Podcasts about got me

Pastor Caleb Slavik delivers a message entitled "I've Got Feelings, But Feelings Don't Got Me."

1. Emmanuel - JKriv & Free Magic 2. Let Your Soul Guide Your Heart - Rodney Hunter 3. Mind Body and Soul - Mark Rae 4. Let's Go Dancing (feat. Amy Douglas) - Horse Meat Disco 5. Who's Got Me (feat. Laura Vane) [Art Of Tones Remix] - Flevans 6. Afrofunk - Timewarp inc 7. Don't Cost You Nothing (12" Disco Mix) - Ashford & Simpson 8. Freak at Night - Amy Douglas & JKriv 9. Got To Have Loving (feat. JKriv) - Studio 54 Music 10. Love You Anyway - Sugar B. 11. 2 Much - Qëndresa 12. Definition, Pt. 2 (feat. L'enfant terrible) - Rodney Hunter 13. Guy Le Arch - Boogiewood 14. Your Love (Contemporary Soul Remix) - Dave Mathmos

Japanese R&B/Soul singer Nao Yoshioka. Discuss her new song " Let It Flow"..is produced by New York's Music Man Ty, known for his work with Alicia Keys and Snoop Dogg. As a protégé of Swizz Beatz, he has also crafted hits for Nao Yoshioka, such as “I Love When” and “Got Me,” achieving success on the U.S. Billboard charts. This track is themed around love and freedom, using constellations and waves as metaphors in the lyrics to beautifully. depict harmony with nature.

For the first time ever Office Hours celebrates Leap Day with with special guests comedian Taylor Williamson, musician Joanna Sternberg performing the beautiful "I've Got Me" and Glendale city council candidate Karen Kwak checking in on zoom. As if that wasn't enough, we debuted Donald Trump's new character "Gremlin Boy," got an exclusive review of last week's show from Doug, and talked to lots of YOU on zoom and the hotline. Listen to or watch another hour with Taylor's promotion to the co-host chair, more Joanna, Tim's salad policy check, Phil's Don Henley court case bombshell and get tons of other stuff when you subscribe to OFFICE HOURS+. Get a FREE seven-day trial at patreon.com/officehourslive. Join millions in the Global Day of Action: Hands Off Rafah march happening this Saturday 3/2 in a city near you: shutitdown4palestine.org. Get your tickets NOW for the 11th Annual On Cinema Oscar Special happening live on Sunday 3/10 at heinetwork.tv/tickets. Find everything Office Hours including the merch store at officialofficehours.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tony opens the show by talking with Michael about the Grammys and the duet by Tracy Chapman and Luke Combs on Chapman's song “Fast Cars”. Booger McFarland calls in to talk about his experience in two Super Bowls, Chuck Todd phones in to make his picks against Reginald the Monkey, and Tony closes out the show by opening up the Mailbag. Songs : Marty O'Neill “You Ain't Got Me” ; Dan Bern “The Woman I'm Related to by Marriage” To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

TRACKLIST: 1. Ain't No Way - Aretha Franklin 2. Saving All My Love for You - Whitney Houston 3. Friends and Strangers - Ronnie Laws 4. Butterfly - Donald Byrd 5. Desire Me - The O'Jays 6. Got Me (feat. Ty Dolla $ign & Dreezy) - Dreamville, Ari Lennox & Omen 7. On It - Jazmine Sullivan & Ari Lennox 8. Take You Home - Kelly Moonstone 9. Waterfall (I Adore You) - Yebba 10. Sweetest Taboo (Apple Music Home Session) - Tiana Major9 11. Rocket/Pusher Love Girl - Travis Garland 12. Blue - Aaron Taylor 13. In Too Deep (feat. Kiana Ledé) - Jacob Collier 14. Boom - Ngaiire 15. Venus (feat. Sam Ellwood) - The Silhouettes Project, KeepVibesNear & Talulah Ruby 16. Love Again (feat. JMSN & Sango) - Ta-ku 17. Lately (feat. Asante) - Atu 18. Did We Lose Our Minds - Sabrina Claudio 19. Almost Is Never Enough (feat. Nathan Skyes) - Ariana Grande 20. Can't Live Without Your Love - Janelle Monáe 21. I'll Wait to Fall In Love - Anthony Hamilton

Today's Devotional "God's Got Me" Psalm 103:2 lmjministries.org 1/4/23 Join us for coffee, conversation and community. --- Support this podcast: https://podcasters.spotify.com/pod/show/justbeinglmj/support

L'épisode de cette semaine se penche sur "Twist and Shout" des Isley Brothers et sur les débuts de la carrière de Bert Berns. Si certains d'entre vous se demande qui c'est…. C'est un songwriter et producteur responsable de titre comme Everybody need somebody,  "Piece of My Heart", "Brown Eyed Girl" et "Under the Boardwalk". Et….. Twist and shout bien sur….. The Isley Brothers, "Twist and Shout" The Isley Brothers, "Standing on the DanceFloor" The Isley Brothers, "The Snake" Jerry Butler, "Make it Easy on Yourself" The Five Pearls, "Please Let Me Know" Dave "Baby" Cortez, "The Happy Organ" Ray Peterson, "Corrina, Corrina" The Top Notes, "Hearts of Stone" Ersel Hickey, "Bluebirds Over the Mountain" Bert and Bill Giant, “The Gettysburg Address” Bert Berns, "The Legend of the Alamo" LaVern Baker, "A Little Bird Told Me" Austin Taylor, "Push Push" The Top Notes, "Twist and Shout" The Jarmels, "A Little Bit of Soap" Russell Byrd, "You'd Better Come Home" Russell Byrd, "Nights of Mexico" Solomon Burke, "Just Out of Reach" Solomon Burke, "Cry to Me" The Isley Brothers, "Twist and Shout" The Contours, "Do You Love Me" Jan et Dean, "Linda" The Isley Brothers, "Twistin' With Linda" The Isley Brothers, "Nobody But Me" The Isley Brothers, "Surf and Shout" The Isley Brothers, "Who's That Lady ?" The Isley Brothers, "Testify" Don Covay and the Goodtimers, "Mercy, Mercy" Little Richard, "I Don't Know What You've Got But It's Got Me" Les Beatles, "Twist and Shout"  

This week, hosts Jim DeRogatis and Greg Kot share their highly-anticipated “Best Albums” of 2023. Plus, they'll also hear selections from production staff.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:boygenius, "Not Strong Enough," the record, Interscope, 2023The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Ladytron, "We Never Went Away," Time's Arrow, Cooking Vinyl, 2023Kelela, "Contact," Raven, Warp, 2023Underscores, "Locals (Girls like us)," Wallsocket, Mom + Pop, Corporate Rockmusic, 2023Margo Price, "Lydia," Strays, Loma Vista, 2023Genesis Owusu, "Leaving The Light," Struggler, Ourness, AWAL, 2023Kicksie, "Sinking In," Slouch, Counter Intuitive, 2023Big Freedia, "Booty Like A Drummer," Central City, Queen Diva, 2023Mitski, "Bug Like an Angel," The Land Is Inhospitable and So Are We, Dead Oceans, 2023Joanna Sternberg, "I've Got Me," I've Got Me, Fat Possum, 2023Louise Post, "God I Know," Sleepwalker, El Camino, 2023Jaimie Branch, "Burning Grey," Fly or Die Fly or Die Fly or Die ((world war)), International Anthem, 2023Troye Sivan, "Got Me Started," Something To Give Each Other, EMI Australia, Capitol, 2023Jason Isbell and the 400 Unit, "Save the World," Weathervanes, Southeastern, Thirty Tigers, 2023Young Fathers, "Drum," Heavy Heavy, Ninja Tune, 2023Lydia Loveless, "Runaway," Nothing's Gonna Stand in My Way Again, Bloodshot, 2023billy woods and Kenny Segal, "FaceTime (feat. Samuel T. Herring)," Maps, Backwoodz Studioz, Fat Possum, 2023boygenius, "Satanist," the record, Interscope, 2023Wednesday, "Quarry," Rat Saw God, Dead Oceans, 2023Mary White, "Rudolph Pouts," Rudolph Pouts (Single), Cowtown, 1960See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“The Teen Reason for The Teen Season.” In this episode, Luke and Kevin begin their look back at the Best Albums of 2023 as they discuss their choices for 11-20 on their lists. Plus they play a selection of songs from some of the best albums of the year. Songs Played In This Episode: Genesis Owusu - Leaving The Light from STRUGGLER out now on OURNESS / AWAL Recordings Geese - 3D Country from 3D Country out now on Partisan Records / Play It Again Sam Palehound - The Clutch from Eye On The Bat out now on Polyvinyl Joanna Sternberg - People Are Toys To You from I've Got Me out now on Fat Possum Records Photo Credits: Genesis Owusu by Bec Parsons Geese by Kyle Berger Palehound by Tonje Thilesen Joanna Sternberg by Shervin Lainez Listen to our Official Best Song Ever Playlist. Presented by Planet Ant (planetant.com) and Offshelf (offshelf.net).

