouseStationRadio www.housestationradio.com Spread the word ♥♥♪♫♪♫♪
Hi all Enjoy my last #Radio-Mix-Show On #HouseStationRadio www.housestationradio.com With this awesome play-list What i invited you to discover absolutely : Anthony Poteat-All And All (Gene Leone, Simon Master W Walking Dog Bass Mix)Marivent Music Digital https://www.youtube.com/watch?v=7oGzvzCNW6A Danny Cruz-I Love You More (Original Mix)Cruise Music https://www.traxsource.com/title/1087127/i-love-you-more Guido P, Mara J Boston-Believe (Original Mix)Hsr Records https://www.traxsource.com/track/5695595/believe-original-mix Paolo Maffia & Mara J Boston - My World Is You(Club Mix)Karmic Power Records https://www.traxsource.com/track/6088177/my-world-is-you-club-mix Phyllis Hyman - Heavenly (Jeremy Rosebrook's Heavenly Mix) https://soundcloud.com/jeremy-rosebrook/phyllis-hyman-heavenly-jeremy-rosebrooks-heavenly-mixfree-download Sandy H Feat U.R.A-Up To You (Tony King Remix)4th Quarter Music https://www.youtube.com/watch?v=yMp2Z_wq7Uo Atlantic Starr - Silver Shadow (Extended Rework Strange Rollers Deep Edit) https://soundcloud.com/richiek/atlantic-starr-silver-shadow-strange-rollers-remix Mustafa, Lisa Millett-Wake Up Everybody (Classic Mix)Staff Productions https://www.traxsource.com/track/853788/wake-up-everybody-classic- Rosie Gaines-Be Strong (Hippie Torrales Tribute Mix)Dredlix Music https://www.amazon.com/Strong-Hippie-Torrales-Tribute-Mix/dp/B00SL8YX8S Denise Montana from Goody Goody-#1 Dee Jay (Pagany Back To Funk Vocal)Stereocity Records Whigfield Ft Shawn Christopher-Another Day (The Glee Club Mix) https://www.youtube.com/watch?v=xPyPOJxm1Iw DJ DS-Hey Hey True House La (My Last Production) https://www.junodownload.com/products/dj-ds-hey-hey/4071313-02/ Thank u for love and support Next Rendez vous together Wednesday March 13th 2019 On #HouseStationRadio www.housestationradio.com Spread the word ♥♥♪♫♪♫♪
This is our 260 th show !!! As in all milestones we hit, this show has to do with getting saved ! Please listen and enjoy as we look at the top 5 reasons people do not get saved.
Tracklist: 01 Labi Siffre - I Got The... (Karim One-O-Nine Edit) 02 Oldchap - Groovin On (Original Mix) 03 Casual Connection - The Get Down (Casual Connection Rework) 04 DJ Vas - Groove On (feat DJ Soulist) 05 Panorama - Don't You Know That 06 Gil Scott Heron - B Movie (Lac's give em hell edit) 07 DJ Vas - Gigolo 08 Miguel Campbell - Mysterious Vybes 09 Disco Tech - Too Funkay 10 Bachteen - Holdin' Love 11 Beatconductor - Something better 12 Resoluto - I'll never forget Tonight ft. Wetty Bright 13 Gil Scott Heron - The Bottle (Kon rework) 14 DJ Vas - First True Love Affair 15 Drop Out Orchestra - Where Is My Man 16 Sartorial - Railton road 17 Chaka Kenn - Cold blooded 18 Chicago - Street Player (Dinks Rework) 19 Till Von Sein - Say Say Say (Original Mix) 20 The Salsoul Orchestra - Ooh I Love It (Love Break) (Full Intention Club Mix) 21 Dubplate Disco - Pick Up (Yam Who edit) 22 Goody Goody - #1 Dee Jay (Instrumental)
Spiritual Rants: One thought from the One Year Bible readings for Week 8 approx. 16 minutes This week: Are You A Goody-Goody? This week's podcast is based on the One Year Readings for Week 8: Feb. 19-25 Leviticus 7:28-18:30 Mark 3:31-8:10 Psalm 37:12-Psalm 41:13 Proverbs 10:5-16 The Four Commands re: The Spirit Gal. 5:16 But I say, walk by the Spirit, and you will not carry out the desire of the flesh. Gal. 5:25 If we live by the Spirit, let us also walk by the Spirit. Eph. 5:18 And do not get drunk with wine, for that is dissipation, but be filled with the Spirit, Eph. 4:30 Do not grieve the Holy Spirit of God, by whom you were sealed for the day of redemption. 1 Thess. 5:19 Do not quench the Spirit Read more at spiritualrants.com
On this Wintry One-off Bry and Glen discuss their favorite stupid shoes throughout the ages!