Do you need help filling out your Game Awards cheatsheet? Sam and Jake have you covered as they make their predictions for the big winners of the 2023 Game Awards. What wins Game of the Year? What game had the best art direction? What game had the biggest impact? Who knows, but we are here to figure it out. Timecodes: 00:00:00 - Intro/Housekeeping | 00:06:20 - News Story #1: Does the KOTOR Remake Ever Come Out? | 00:10:12 - News Story #2: The Last of Us Part 2 Remastered Announced | 00:21:40 - News Story #3: Geoff Keighley's Game Awards Q&A (New Categories, Best Indie) | 00:29:00 - Main Topic: The Game Awards 2023 Predictions | 1:02:28 - Rotating Segment: Rotten or Fresh Movie Games (Scott Pilgrim vs. the World: The Game) 1:04:28 - Draft Day Starring Kevin Costner (SteamWorld Build) | 1:06:13 - Game, Watch, Listen (VIDEO GAMES: Overcooked 2, Super Mario 3D World, First Encounters, MOVIES: The Holdovers, The Ballad of Songbirds and Snakes, Home Alone, Duck the Halls: A Mickey Mouse Christmas Special, Dream Scenario, Ghost in the Shell, The Curious Case of Benjamin Button, The Talented Mr. Ripley, Elemental, TV: Invincible, Pluto, Loki, Attack on Titan, MUSIC: Zach Bryan - Zach Bryan / Boys of Faith EP, Joanna Sternberg - I've Got Me, Jockstrap & Taylor Skye - I

This episode of The Write Time features Don P. Hooper, a writer and filmmaker of Jamaican heritage (and a programmer in a former life). His short story “Got Me a Jet Pack” is part of the New York Times bestselling anthology Black Boy Joy. His directing work has been featured in the Martha's Vineyard African American Film Festival, the NY TV Film Festival (award winner), the New York City Horror Film Festival, the New Jersey Horror Con and Film Festival (award winner), and more. He does voice-over in video games and documentaries. True True is his debut novel.Don is interviewed by Abimbola Cole Kai-Lewis who is an Ethnomusicologist and educator with the New York City Department of Education and an adjunct assistant professor at York College–City University of New York.

This episode of The Write Time features Don P. Hooper, a writer and filmmaker of Jamaican heritage (and a programmer in a former life). His short story “Got Me a Jet Pack” is part of the New York Times bestselling anthology Black Boy Joy. His directing work has been featured in the Martha's Vineyard African American Film Festival, the NY TV Film Festival (award winner), the New York City Horror Film Festival, the New Jersey Horror Con and Film Festival (award winner), and more. He does voice-over in video games and documentaries. True True is his debut novel. Don is interviewed by Abimbola Cole Kai-Lewis who is an Ethnomusicologist and educator with the New York City Department of Education and an adjunct assistant professor at York College–City University of New York.

The Warlocks - I Think I'm Done With You [In Between Sad LP] Dancer - Love [As Well EP] ÅRABROT - We Want Blood [Of Darkness and Light LP] Young James Long - Blood On The Hood [Orogeny LP] Mope City - Laminating The Classics [Population 4 LP] Teen Idle - Birthday Cake [Nonfiction LP] Heatmiser - Can't Be Touched (Cavity Search single) [The Music of Heatmiser LP] The Sand Pebbles - Field Of The Lord [The Angagonist LP] Under The Sun - Submission [Robot World LP] Self-Immolation Music - Kaleidoscope [Infinity Trip LP] The Poison Arrows - All These Kids [Crime and Soda LP] Waste Man - White Horse [Waste Man EP] Lightheaded - Love is Overrated [Good Good Great! EP] Sufjan Stevens - A Running Start [Javelin LP] Black Mekon - Cheap Date, Expensive Drugs [NEAT! EP] Unschooling - Erase U [New World Artifacts LP] Versing - Nowhere [Tape II LP] Big Special - Desperate Breakfast [Bs Sessions] Blue Ocean - Take A Care [Fertile State LP] Bodies Of Divine Infinite And Eternal Spirit - Song For Love [All The Songs I Know About Fire LP] Crash - Castrato Crash Dick Move - Under My Skin (A Love Song) [Wet LP] ENOLA - Looking Back [All Is Forgiven LP] Feeling Figures - Across The Line [Migration Magic LP] FREEZ - Chanel [Icebreaker LP] julie - catalogue single] Laguna Goons - Teachers [single] Human Interest - Mixing Paint [Empathy Lives In Outer Space EP] ONYON - Two Faces [Last Days On Earth LP] Spiritual Cramp - Better Off This Way [Spiritual Cramp LP] Hooveriii - The Tall Grass [Pointe LP] JW Paris - You've Got Me [single] Blonde Redhead - Snowman Sit [Down For Dinner LP] Hotline TNT - Out of Town [single]Info at https://linktr.ee/humanpleasureradio

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 21st September 2023 Artist - Track - Album - Year Ollie Usiskin with Carl Orr & Rob Statham    Steady Eddie    Trio Zone    2023 Kait Dunton    Studio 3    Keyboards    2023 Brad Turner Quintet    To Begin, Begin    The Magnificent    2023 Teri Parker    Retrograde    Shaping the Invisible    2023 Maddie Vogler    Ropa Vieja    While We Have Time    2023 Chuck Owen and the WDF Big Band    Canoe    Renderings    2023 Shawn Maxwell    Fries or Rings in the Back    J Town Suite    2023 Pete Zimmer    Smooch the Pooch    Dust Settles    2023 Pete Escovedo    Vera Cruz    Lifetime    2023 Mike Boone    Give Me the Night    Enjoying the View    2023 Darden Purcell    Chatterbox    Love's Got Me in a Lazy Mood    2023 Claudia Villela    Instrumento    Cartas ao Vento    2023 Benjamin Boone    Mercy    Caught in the Rhythm    2023 Aline's Étoile Magique    Cosmos    Eclipse    2023 Eunmi Lee    5:19'    Introspection    2023 Aaron Diehl & The Knights    Aquarius    Zodiac Suite    2023 Lenora Zenzalai Helm & Tribe Jazz Orchestra Nonet    Full Knowing    Journey Woman    2023 Ross Pederson    Anxiety    Identity    2023 Bob Holz    Alex's Dream    Holz-Stathis: Collaborative    2023 Bob Holz    World Turned Upside Down (feat. John McLauglin & Jean-Luc Ponty)    Holz-Stathis: Collaborative    2023 Ben Winkelman    Wandering    Heartbeat    2023 Tom Teasley    Metric Meditation    The Breath    2023 Artful Dodgers    Outback Inn    Three Story Sandbox    2023 Ethan Phillion Quartet    Nostalgia    Gnosis    2023 The post The Creative Source (#CreativeSource) – 21st September 2023 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

Don P. Hooper is a writer and filmmaker of Jamaican heritage (and a programmer in a former life). His short story Got Me a Jet Pack is part of the New York Times bestselling anthology Black Boy Joy. His directing work has been featured in the Martha's Vineyard African American Film Festival, the New York City Horror Film Festival, the New Jersey Horror Con and Film Festival (award winner), and more. He does voice-over in video games and documentaries. True True is his debut novel. In this episode, Don helps us learn more about his debut novel and asks us to think further about how this book can expand the conversation on what it means to see and value one another's humanity. Order the book: https://bookshop.org/p/books/true-true/18888323 Connect with the author: https://twitter.com/madclownetry Learn more about Tricia's three part online series as mentioned at the top of the show: https://chaptersinternational.com/mailer/tricia_friedman_OWCEEGAI-1.html

Don P. Hooper is a writer and filmmaker of Jamaican heritage (and a programmer in a former life). His short story “Got Me a Jet Pack” is part of the New York Times bestselling anthology Black Boy Joy. His directing work has been featured in the Martha's Vineyard African American Film Festival, the New York Television Film Festival (award winner), the New York City Horror Film Festival, the New Jersey Horror Con and Film Festival (award winner), and more. He does voice-over in video games and documentaries. True True is his debut novel.Connect with Don P. Hooper:TikTok:            https://www.tiktok.com/@MadClownetryInstagram:       https://www.instagram.com/MadClownetryKingVisionsWebsite:          https://www.DonPHooper.com Learn more about Aikan Acts Performing Arts Program: 1:1 Consultation: https://aikanacts.samcart.com/referra...Adult Acting Class: https://aikanacts.samcart.com/referra...Pre-Teen Acting Class: https://aikanacts.samcart.com/referra...Teen Acting Class: https://aikanacts.samcart.com/referra...Get a GreenLight Debit Card for Your Children:https://share.greenlight.com/96453721Register for Free Online Financial Literacy Courses:https://maliksfirstjob.banzai.org/wellness/collections/teaching-kids-financesPurchase Malik's First Job: Financial Principles for Teens:www.maliksfirstjob.comFollow Malik's First Job on Social Media :Facebook:       https://www.facebook.com/maliksfirstjobInstagram:       https://www.instagram.com/maliksfirstjobTwitter:            https://www.twitter.com/maliksfirstjob

Joanna Sternberg is a singer, songwriter, musician and visual artist born/based in New York City.Their new album "I've Got Me" is produced by Matt Sweeney and is out on Fat Possum Records.The song at the end of this episode is "This Is Not Who I Want To Be" from Joanna's first album "Then I Try Some More" Hosted on Acast. See acast.com/privacy for more information.

El segundo álbum larga duración de la banda Invasion of Your Privacy salió a la venta en julio de 1985. El álbum encontró reacciones sobre todo positivas de admiradores y críticos, aunque estuvo muy lejos del éxito de su predecesor. Allmusic.com lo ha llamado "otra horneada de sólidas melodías doom metal. Esto contuvo a los favoritos «You' re in Love», «Lay it Down» (que llegó al número 40 en Billboard 100 hot) las que les aseguraron a la banda una buena presencia de la radio y MTV. Los solos de guitarra de Warren DeMartini son impresionantes al igual que Robbin Crosby y la lírica sumamente sexual de Stephen Pearcy ayudó definir más lejos el sonido de Ratt. Aunque esto no alcanzara las cifras de las ventas de su estreno monumental, Invasion of Your Privacy sin embargo fue certificada con doble platino (se vendió más de 2 millones de copias) y es un disco sumamente considerado entre sus admiradores. Al cumplirse 2 meses después del lanzamiento del 2.º álbum, la banda lanzó un vídeo casero titulado Ratt: The Videos. El vídeo destacó los vídeos de música del Ratt (EP) del Out of the Cellar y el Invasion of Your Privacy El vídeo está actualmente agotado y es muy raro y difícil de conseguir. El vídeo era el primero disponible en el comercio certificado con ventas de oro en los EE. UU. y tarde o temprano alcanzó el Platino. Al mismo tiempo Atlantic Records lo reeditó y lo lanzó en 1983 como un EP. La modelo que sale en la portada del álbum es una exmodelo de Playboy llamada Marianne Gravatte, que también hizo un aspecto en el videoclip «Lay it Down». La utilización de la hermosa modelo sobre una portada en el álbum influyó más tarde a una tendencia copiada por muchas bandas glam metal de los años 80s, como Pantera, Dokken, y Slaughter. Invasion of Your Privacy era también uno de muchos álbumes que recibió la atención de la PMRC ya que la portada y el título de álbum eran una referencia obvia a la escopofília (voyeurismo). Esto fue originado por una propuesta presentada ante el Congreso de EE. UU. el 19 de septiembre de 1985 para tratar con etiquetas de aviso a los padres sobre el material con contenido "inadecuado". La banda viajó extensamente en los Estados Unidos y Japón compartiendo escenario con Praying Mantis, Iron Maiden y W.A.S.P.. En agosto de 1985 la banda fue invitada al festival Monsters of Rock en Donington, Inglaterra, con ZZ Top, Megadeth, Metallica y Magnum "You're in Love" (Pearcy/Croucier) – 3:12 "Never Use Love" (Pearcy) – 3:54 "Lay It Down" (Pearcy/Crosby/Croucier/Demartini) – 3:23 "Give It All" (Pearcy/Crosby) – 3:19 "Closer to My Heart" (Pearcy/Crosby) – 4:30 "Between the Eyes" (Pearcy/Demartini) – 3:54 "What You Give Is What You Get" (Croucier) – 3:47 "Got Me on the Line" (Pearcy/Crosby) – 3:04 "You Should Know by Now" (Pearcy/Crosby/Croucier) – 3:29 "Dangerous but Worth the Risk" (Pearcy/Demartini/Croucier) – 3:30 "What You Give Is What You Get" EDIT. bonus track Stephen Pearcy: Voz Principal Warren DeMartini: Guitarra Principal Robbin Crosby: Guitarra Principal/Rítmica y Coros Juan Croucier: Bajo y Coros Bobby Blotzer: Percusión y Coro

    1.ª parte:   1 - Ryuichi Sakamoto - Async - LIFE, LIFE (Feat. David Sylvian) 2 - Lau Nau - Sessilia - Sessilia 3 - Penelope Trappes - Heavenly Spheres - The Lapse Of Months And Days 4 - Penelope Trappes - Heavenly Spheres - A Seagull Learns To Sleep Alone 5 - Kelly Lee Owens - SLEEP: Tranquility Base (Kelly Lee Owens Remix) - SLEEP: Tranquility Base 6 - Selah Broderick, Peter Broderick - Moon in the Monastery - I Am 7 - Unloved, Raven Violet - Strange Effect (Killing Eve OST) - Strange Effect 8 - Angel Olsen - Forever Means - Time Bandits 9 - Gena Rose Bruce - Deep Is The Way - Future 10 - Samantha Crain - A Small Death - An Echo 11 - Blurry the Explorer - Angel Ecology - Angel Ecology 12 - Florist - If Blue Could Be Happiness - The Fear of Losing This 13 - Joanna Sternberg - I've Got Me - I've Got Me 14 - Samana - Dharma- Seven Years 15 - Meg Baird - Furling - Cross Bay 16 - Laura Cahen - Des Filles - La Complainte du Soleil   2.ª parte:   17 - Robert Wyatt - Old Rottenhat - Alliance 18 - Beck -  Eternal Sunshine of the Spotless Mind OST - Everybody's Gotta Learn Sometime 19 - Air - The Virgin Suicides (OST) - Playground Love 20 - Loscil - Ambient Layers Vol​.​II - Two Chambers 21 - M83 - Before the Dawn Heals Us - Farewell / Goodbye 22 - Get Well Soon - Vexations 251 - We Are The Roman Empire 23 - Damien Jurado - Now That I'm in Your Shadow - Montesano 24 - Keith Kenniff - It Shall Appear - There Was Loveliness 25 - John Southworth - When You're This, This In Love - Vertigo 26 - Shannon Lay - Covers Vol. 1 - Blues Run the Game 27 - Holy Wave - Cowprint - Cowprint 28 - Red House Painters - Old Ramon - Cruiser 29 - Steve Gunn & Bing and Ruth - Nakama - Reflection 30 - Alva Noto and Ryuichi Sakamoto - Summvs - By This River   * imagem de (image by) ?

What would you do if you were told you had two years to live?Join Jonathan for this powerful episode as he welcomes guest Sarah Pattison, a current cancer survivor, a passionately inspiring blogger, and her husband, part owner and operator of the paper company "The Happy Envelope.”Sarah shares with listeners her story of the challenge of starting her own company as a young mom, and she delves into the beginnings of her cancer diagnosis. She and Jonathan discuss the trials she and her husband endured while navigating the grim news of a terminal diagnosis. Please listen to the very end of the interview for an incredible update on Sarah's story.To follow Sarah's journey, Sarah's Blog.To follow Sarah's paper goods company, The Happy Envelope.Related Content:  Episode 38:  "God's Got Me!" : Worshipping God in Difficult Times: Julie ChapmanEpisode 65:  Cancer Saved My Life: Paul ReevesTo ask Jonathan a question or connect with the Candid community, visit https://LTW.org/CandidFacebook: https://www.facebook.com/candidpodInstagram: https://www.instagram.com/candidpodTwitter: https://twitter.com/thecandidpod

Join us for a 6-month journey through the Scriptures in a series entitled “Binge the Bible.” This week we are reflecting on Psalm 121 in a sermon entitled “God's Got Me!" For more information, visit us at: www.joinedwithjesus.org

Today's Song of the Day is "I've Got Me" from Joanna Sternberg's album, I've Got Me, out June 30th.

What is my biggest secret to success? I was recently asked this question during a Q&A at my event, and it's a very hard question to give ONE sussinct answer to, but on reflection when I look back on my journey, there is a very clear theme behind my success, and that is SPEED. In this episode we'll look at:  Why Money Follows Speed Examples of How My Speed has Got Me to Where I am Today How to Gain Speed as an Entrepreneur DM 'Mastermind' to Liv on Instagram for more information on The Staging Mastermind: https://www.instagram.com/oliviaconlon/

MAXTAC SPAR Team 9 get their badges taken away and end up almost decommissioned... -------- ---Ambient Music--- Single Room (Airfield View), Rush Hour by | e s c p | https://escp-music.bandcamp.comAttribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ What If God Was A Cyberpunk by Eddie Palmer is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. Cyanos by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Liquid by Glitch | https://soundcloud.com/glitchFracture by Patchworker f.k.a. [friendzoned] | https://soundcloud.com/patchworkerCreative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US The Wrong Way by Jahzzar is licensed under a Attribution-ShareAlike License. ---Combat Music--- Deep Sky Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Frosty Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Got Me (club mix) by Beat Doctor is licensed under a Attribution-NonCommercial 3.0 International License. High Technologic Beat Explosion by Loyalty Freak Music is licensed under a CC0 1.0 Universal License. Plasma by Redmann is licensed under a Attribution-NonCommercial 3.0 International License. ---Club/Bowling Music--- Memories Of Thailand (Beat Doctor's 'stuck in Britain' remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. I'm Chilled (Beat Doctor remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. -------- Music promoted by https://www.free-stock-music.com & https://freemusicarchive.org/ Maps provided by S0LU7I0N - https://www.drivethrurpg.com/browse/pub/18388/S0LU7I0N Art from https://www.artstation.com/artwork/XOE33 -------- This fan production is not endorsed by, sponsored by, nor affiliated with R. Talsorian Games, CD PROJEKT RED, or any other Cyberpunk franchise. No commercial exhibition or distribution is permitted without authorization. No alleged independent rights will be asserted against R. Talsorian Games or CD PROJEKT RED.