1 Junior - Mama Used To Say (12 Inch Version) [1981] 2 Kool & The Gang - Stone Love (Club Remix) [1986] 3 Mica Paris - My One Temptation (Reproduction Mix) [1988] 4 Pebbles - Do Me Right (Extended Version) [1987] 5 Snap - Cult Of Snap (Extended) 6 Rob Base & DJ EZ-Rock - It Takes Two (Vocal Version) [1988] 7 The Revenge feat. Danielle Moore - Just Be Good To Me (Ron Basejam Remix) 8 Salsoul Orchestra - Ooh I Love It (Love Break) (Original Shep Pettibone 12'' Remix) 9 Vicent Ballester - Right Now (Original Mix) 10 . Maslin - BIR (Original Mix) 11 Sinnamon - Thanks to you 12 DJ Jazzy Jeff Third World; Now That We Found Love 13 280 West - Fly (280 West Mix) 14 Joey Negro - It's More Fun To Compute 15 Joey Negro & Horse Meat Disco Feat. Angela Johnson - Dancing Into The Stars 16 Joey Negro Feat. Lifford - Everything 17 Joey Negro Feat. Sacha Williamson - I Recognise 18 Maya Jane Coles - Easier To Hide 19 USG; Ncameu (Ron Trent main mix) 20 Foxes - Let Go For Tonight (Fred Falke Remix) 21 a_bitch_named_johanna--freak_it_(tony_humphries_instrumental_mix) 22 Dj Gregory _ Don't Know Malendro (Dim's Re-edit) 23 Hot Wind; You Kiss Me (Vocal Mix) 24 Soul Groove, Funky Judge; Papa Was a Rolling Stone (Pagany vs. Soul Groove Horns Mix) 25 Astro Trax; The Energy (Feel The Vibe) (original mix) 26 Denise Montana, Goody Goody; Nr 1 Dee Jay (Pagany Back 2 Disco Mix) 27 Gisele Jackson; Love Commandments (vocal edit) 28 Ministry Of Funk - All Right (Original Mix) 29 Simply Red - Stay (Grant Nelson Club Mix) 30 Soraya Vivian & Digital 96 - When I'm Dancing (Eric Kupper Fierce Disco Mix) 31 Whitney Houston - Million Dollar Bill (Frankie Knuckles Director's Club Cut) 32 Ciskoman, Soul Groove feat. Elektra Soul Groove Mix; It's About the Music (Soul Groove Mix) 33 DJ Jory, Rob Care; Amor de Verao (Rob Care Boogie Remix) 34 Kerri Chandler; Ladbroke Grove (original mix) 35 Movement (Original Mix) - Deep Josh Angel Pina 36 Sosua & Mad - Supaconstellation (Wez Clarke Re-Master) 37 U-Ness & JedSet feat. Bilonda - H.Y.P.E (Ultra Cool) 38 Faz feat. Vale Ducros Faz Phillys Flavour's Mix; Someday (Faz Phillys Flavour's Mix)
1 Junior - Mama Used To Say (12 Inch Version) [1981] 2 Kool & The Gang - Stone Love (Club Remix) [1986] 3 Mica Paris - My One Temptation (Reproduction Mix) [1988] 4 Pebbles - Do Me Right (Extended Version) [1987] 5 Snap - Cult Of Snap (Extended) 6 Rob Base & DJ EZ-Rock - It Takes Two (Vocal Version) [1988] 7 The Revenge feat. Danielle Moore - Just Be Good To Me (Ron Basejam Remix) 8 Salsoul Orchestra - Ooh I Love It (Love Break) (Original Shep Pettibone 12'' Remix) 9 Vicent Ballester - Right Now (Original Mix) 10 . Maslin - BIR (Original Mix) 11 Sinnamon - Thanks to you 12 DJ Jazzy Jeff Third World; Now That We Found Love 13 280 West - Fly (280 West Mix) 14 Joey Negro - It's More Fun To Compute 15 Joey Negro & Horse Meat Disco Feat. Angela Johnson - Dancing Into The Stars 16 Joey Negro Feat. Lifford - Everything 17 Joey Negro Feat. Sacha Williamson - I Recognise 18 Maya Jane Coles - Easier To Hide 19 USG; Ncameu (Ron Trent main mix) 20 Foxes - Let Go For Tonight (Fred Falke Remix) 21 a_bitch_named_johanna--freak_it_(tony_humphries_instrumental_mix) 