MAXTAC SPAR Team 9 talks with Kaine's Mother (?) and has to choose between saving Uncle Nick or learning what's really going on in Night City... -------- ---Ambient Music--- Single Room (Airfield View), Rush Hour by | e s c p | https://escp-music.bandcamp.comAttribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ What If God Was A Cyberpunk by Eddie Palmer is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. Cyanos by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Liquid by Glitch | https://soundcloud.com/glitchFracture by Patchworker f.k.a. [friendzoned] | https://soundcloud.com/patchworkerCreative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US The Wrong Way by Jahzzar is licensed under a Attribution-ShareAlike License. ---Combat Music--- Deep Sky Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Frosty Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Got Me (club mix) by Beat Doctor is licensed under a Attribution-NonCommercial 3.0 International License. High Technologic Beat Explosion by Loyalty Freak Music is licensed under a CC0 1.0 Universal License. Plasma by Redmann is licensed under a Attribution-NonCommercial 3.0 International License. ---Club/Bowling Music--- Memories Of Thailand (Beat Doctor's 'stuck in Britain' remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. I'm Chilled (Beat Doctor remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. -------- Music promoted by https://www.free-stock-music.com & https://freemusicarchive.org/ Maps provided by S0LU7I0N - https://www.drivethrurpg.com/browse/pub/18388/S0LU7I0N Art from https://www.artstation.com/artwork/XOE33 -------- This fan production is not endorsed by, sponsored by, nor affiliated with R. Talsorian Games, CD PROJEKT RED, or any other Cyberpunk franchise. No commercial exhibition or distribution is permitted without authorization. No alleged independent rights will be asserted against R. Talsorian Games or CD PROJEKT RED.

Welcome to the Instant Trivia podcast episode 697, where we ask the best trivia on the Internet. Round 1. Category: All Things Golden 1: In a fable, a farmer discovers that this bird lays golden eggs. a hen (or a goose). 2: The American Society of Civil Engineers chose this landmark as one of the 7 wonders of the modern world. the Golden Gate Bridge. 3: Happy golden anniversary! Congratulations on this many years of marriage. 50. 4: According to the AKC, in 2013 it was the third most popular breed of dog. golden retriever. 5: In Exodus 32 he fashions a golden calf. Aaron. Round 2. Category: Beverages 1: This brand's Cranberry Juice Cocktail first appeared in 1933. Ocean Spray. 2: Alpine mountains appear on the label of this ConAgra brand of hot cocoa. Swiss Miss. 3: Back in 1898 a guy named Edward created this biting "olde tyme" root beer. Barq's. 4: This juice brand calls itself "100% pure squeezed Florida sunshine". Tropicana. 5: This soft drink once used the slogan "It'll tickle yore innards". Mountain Dew. Round 3. Category: Lewis Or Clark 1: In 1982 Barney Clark got the first permanent, completely artificial one of these organs, the Jarvik-7. a heart. 2: Between 1981 and 1991 he won 65 consecutive long jump competitions. Carl Lewis. 3: In 1994 James H. Clark co-founded this company known for its Navigator web browser. Netscape. 4: Chemist Gilbert Lewis suggested that a chemical bond involves 2 atoms sharing a pair of these, as in a covalent bond. electrons. 5: This pen name was made by Latinizing the author's 1st 2 names, reversing their order and then translating them back to English. Lewis Carroll. Round 4. Category: Quotes/ Magazines 1: In a song by The Temptations: "Papa was a blank blank ". rollin' stone. 2: The movie "Network": "I'm as blank as hell, and I'm not going to take this anymore!". mad. 3: Ecclesiastes: "To every thing there is a season, and a blank to every purpose under heaven". time. 4: Alcuin: "The voice of the blank is the voice of God". people. 5: The mirror from Disney's "Snow White": "Lips red as the rose, hair black as blank ". ebony. Round 5. Category: Put On Your Disco Shoes 1: This group with a construction worker, cop, G.I., cowboy and Indian sang "San Francisco (You've Got Me)". The Village People. 2: "I'm Your Boogie Man" by KC and this group hit No. 1, but their "Boogie Shoes" could only dance to No. 35. the Sunshine Band. 3: To everything there is a season: the first Top 40 hit for this "Queen of Disco" was "Love To Love You Baby". Donna Summer. 4: The Trammps wanted to "burn that mother down" with this song from "Saturday Night Fever". "Disco Inferno". 5: Don't "Freak Out", but Queen's "Another One Bites The Dust" has a bass line similar to "Good Times" by this "stylish" band. Chic. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

MAXTAC SPAR Team 9 intercedes in a hostage situation and discovers a plot to poison Night City's food supplies (Part One) -------- 00:00 Announcements & Introductions 02:09 Part One 01:06:44 Patrons & Members Shoutout 01:06:54 Part Two -------- ---Ambient Music--- Single Room (Airfield View), Rush Hour by | e s c p | https://escp-music.bandcamp.comAttribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ What If God Was A Cyberpunk by Eddie Palmer is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. Cyanos by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Liquid by Glitch | https://soundcloud.com/glitchFracture by Patchworker f.k.a. [friendzoned] | https://soundcloud.com/patchworkerCreative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US The Wrong Way by Jahzzar is licensed under a Attribution-ShareAlike License. ---Combat Music--- Deep Sky Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Frosty Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Got Me (club mix) by Beat Doctor is licensed under a Attribution-NonCommercial 3.0 International License. High Technologic Beat Explosion by Loyalty Freak Music is licensed under a CC0 1.0 Universal License. Plasma by Redmann is licensed under a Attribution-NonCommercial 3.0 International License. ---Club/Bowling Music--- Memories Of Thailand (Beat Doctor's 'stuck in Britain' remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. I'm Chilled (Beat Doctor remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. -------- Music promoted by https://www.free-stock-music.com & https://freemusicarchive.org/ Maps provided by S0LU7I0N - https://www.drivethrurpg.com/browse/pub/18388/S0LU7I0N Art from https://www.artstation.com/artwork/XOE33 -------- This fan production is not endorsed by, sponsored by, nor affiliated with R. Talsorian Games, CD PROJEKT RED, or any other Cyberpunk franchise. No commercial exhibition or distribution is permitted without authorization. No alleged independent rights will be asserted against R. Talsorian Games or CD PROJEKT RED.

MAXTAC SPAR Team 9 intercedes in a hostage situation and discovers a plot to poison Night City's food supplies (Part Two) You may notice this is a much longer episode than usual! That's due to a bit of tech issues in Part One that meant we had to break up the session in a few parts. -------- 00:00 Announcements & Introductions 01:46 Part One 57:55 Part Two 01:48:05 Patrons & Members Shoutout 01:48:15 Part Three -------- ---Ambient Music--- Single Room (Airfield View), Rush Hour by | e s c p | https://escp-music.bandcamp.comAttribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ What If God Was A Cyberpunk by Eddie Palmer is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. Cyanos by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Liquid by Glitch | https://soundcloud.com/glitchFracture by Patchworker f.k.a. [friendzoned] | https://soundcloud.com/patchworkerCreative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US The Wrong Way by Jahzzar is licensed under a Attribution-ShareAlike License. ---Combat Music--- Deep Sky Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Frosty Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Got Me (club mix) by Beat Doctor is licensed under a Attribution-NonCommercial 3.0 International License. High Technologic Beat Explosion by Loyalty Freak Music is licensed under a CC0 1.0 Universal License. Plasma by Redmann is licensed under a Attribution-NonCommercial 3.0 International License. ---Club/Bowling Music--- Memories Of Thailand (Beat Doctor's 'stuck in Britain' remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. I'm Chilled (Beat Doctor remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. -------- Music promoted by https://www.free-stock-music.com & https://freemusicarchive.org/ Maps provided by S0LU7I0N - https://www.drivethrurpg.com/browse/pub/18388/S0LU7I0N Art from https://www.artstation.com/artwork/XOE33 -------- This fan production is not endorsed by, sponsored by, nor affiliated with R. Talsorian Games, CD PROJEKT RED, or any other Cyberpunk franchise. No commercial exhibition or distribution is permitted without authorization. No alleged independent rights will be asserted against R. Talsorian Games or CD PROJEKT RED.

MAXTAC SPAR Team 9 tracks down leads on the "Rubber Chicken Cyberpsycho" and ends up bowling their way to success. -------- 00:00 Announcements & Introductions 01:48 Part One 59:42 Patrons & Members Shoutout 59:52 Part Two -------- ---Ambient Music--- Single Room (Airfield View), Rush Hour by | e s c p | https://escp-music.bandcamp.comAttribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ What If God Was A Cyberpunk by Eddie Palmer is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. Cyanos by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Liquid by Glitch | https://soundcloud.com/glitchFracture by Patchworker f.k.a. [friendzoned] | https://soundcloud.com/patchworkerCreative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US The Wrong Way by Jahzzar is licensed under a Attribution-ShareAlike License. ---Combat Music--- Deep Sky Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Frosty Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Got Me (club mix) by Beat Doctor is licensed under a Attribution-NonCommercial 3.0 International License. High Technologic Beat Explosion by Loyalty Freak Music is licensed under a CC0 1.0 Universal License. Plasma by Redmann is licensed under a Attribution-NonCommercial 3.0 International License. ---Club/Bowling Music--- Memories Of Thailand (Beat Doctor's 'stuck in Britain' remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. I'm Chilled (Beat Doctor remix) by Risey is licensed under a Attribution-NonCommercial 3.0 International License. -------- Music promoted by https://www.free-stock-music.com & https://freemusicarchive.org/ Maps provided by S0LU7I0N - https://www.drivethrurpg.com/browse/pub/18388/S0LU7I0N Art from https://www.artstation.com/artwork/XOE33 -------- This fan production is not endorsed by, sponsored by, nor affiliated with R. Talsorian Games, CD PROJEKT RED, or any other Cyberpunk franchise. No commercial exhibition or distribution is permitted without authorization. No alleged independent rights will be asserted against R. Talsorian Games or CD PROJEKT RED.

The Series Premiere for "SPECTERS", an All-MAXTAC Buddy Cop Actual Play of the Cyberpunk RED TTRPG set in Cyberpunk 2077. We go from cyberpsychos to bowling as a new Team forms and is tasked with investigating the "Rubber Chicken Murders" -------- 00:00 Announcements & Introductions 03:37 Part One 01:04:26 Patrons & Members Shoutout 01:04:36 Part Two -------- ---Ambient Music--- Single Room (Airfield View), Rush Hour by | e s c p | https://escp-music.bandcamp.comAttribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ What If God Was A Cyberpunk by Eddie Palmer is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. Cyanos by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Liquid by Glitch | https://soundcloud.com/glitchFracture by Patchworker f.k.a. [friendzoned] | https://soundcloud.com/patchworkerCreative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/deed.en_US The Wrong Way by Jahzzar is licensed under a Attribution-ShareAlike License. ---Combat Music--- Deep Sky Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Frosty Blue by Graphiqs Groove is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Got Me (club mix) by Beat Doctor is licensed under a Attribution-NonCommercial 3.0 International License. High Technologic Beat Explosion by Loyalty Freak Music is licensed under a CC0 1.0 Universal License. Plasma by Redmann is licensed under a Attribution-NonCommercial 3.0 International License. -------- Music promoted by https://www.free-stock-music.com & https://freemusicarchive.org/ Maps provided by S0LU7I0N - https://www.drivethrurpg.com/browse/pub/18388/S0LU7I0N Art from https://www.artstation.com/artwork/XOE33 -------- This fan production is not endorsed by, sponsored by, nor affiliated with R. Talsorian Games, CD PROJEKT RED, or any other Cyberpunk franchise. No commercial exhibition or distribution is permitted without authorization. No alleged independent rights will be asserted against R. Talsorian Games or CD PROJEKT RED.

Miracles Deconstructed: God's Got Me! 2 Kings 6:8-23 Pastor Brett 1. Nothing about my life is hidden from God.…Sometimes What I Feel is not What is Real 2. Prayer changes my perspective on crisis. Psalm 34:4-9 I sought the Lord, and he answered me; he delivered me from all my fears. Those who look to him are radiant; their faces are never covered with shame. This poor man called, and the Lord heard him; he saved him out of all his troubles. The angel of the Lord encamps around those who fear him, and he delivers them. Taste and see that the Lord is good; blessed is the man who takes refuge in him. Fear the Lord, you his saints, for those who fear him lack nothing. 3. God brings peace to my struggle.

Playlist: Scott MacLeod - Straight AheadMott The Hoople - You really Got MeTempus - Epic/Tribal BluesAlbert Puskaric - Chante Du CygneAlbion - Indefinite StateAldo Tagliapietra - Riflessi Argentati (Reprise)/Una VoceAlex Carpani Band - Time SpiralAlphataurus - Riposando E...Van Der Graaf Generator - Lemmings (including Cog)/Theme OneAlternative5 - They're comingMott the Hoople - Half Moon Bay/Wrath and Wroll

Chuck Edwards - "Downtown Soulville" - 45 [0:00:00] Music behind DJ: Mills Allen - "Here It Is" - 45 [0:02:11] The Silhouettes - "Move On Over (To Another Land)" - 45 [0:04:35] Bobby Young - "Your Love Keeps Me Cool (Twist)" - 45 [0:07:22] Tommy Lee - "One of These Days" - 45 [0:09:35] Music behind DJ: The Four Guys - "Hey Junior" - 45 [0:12:01] Tina Britt - "You're Absolutely Right" - 45 [0:14:57] International Kansas City Playboys - "Quittin' Time" - 45 [0:16:52] Mel Williams - "Burn, Baby, Burn" - 45 [0:20:36] Linda Jones - "I Can't Stand It" - 45 [0:21:19] Music behind DJ: The Registers - "Sweatin' (Do What You Want To)" - 45 [0:23:26] Francine King - "Dirty Man" - 45 [0:25:50] Henry Boatwright - "Git It" - 45 [0:28:09] Inell Young - "What Do You See in Her" - 45 [0:30:31] Neal Kimble - "Ain't It the Truth" - 45 [0:33:20] Music behind DJ: The Original Cousins - "Eggman" - 45 [0:35:47] Don Covay - "You've Got Me on the Critical List" - 45 [0:38:22] Benny Latimore - "Girl I Got News for You" - 45 [0:40:34] Dee Dee Gartrell - "Second Hand Love" - 45 [0:42:37] Barry Smith - "Hold On to It" - 45 [0:46:09] Music behind DJ: The Gaturs - "Cold Bear" - 45 [0:49:11] Ann Peebles - "I'm Gonna Tear Your Playhouse Down" - 45 [0:51:06] Albert Washington - "Before the Sun Goes Down" - 45 [0:53:51] Music behind DJ: The Roy Meriwether Trio - "Gambit" - 45 [0:57:12] https://www.wfmu.org/playlists/shows/115046

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

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The Other Colors – VIVRE Alessandra Boldrini – Never Going Back Lone Stag – Don't Lie Colourshop – Northern Lights Caleb Caming & The Heat - You've Got Me (in Agony) Church Mice – Flying Claire Odogbo – Robed in Righteousness Marco Guella – Tu sei Lorenzo Gabanizza feat. Jeff Christie "You're Not There" CJXY (Ft. Rory Eyre) – Show me love Aleandro Solari – Bullo omofobo razzista Volo Altissimo - Alea Iacta Est Phil Joseph – Babe you are mine Summer Mix Siriaz y Malo – Cleopatra Melissa Pettignano – Blessed Lord Jesus Bless Parco Rodriguez – Magick Wand Vineet – PFT. Party From Home Figli di Eva - La scoperta dell'America Chuckling Pies – Pegasus Chiara Alesci – Aria Matthew Schultz – Can't Stop Mike P Fitzpatrick – Why Complain feat. Sarah Teibo & Tony Pruitt Grand River Sound - WHERE I BELONG (featuring Dallas Norrie) Derade – Waiting Federica Tallinucci e Alessandro Tolone – Soli all'unanimità Lance Mitchell – Poison Matilde G - Più ti vivo Lady Redneck "Don't Try to take Our Guns" José Strata - Proprio Senza Me See Your Shadow "Simple Special Moment" Ava Vox - Crash Collect Call - Chase The Light

Hey Guys! Welcome back to another episode! Today we talk about how crazy are you in relationships! Make sure to follow us @gotmethinkingpodcast and hit that subscribe button! Exciting things are happening to Got Me thinking Podcast stay tuned!

An oath fulfilled. Time has run out. The final battle between Pan and Hook will reveal all — Hook or Pan this time?This episode features 'You've Got Me, James Hook!' by Stamatis Seraphim during the battle between Pan and Hook. Simply put, it's breathtaking! ♥ We hope that it moves you as much as it moved us.This episode was directed by Elizabeth Bradford, Olivia French and Marli van der Bijl. Sound design by Jacob Thompson and musical direction by Marli van der Bijl.It features the voices of Matthew Bradford as Narrator, Trillian Sharples as Peter Pan, Barry Kay as Captain Hook, Annie Laurenson as Smee, Conagh Punch as Gentleman Starkey, Jono Lukins as Mullins, Nigel Goodwin as Noodler and Quercus, Jack Emond as Chameleon, Fred Preston as Cookson, Alana Denham-Preston as Wendy Darling, Felix Steinwandel as Michael Darling, Evie Ifandoudas as Tootles, Megan Lilley as Slightly, Eloise Keppler as Nibs, Solveig Yen as Curly, Katerina Ifandoudas as Twin 1, Irini Ifandoudas as Twin 2, Emily Archer as Pockets and Kira Yang as Tiger Lily. The theme song for our production is Nefeli by Stamatis Seraphim.This production was directed by Elizabeth Bradford, Olivia French and Marli van der Bijl and prepared for production by Tyrone Cross, Amanda Mill, Angela Olwyn on behalf of Ballarat National Theatre. Original story by James M. Barrie and adapted for audio by Elizabeth Bradford, Olivia French, Angela Olwyn and Marli van der Bijl.This production was produced on the lands of the Boonwurrung, Wadawurrung and Wurundjeri people. Cast recordings for this episode were made on the lands of the Bunurong, Eastern Maar, Eora, Gadigal, Kaurna, Ngunnawal, Noongar, Wadawurrung, Wangal, Whadjuk and Wurundjeri people. Ballarat National Theatre acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders.Official merchandise for this production is now available on the Ballarat National Theatre RedBubble store.Support our community theatre company and help us create future stories by becoming a member or follow Ballarat National Theatre on Instagram and Facebook.