22 Dj Gregory _ Don't Know Malendro (Dim's Re-edit) 23 Hot Wind; You Kiss Me (Vocal Mix) 24 Soul Groove, Funky Judge; Papa Was a Rolling Stone (Pagany vs. Soul Groove Horns Mix) 25 Astro Trax; The Energy (Feel The Vibe) (original mix) 26 Denise Montana, Goody Goody; Nr 1 Dee Jay (Pagany Back 2 Disco Mix) 27 Gisele Jackson; Love Commandments (vocal edit) 28 Ministry Of Funk - All Right (Original Mix) 29 Simply Red - Stay (Grant Nelson Club Mix) 30 Soraya Vivian & Digital 96 - When I'm Dancing (Eric Kupper Fierce Disco Mix) 31 Whitney Houston - Million Dollar Bill (Frankie Knuckles Director's Club Cut) 32 Ciskoman, Soul Groove feat. Elektra Soul Groove Mix; It's About the Music (Soul Groove Mix) 33 DJ Jory, Rob Care; Amor de Verao (Rob Care Boogie Remix) 34 Kerri Chandler; Ladbroke Grove (original mix) 35 Movement (Original Mix) - Deep Josh Angel Pina 36 Sosua & Mad - Supaconstellation (Wez Clarke Re-Master) 37 U-Ness & JedSet feat. Bilonda - H.Y.P.E (Ultra Cool) 38 Faz feat. Vale Ducros Faz Phillys Flavour's Mix; Someday (Faz Phillys Flavour's Mix)
This program completes the April 13, 1988 session, featuring Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), John Kafalas (trombone), Don Frothingham (piano), and Stu Grover (drums). The selections are “Ole Miss,” “Undecided,” “Blue Turning Grey,” “Goody-Goody,” which features a vocal by Carrie Mazzy, and “My Blackbirds are Bluebirds Now.” Send questions or comments … Continue reading Podcast #109: April 13, 1988 Part VI →
The Cotton Club was a New York City nightclub located first in the Harlem neighborhood on West 142nd St & Lenox Ave (644 Lenox Ave) from 1923 to 1935 and then for a brief period from 1936 to 1940 in the midtown Theater District. The club operated most notably during the Prohibition Era. The Cotton Club served as a favorite meeting spot on "Celebrity Nights" on Sundays, which featured guests such as Jimmy Durante, George Gershwin, Sophie Tucker, Al Jolson, Mae West, Richard Rodgers, Irving Berlin, Eddie Cantor, Fanny Brice, Langston Hughes, and Judy Garland. This special one-hour presentation revisits the music and musicians that helped to make The Cotton Club famous. It has been remixed and remastered for 2016. You’ll hear these songs: 1) Goody Goody by Benny Goodman 2) Spreadin' Rhythm Around by Nell Carter & The Cast of “Ain’t Misbehavin’ 3) Is You Is Or Is You Ain't My Baby? by Louis Jordan & His Tympany Five 4) Sugar Foot Stomp by Fletcher Henderson & His Orchestra 5) The Joint Is Jumping by Fats Waller & His Rhythm 6) You Ain't Got It No More by Laura Mayo 7) Satin Doll by Ella Fitzgerald (w/ Duke Ellington & His Orchestra) 8) Stay With It by Dorothy Dandridge 9) Keeping Out of Mischief Now by Louis Armstrong & All His Stars 10) Nice Work If You Can Get It by Billie Holiday 11) Goody Goody by Lew Raymond and his Orchestra 12) Vote For Mr. Rhythm by Ella Fitzgerald (w/ Chick Webb & His Orch.) 13) Cotton Tail by Duke Ellington & His Famous Orchestra (w/ Ben Webster, tenor sax) 14) Drop Me Off In Harlem by Marica Hiraga 15) Jumpin' Jive by Cab Calloway & His Orchestra 16) Am I Blue? By Margie Day 17) Black Bottom by Bob Crosby And His Orchestra (Bob Crosby, vocal) 18) Take The "A" Train by Freda Payne 19) Don't Get Around Much Anymore by David Huntsinger & Friends