An oath fulfilled. Time has run out. The final battle between Pan and Hook will reveal all — Hook or Pan this time?This episode features 'You've Got Me, James Hook!' by Stamatis Seraphim during the battle between Pan and Hook. Simply put, it's breathtaking! ♥ We hope that it moves you as much as it moved us.This episode was directed by Elizabeth Bradford, Olivia French and Marli van der Bijl. Sound design by Jacob Thompson and musical direction by Marli van der Bijl.It features the voices of Matthew Bradford as Narrator, Trillian Sharples as Peter Pan, Barry Kay as Captain Hook, Annie Laurenson as Smee, Conagh Punch as Gentleman Starkey, Jono Lukins as Mullins, Nigel Goodwin as Noodler and Quercus, Jack Emond as Chameleon, Fred Preston as Cookson, Alana Denham-Preston as Wendy Darling, Felix Steinwandel as Michael Darling, Evie Ifandoudas as Tootles, Megan Lilley as Slightly, Eloise Keppler as Nibs, Solveig Yen as Curly, Katerina Ifandoudas as Twin 1, Irini Ifandoudas as Twin 2, Emily Archer as Pockets and Kira Yang as Tiger Lily. The theme song for our production is Nefeli by Stamatis Seraphim.This production was directed by Elizabeth Bradford, Olivia French and Marli van der Bijl and prepared for production by Tyrone Cross, Amanda Mill, Angela Olwyn on behalf of Ballarat National Theatre. Original story by James M. Barrie and adapted for audio by Elizabeth Bradford, Olivia French, Angela Olwyn and Marli van der Bijl.This production was produced on the lands of the Boonwurrung, Wadawurrung and Wurundjeri people. Cast recordings for this episode were made on the lands of the Bunurong, Eastern Maar, Eora, Gadigal, Kaurna, Ngunnawal, Noongar, Wadawurrung, Wangal, Whadjuk and Wurundjeri people. Ballarat National Theatre acknowledges and pays respect to our traditional custodians and to their past, present and emerging leaders.Official merchandise for this production is now available on the Ballarat National Theatre RedBubble store.Support our community theatre company and help us create future stories by becoming a member or follow Ballarat National Theatre on Instagram and Facebook.

Previously on the Flame: Mel and Jo reconnect and Sam starts to deal with some Daddy Issues This week on the Flame, Jamie (Ellie Brigida) is having one of her famous dumpster cries and double fisting Slurpees, Heather (Leigh Holmes Foster) cheers her up with a song "You've Got Me" and Jo (Jenn Collela) is rallying the patrons of the Flame to fight! The patrons of the Flame are ready to fight for their family! Join us at the Flame to see what happens next! Featured songs: "You've Got Me" - Jamie (Ellie Brigida), Heather (Leigh Holmes Foster) "Keep It Lit" - Jo (Jenn Collela), Jamie (Ellie Brigida), Heather (Leigh Holmes Foster) and the Flame ensemble For the full cast & creatives list visit BPN.fm/theflame This is an original radio play produced by Lez Hang Out Productions. The Flame was made possible by listeners like you! Join them on Patreon at patreon.com/theflamemusical. Learn more about your ad choices. Visit megaphone.fm/adchoices

US Gold-Certified and Juno Award-nominated music producer, audio engineer, and musical prodigy Akeel Henry is making a name for himself in the industry, working along such illustrious artists as Grammy-nominated Desiigner, Shawn Mendes, Ty Dolla $ign, Jeremiah, Trey Songz, Toni Braxton, Swae Lee, and Daniel Caesar. Toronto-native and Los Angeles-based Henry trained under Noah '40' Shebib of OVO Sound, the record label co-owned by Drake, and is currently signed to R&B singer Babyface's record label Laface. Henry got his musical start in the church where he played the drums, keys, and later bass at age 5. He attended the prestigious Metalworks Institute, during which he interned at Phase One Studios and gained the opportunity to work with Drake's producer Noah ‘40' from OVO Sound. Akeel also worked frequently with Toronto producer DZL on a number of tracks, including Too Lit by Kid Ink, Got Me by Roy Woods (whose album reached the number two slot on the iTunes R&B charts), One of Them by Eric Bellinger (whose album climbed to number fourteen on the Billboard R&B Albums chart), and Wild Ting by 11:11.During this time, he also supplied his piano skills for Universal Music recording artist, Shawn Mendes at his Pickering, Ontario ‘Leadership Benefit' concert. More recently, Akeel received a production placement on the US Gold Certified track Don't Get Much Better featuring Jeremih, Ty Dolla Sign and Sage the Gemini, which is highlighted on the soundtrack of the latest installment of the Fast & Furious franchise, THE FATE OF THE FURIOUS. This year, Henry has been nominated for two 2021 Juno Awards, “Jack Richardson Producer of the Year” for his work producing Trey Songz' “Rain (feat. Swae Lee)” (co-producer Mike ‘DZL' Holmes), Trey Songz' “BACK HOME”, and Toni Braxton's “Spell My Name” (co-producer Antonio Dixon), and he is credited as a composer on Savannah Ré's album Solid which is nominated for “Traditional R&B/Soul Recording of the Year”. Henry's instinctive passion for music doesn't stop at his own, having opened his own recording studio in Toronto where he is currently developing new artists including LOONY. In his free time Henry enjoys playing basketball and supporting the Toronto Raptors. Follow us on IG and Facebook: @societytalkspodcast Follow Joe: @joe_lorenzo Podcast edit by: @elevig #StaySafe #StayCreative #SocietyPerformers ARE #AloneTogether #SocietyTalks #JoeLorenzo #SocietyEntertainment

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Give Me Your Love by Girl Ray on Give Me Your Love (Moshi Moshi) 3′42″ Like I Used To by Angel Olsen & Sharon Van Etten on Like I Used To (Jagjaguwar) 12′21″ Where The Lightning Strike Twice by Foxing on Draw Down The Moon (Grand Paradise / Hopeless) 15′54″ Handsome Man by Wednesday on Twin Plagues (Orindal) 18′31″ Song Of The Bell by Lightning Bug on A Color Of The Sky (Fat Possum) 22′27″ Sodium & Cigarettes by Half Waif on Mythopoetics (ANTI-) 29′04″ Savage Good Boy by Japanese Breakfast on Jubilee (Dead Oceans) 35′16″ Parasite by Sloan Peterson on Parasite (Warner Music Australia) 35′23″ Flames and Flat Tires by Squirrel Flower on Planet (i) (Polyvinyl) 38′29″ High In The Grass by Sleater Kinney on Path Of Wellness (Mom + Pop) 44′52″ Damaged Goods (Gang Of Four Cover) by IDLES on The Problem of Leisure: A Celebration Of Andy Gill And Gang Of Four (Gil Music LTD) 47′26″ Army Of Me (Bjork Cover) by Julia Jacklon and RVG on Army Of Me (Polyvinyl) 51′27″ Omaha (Toro Y Moi Cover) by Claud on Omaha (Saddest Factory) 53′43″ More Than This (Roxy Music Cover) by Angel Olson on Song Of The Lark And Other Far Memories (Jagjaguwar) 60′29″ Mystery by Turnstile on Mystery (Roadrunner) 63′02″ A Fake Idea by Hurry on Fake Ideas (Lame-O) 68′49″ Psalm 23 by Cold Cave on Fate In Seven Lessons (Heartworm Press) 71′55″ Carpenter by Islands on Islomania (Royal Mountain) 79′26″ VBS by Lucy Dacus on Home Video (Matador) 81′54″ Flying Object by Molly Drag on Resemble Another (Terrible) 85′11″ TNT by Wye Oak on TNT (Merge) 89′00″ Get Closer by Twin Shadow on Twin Shadow (Cheree Cheree) 92′30″ Spend A Lifetime by Sir Was on Spend A Lifetime (Memphis Industries) 98′35″ Human Replacement by Billie Marten on Flora Fauna (Fiction) 102′00″ I Know I'm Funny Haha by Faye Webster on I Know I'm Funny Haha (Secretly Canadian) 103′55″ Stop Making This Hurt by Bleechers on Take The Sadness Out Of Saturday Night (RCA) 106′54″ Ancient Dreams In A Modern Land by Marina on Ancient Dreams In A Modern Land (Atlantic) 110′51″ Comfort Me by Carol on Soiled (Disposable America) 116′45″ Got Me by Laura Mvula on Pink Noise (Warner/Atlantic/Flamingo) Check out the full archives on the website.

Enjoying the show? Please support BFF.FM with a donation. Playlist 2′44″ Black Gold (ft. Thundercat) by Flying Lotus on Yasuke (Warp) 6′03″ I'll Go Running by Squirrel Flower on Planet (i) (Polyvinyl) 9′24″ Broken Wing by Evil on Broken Wing - Single (Mom and Pop) 13′47″ bio by duendita on bio - single (Freedom dr) 17′56″ Tunnel (all that you had) by Crumb on Ice Melt (self released) 21′29″ Blue (feat. Gabriel Garzón-Montano) by Topaz Jones on Don't Go Tellin' Your Momma (New Funk Academy) 28′12″ Raw Feelings (feat. Meron T) by Kiina on Lives Wide Shut (Wing Yip) 31′31″ Red Room by Hiatus Kaiyote on Mood Valiant (Brainfeeder) 35′17″ Havin' a Dream by Mild Universe on Mild Universe (DistroKid) 40′10″ Flow (feat. Cherise) by Nubiyan Twist on Freedom Fables (Strut) 44′21″ SLIDE (feat. bLAck pARty) by Gavin Turek on SLIDE (feat. bLAck pARty) - Single (Madame Gold) 50′19″ Keep My Poise!!! (prod. navy blue) by AKAI SOLO & Navy Blue on True Sky (Break All Records, Freedom Sounds) 52′11″ Holy Hell (ft. Pink Siifu & Maxo) by The Alchemist on This Thing of Ours (EMPIRE) 55′10″ Crystal Ball by MIKE on Crystal Ball - Single (10k) 57′07″ D.I.A.L. by Topaz Jones on Don't Go Tellin' Your Momma (New Funk Academy) 60′48″ Woman (feat. Cleo Sol) by Little Simz on Sometimes I Might Be Introvert (Age 101 Music / AWAL) 67′57″ Rider by Mereba on Rider - Single (Interscope) 68′52″ Tuesday by TYSON on Pisces Problems - EP (LMP) 71′27″ telly by Amindi on telly - Single (THAT's NASTY / Human Re Sources) 73′35″ Busy by Erika de Casier on Sensational (4AD) 77′26″ Lay Wit Ya (feat. Duke Deuce) by Isaiah Rashad on Lay Wit Ya (feat. Duke Deuce) - Single (Top Dawg Entertainment) 83′16″ A QUICK DEATH by Paris Texas on Boy Anonymous (The Orchard) 84′50″ Gold Chains (Remix) by Genesis Owusu & Harvey Sutherland on Gold Chains (Remix) - Single (House Anxiety / Ourness) 88′29″ Got Me by Laura Mvula on Pink Noise (Flamingo) 91′49″ Please by Jessie Ware on What's Your Pleasure? (The Platinum Pleasure Edition) (PMR / EMI) 96′11″ Boomerang by Dawn Richard on Second Line (Merge) 101′07″ Assumptions by Sam Gellaitry on IV - EP (Viewfinder) 104′10″ Well Rested by Kero Kero Bonito on Civilisation II (Polyvinyl) 111′36″ Dancing Elephants by Rochelle Jordan on Play With the Changes (Young Art Records) 115′36″ Blue Kite by Shire T on Tomorrow's People (Dama Dama) Check out the full archives on the website.

HTGG's review of the song Got Me, by the US artist Rhino, and it features Fetty Wap.   Original Link: https://youtu.be/vTPiND6ioqg Our Patreon: https://patreon.com/HTGG   Our Socials:   Facebook Instagram Tiktok Youtube Twitch Discord Twitter Website    OUR SPONSORS: - ARSENAL DIRECT (For all your Sports needs) - AUDIBLE (For all your Audiobooks/Podcast needs) - CURRYS PC WORLD (For all your Tech needs) - FIVERR (For all your Outsourcing needs) - FRAGRANCE DIRECT (For all your Beauty products):  - MATTEN WELT DE (For all your Home Mat needs) - SCHUH (For all your Shoe needs) - WATCHSHOP (For all your Jewellery needs) - YOUFIBRE (For all your Internet needs) - 365GAMES (For all your Gaming needs)   #HTGG #Review #Music #Song #USA #US #Rhino #Fetty #Wap #FettyWap #GotMe #Got #Me #Love #Live #Serve #Loveliveserve  

'scuse me, uh, one more thing sir: this is, uh, an episode of the podcast I Think You'd Be Into It, if I'm recalling correctly. I am? Great, sir! Wonderful! And it's an episode with the great Tyler McCall (Editor-In-Chief of Fashionista.com, @Eiffeltyler), about the television program Gossip Girl, is that also correct sir? It is? Fantastic, that's what I thought, I just get so confused in those ol' brain sometimes I wanted to make sure! It sounds like a great episode, with lotsa deep discussions about the over the top dramatics and, uh, amazing costumes of this pioneering teen drama, sir, it sure does, which leads me to the only natural conclusion...I think you'd be into it. *Perp is like "FIIIIIINE, YA' GOT ME!* oh and uh one more one more thing: leave a rating an' a review on the ol' Apple Podcasts, it'd really help us out.

Curiosus mix 237 Tracklist 1. Sweet Flux. Fasme 2. 2.0 Warrior. Miles Metric 3. Anything Goes. Lex & Wood (Original Mix) 4. Spread It Out. Eddy M 5. Work It. Will Taylor (UK) (Original Mix) 6. Dont You. JoshJack 7. Broken (And Out of Sync). Supreems 8. How Many Times. Steve Darko & Claude VonStroke 9. Turn It Up. House Divided 10. You've Got Me. Shane Mahon 11. Epiphany. Ross From Friends 12. First Blue Sky. Placid Angles 13. Rising Sun. Automatic Tasty 14. I’m Not Afraid. Earth Trax 15. While My 303 Gently Weeps. 747 16. Galactic Rainbow. Jay Lumen 17. Prête Et Pasteur. Trym (Original Mix) 18. Intro LFO Ambient. Techno. House. Acid 16 feb 2021

Charles, Chessie, Danny and Neil return to chat all things Northampton Town. We look back on the 0-0 draw at Accrington, talk beards and pressure and answer a listener question about Keith Curle. Watch the video for Got Me a Beard by The Beards - https://www.youtube.com/watch?v=KlgbKIswpzI (https://www.youtube.com/watch?v=KlgbKIswpzI) Support the podcast on Patreon. Receive extra content and join our community on Slack https://www.patreon.com/cobblerstome (https://www.patreon.com/cobblerstome) __________________________________ CONTACT IACTM Visit our websitehttps://cobblerstome.com/ ( https://cobblerstome.com) Tweet ushttps://twitter.com/CobblersToMe ( https://twitter.com/CobblersToMe) use the #IACTM Facebookhttps://www.facebook.com/itsallcobblers ( https://www.facebook.com/itsallcobblers) Email us itsallcobblers@gmail.com __________________________________ It’s All Cobblers To Me is ahttp://vibrantsoundmedia.com/ ( Vibrant Sound Media) production for the fans ofhttp://ntfc.co.uk/ ( Northampton Town Football Club). Support this podcast

The New York Mets have officially traded for Francisco Lindor, taking him off the table for the Toronto Blue Jays to acquire. But could this actually help Toronto in the market for DJ LeMahieu and George Springer? Why is Marcus Stroman so mad at the Blue Jays for not getting Lindor? Mark, Bryson and Jacob also discuss MLB.com's bold 2021 predictions (or, in the words of Bryson, "BOLD"). Follow @section138pod on Instagram and Twitter. Music: "San Francisco (You've Got Me)," Village People.