ROB WU – Autumn warmer 2015 Coati Mundi – “Me no Pop I” Montana Orchestra, Goody Goody – “It Looks Like Love” (Original) John Davis, The Monster Orchestra – “Up jumped the Devil” (John Morales M & M Mix) Ramsay & Co – “Love Call” (Harveys_Mix) Soul Makossa – “Soul Makossa” Lucy Hawkins – “Gotta […] The post House Party Crew Melbourne presents 6th Nov 2015 appeared first on SSRadio.
The fourth segment from 4/6/88 — just two tunes: “Jazzbo Brown From Memphis Town” and “Goody-Goody.” With Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), George Poor (trumpet), Paul Meymaris (clarinet), John Kafalas (trombone), Don Frothingham (piano), and a guest vocal by Carrie Mazzy. Send questions or comments to podcast@kafalas.com.
03 Being Good- Not A Goody-Goody 1202000 Ajahn Sumedho The post Being Good – Not A Goody-Goody appeared first on Amaravati Buddhist Monastery.
A high calorie hour of bubblegum music! Spotlight on Amazing Chan and the Chan Clan! A bit of the H.R. Pufnstuf movie soundtrack! Ray Bolger (the Scarecrow from Wizard of Oz) joins the Partridge Family, along with a dramatic reading from a Partridge Family novel (wherein Shirley risks the family's lives to save a rabbit)! A Giorgio Bubblegum Hall of Fame classic! Late round action from the Riverdale High talent show! Plenty of great music from The Archies, The Royal Guardsmen, Bobby Sherman, 1910 Fruitgum Company, Simonshy, Gene Simmons (not him, the other one), The Arrangement, The Art Movement, The Boston, The Bourbon Family, Café Con Leche, The Doughboys, Barry Mason, Billie Hayes, Jack Wild, Martha Raye, and Helen Love!
Greetings snow bunnies!!! How ya'll doing? If in California, you are doing pretty allright but you might be hella thirsty in this drought! Episode 76 is a live set mix recorded from Sundance Film Festival in Park City, Utah. DJ Excel from Philly/LA is on the tables. It's a mixed genre set. Lots of unexpected goodies that just WERK. I get a chance to interview and cool out with the fly DJ Excel himself. ;) Stalk him on http://djexcel.com Instagram - @excelagram twitter - @djexcel http://soundcloud.com/excelsmc artist name ------------------------------------------------------------------------------------------------------------------- -------------------------------------------------------------------------------------------------------------------Duke Dumont f. Jax Jones I Got U (Original Mix) Tiger & Woods Don't Hesitate (feat. Em) Tiger & Woods Don't Hesitate (feat. Em) Patrice Rushen Haven't You Heard (Joey Negro Extended Disco Mix) Executive Suite (Charles Jackson) Loving Me (Kon Edit) Homework Hudson Square Homework Hudson Square The Neighbourhood Sweater Weather Friendly Fires Hurting (Tensnake remix) Drake Hold On, We're Going Home (TJR Refix) Ben Pearce What I Might Do (Simion Remix) N*E*R*D f. Nelly Furtado Hot-N-Fun (Main) N*E*R*D f. Nelly Furtado Hot-N-Fun (Main) N*E*R*D f. Nelly Furtado Hot-N-Fun (Main) Kenna Say Goodbye 2 Love (clean) Kenna Say Goodbye 2 Love (clean) Goldfrapp Slide In (DFA Remix) Thievery Corporation f. David Byrne The Heart's A Lonely Hunter Radiohead Everything In Its Right Place (Afefe Iku Rmx) Flying Lotus Do the Astral Plane Mos Def Ms. Fat Booty (Louis Futon Remix) Michael Jackson Shake Your Body (Excel Do-Over Remix) Disclosure Lividup Daft Punk Get Lucky (feat. Pharrell Williams) De La Soul Me Myself and I (Oblapos Mode) De La Soul Me Myself and I (Oblapos Mode) Wild Sugar Bring It Here (Brass Monkey Sample) (1981) Wild Sugar Bring It Here (Brass Monkey Sample) (1981) Beastie Boys Brass Monkey Grandmaster Flash & Mellie Mel White Lines Liquid Liquid Cavern (White Lines Sample) No Doubt Hella Good New Radicals You Get What You Give Fitz & The Tantrums MoneyGrabber The Rolling Stones Honky Tonk Women (Mono) J.J. Jackson But It's Alright Capital Cities Safe & Sound Phoenix Trying To Be Cool Kanye West Paranoid f. Mr. Hudson Janet Jackson The Pleasure Principle Cut Copy Far Away (Original Mix) Depeche Mode Just Can't Get Enough The Strikers Body Music (Francois Kevorkian & Larry Levan Remix) (Fifteenth Sample) Drop Out Orchestra Run Away (Psycho Killer) Röyksopp f. Erlend Øye Remind Me Jamiroquai Canned Heat (Album Version) LCD Soundsystem Time To Get Away Prince Sexy Dancer Vincent Montana Jr. f. Goody Goody It Looks Like Love (DJ Butcher Edit) Madison Avenue Don't Call Me Baby Tom Novy Your Body (Original) The Coasters Down in Mexico (POSSO Bootleg) Paul Simon You Can Call Me Al (Flight Facilities Edit) Todd Terje Inspector Norse (Original Mix) Robin Thicke f. T.I. & Pharrell Blurred Lines Chromeo Needy Girl (Lifelike Remix) Stardust Music Sounds Better With You (Radio Edit) Run D.M.C. It's Like That Debbie Deb Lookout Weekend Follow me on Twitter! http://twitter.com/rachael instagram - @1indienation Support the podcast and buy the 1 Indie Nation iPhone/iPad app for $1.99! :) Love you! xo Kisses for my bunnies!
Pink Floyd, Ralph Lundsten, DMX Krew, Reggie Watts, Dennis Edwards, Strix Q, Warp 9, Ian Hunter, Plastic Bertrand, Stan Ridgway, Black Cock, Turzi, Prince, Loose Ends, Electric Smoke, Ashantis, Herbie Hancock, Psychic Mirrors, Fun Boy Three, Off-Key Hat, Gwen Guthrie, Montana Orchestra, Cro-Magnon, Ned Doheny, Triangulus, Fre$hro, Plastique de Réve, Goody Goody, Jhalib, Leda, Diskreet, Lax, Wired, Proyecto Uno, DJ T, Lustt, Black Devil, Dinosaur L, Bsmnt City Anymle Kontrol, OMD, Mike Oldfield and more...
This program continues with the session from May 4, 1988 and features a vocal by Carrie Mazzy. The other musicians are Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), John Kafalas (euphonium), and Don Frothingham (piano). The selections are ”Ole Miss,” “I’ve Got a Feeling I’m Falling,” and “Goody Goody,” with a vocal by … Continue reading Podcast #34: Later on, May 4th, 1988 →
Big Band Serenade presents Henry Hall and his Orchestra 1930s. Songs play on this program are listed in order of play. 1)"Five-Fifteen",2)"Have You Ever Been Loney",3)"Goody-Goody",4)"Wagon Wheels",5)"Mine For Keeps",6)"The Sun Has His Hat On",7)"Wild Ride",8)"An Elephant Never Forgets",9)"Im Putting All My Eggs In One Basket",10)"I Heard A Song In A Taxi",11)"One, Two, Button Your Shoe",12)" Its Time To Say Goodnight"
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