A little all over the place but wanted to update y’all, this is why I do what I do. Thank you guys for hanging in there with me. We are growing, learning, healing and creating the lives we deserve. I love you! Song is Got Me by Gabby Barrett. Socials are atxbarbie on ig, Twitter etc. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/imadiamondnotasquare/support

Episode one hundred and two of A History of Rock Music in Five Hundred Songs looks at “Twist and Shout” by the Isley Brothers, and the early career of Bert Berns. 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 “How Do You Do It?” by Gerry and the Pacemakers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixcloud this week, due to the number of songs by the Isleys. Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley’s daughter, so I’ve had to piece this together from literally dozens of different sources. For information about the Isley Brothers the main source was  Icons of R&B and Soul by Bob Gulla.  The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. This three-CD set, though, is the best overview of the group’s whole career. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to look at one of the great Brill Building songwriters, and at a song he wrote which became a classic both of soul and of rock music. We’re going to look at how a novelty Latin song based around a dance craze was first taken up by one of the greatest soul groups of the sixties, and then reworked by the biggest British rock band of all time. We’re going to look at “Twist and Shout” by the Isley Brothers. [Excerpt: The Isley Brothers, “Twist and Shout”] When we left the Isley Brothers, they had just signed to Atlantic, and released several singles with Leiber and Stoller, records like “Standing on the Dance Floor” that were excellent R&B records, but which didn’t sell: [Excerpt: The Isley Brothers, “Standing on the Dance Floor”] In 1962 they were dropped by Atlantic and moved on to Wand Records, the third label started by Florence Greenberg, who had already started Tiara and Scepter. As with those labels, Luther Dixon was in charge of the music, and he produced their first single on the label, a relatively catchy dance song called “The Snake”, which didn’t catch on commercially: [Excerpt: The Isley Brothers, “The Snake”] While “The Snake” didn’t sell, the Isley Brothers clearly had some commercial potential — and indeed their earlier hit “Shout” had just recharted, after Joey Dee and the Starliters had a hit with a cover version of it. All that was needed was the right song, and they could be as big as Luther Dixon’s other group, the Shirelles. And Dixon had just the song for them — a song co-written by Burt Bacharach, and sung on the demo by a young singer called Dionne Warwick. Unfortunately, they spent almost all the session trying and failing to get the song down — they just couldn’t make it work — and eventually they gave up on it, and Bacharach produced the song for Jerry Butler, the former lead singer of the Impressions, who had a top twenty hit with it: [Excerpt: Jerry Butler, “Make it Easy on Yourself”] So they were stuck without a song to record — and then Dixon’s assistant on the session, Bert Berns, suggested that they record one of his songs — one that had been a flop for another group the previous year. The story of “Twist and Shout” actually starts with a group called the Five Pearls, who made their first record in 1954: [Excerpt: The Five Pearls, “Please Let Me Know”] The Five Pearls recorded under various different names, and in various different combinations, for several different mid-sized record labels like Aladdin throughout the 1950s, but without much success — the closest they came was when one of the members, Dave “Baby” Cortez, went solo and had a hit with “The Happy Organ” in 1959: [Excerpt: Dave “Baby” Cortez, “The Happy Organ”] But in 1960 two members of the Pearls — who used different names at different points of their career, but at this point were calling themselves Derek Ray and Guy Howard, signed to Atlantic as a new duo called The Top Notes. Their first single under this name, “A Wonderful Time”, did no better than any of their other records had — but by their third single, they were being produced by a new staff producer — Phil Spector, who had started taking on production jobs that Leiber and Stoller weren’t interested in doing themselves, like a remake of the old folk song “Corrina, Corrina”, which had been an R&B hit for Big Joe Turner and which Spector produced for the country singer Ray Peterson: [Excerpt: Ray Peterson, “Corrina, Corrina”] But soon after that, Spector had broken with Leiber and Stoller. Spector was given the opportunity to co-write songs for the new Elvis film, Blue Hawaii. But he was signed to a publishing contract with Leiber and Stoller’s company, Trio Music, and they told Hill & Range that he could only do the songs if Trio got half the publishing, which Hill & Range refused — there was apparently some talk of them going ahead anyway, but Hill & Range were scared of Trio’s lawyer, one of the best in the entertainment industry. This wouldn’t be the last time that Phil Spector and Lee Eastman ended up on the opposite sides of a disagreement. Shortly after that, Spector’s contract mysteriously went missing from Trio’s office. Someone remembered that Spector happened to have a key to the office. But by this point Spector had co-written or co-produced a fair few hits, and so he was taken on by Atlantic on his own merits, and so he and Jerry Wexler co-produced singles for the Top Notes, with arrangements by Teddy Randazzo, who we last heard of singing with accordion accompaniment in The Girl Can’t Help It. The first of these Top Notes singles, “Hearts of Stone”, was an obvious attempt at a Ray Charles soundalike, with bits directly lifted both from “What’d I Say” and Charles’ hit “Sticks and Stones”: [Excerpt: The Top Notes, “Hearts of Stone”] But the next Top Notes release was the song that would make them at least a footnote in music history. The writing credit on it was Bert Russell and Phil Medley, and while Medley would have little impact on the music world otherwise, the songwriter credited as Bert Russell is worth us looking at. His actual name was Bertrand Russell Berns — he had been named after the famous philosopher — and he was a man on a mission. He was already thirty-one, and he knew he didn’t have long to live — he’d had rheumatic fever as a child and it had given him an incurable heart condition. He had no idea how long he had, but he knew he wasn’t going to live to a ripe old age. And he’d wasted his twenties already — he’d tried various ways to get into showbiz, with no success. He’d tried a comedy double act, and at one point had moved to Cuba, where he’d tried to buy a nightclub but backed out when he’d realised it was actually a brothel.  On his return to the US, he’d started working as a songwriter in the Brill Building. In the late fifties he worked for a while with the rockabilly singer Ersel Hickey — no relation to me — who had a minor hit with “Bluebirds Over the Mountain”: [Excerpt: Ersel Hickey, “Bluebirds Over the Mountain”] Berns was proud just to know Hickey, though, because “Bluebirds Over the Mountain” had been covered by Ritchie Valens, and “La Bamba” was Berns’ favourite record — one he would turn to for inspiration throughout his career. He loved Latin music generally — it had been one of the reasons he’d moved to Cuba — but that song in particular was endlessly fascinating to him. He’d written and produced a handful of recordings in the early fifties, before his Cuba trip, but it was on his return that he started to be properly productive. He’d started producing novelty records with a friend called Bill Giant, like a song based on the Gettysburg Address: [Excerpt: Bert and Bill Giant, “The Gettysburg Address”] Or a solo record about the Alamo — at the time Berns seemed to think that songs about American history were going to be the next big thing: [Excerpt: Bert Berns, “The Legend of the Alamo”] He’d co-written a song called “A Little Bird Told Me” with Ersel Hickey — not the same as the song of the same name we talked about a year or so ago — and it was recorded by LaVern Baker: [Excerpt: LaVern Baker, “A Little Bird Told Me”] And he and Medley co-wrote “Push Push” for Austin Taylor: [Excerpt: Austin Taylor, “Push Push”] But he was still basically a nobody in the music industry in 1961. But Jerry Wexler had produced that LaVern Baker record of “A Little Bird Told Me”, and he liked Berns, and so he accepted a Berns and Medley cowrite for the next Top Notes session.  The song in question had started out as one called “Shake it Up Baby”, based very firmly around the chords and melody of “La Bamba”, but reimagined with the Afro-Cuban rhythms that Berns loved so much — and then further reworked to reference the Twist dance craze. Berns was sure it was a hit — it was as catchy as anything he could write, and full of hooks.  Berns was allowed into the studio to watch the recording, which was produced by Wexler and Spector, but he wasn’t allowed to get involved — and he watched with horror as Spector flattened the rhythm and totally rewrote the middle section. Spector also added in backing vocals based on the recent hit “Handy Man” — a “come-a-come-a” vocal line that didn’t really fit the song. The result was actually quite a decent record, but despite being performed by all the usual Atlantic session players like King Curtis, and having the Cookies do their usual sterling job on backing vocals, “Twist and Shout” by the Top Notes was a massive flop, and Berns could tell it would be even during the session: [Excerpt: The Top Notes, “Twist and Shout”] The Top Notes soon split up, making no real further mark on the industry — when Guy Howard died in 1977, he had reverted to his original name Howard Guyton, and the Top Notes were so obscure that his obituaries focused on his time in one of the later touring versions of the Platters. Berns was furious at the way that Spector had wrecked his song, and decided that he was going to have to start producing his own songs, so they couldn’t be messed up. But that was put on the back burner for a while, as he started having success. His first chart success as a songwriter was with a song he wrote for a minor group called the Jarmels. By this time, the Drifters were having a lot of success with their use of the same Latin and Caribbean rhythms that Berns liked, and so he wrote “A Little Bit of Soap” in the Drifters’ style, and it made the top twenty: [Excerpt: The Jarmels, “A Little Bit of Soap”] He also started making non-novelty records of his own. Luther Dixon at Wand Records heard one of Berns’ demos, and decided he should be singing, not just writing songs. Berns was signed to Wand Records as a solo artist under the name “Russell Byrd”, and his first single for the label was produced by Dixon. The song itself is structurally a bit of a mess — Berns seems to have put together several hooks (including some from other songs) but not thought properly about how to link them together, and so it meanders a bit — but you can definitely see a family resemblance to “Twist and Shout” in the melody, and in Carole King’s string arrangement: [Excerpt: Russell Byrd, “You’d Better Come Home”] That made the top fifty, and got Berns a spot on American Bandstand, but it was still not the breakout success that Berns needed. While Berns had been annoyed at Spector for the way he’d messed up “Twist and Shout”, he clearly wasn’t so upset with him that they couldn’t work together, because the second Russell Byrd session, another Drifters knockoff, was produced by Spector: [Excerpt: Russell Byrd, “Nights of Mexico”] But Berns was still looking to produce his own material. He got the chance when Jerry Wexler called him up. Atlantic were having problems — while they had big vocal groups like the Drifters and the Coasters, they’d just lost their two biggest male solo vocalists, as Bobby Darin and Ray Charles had moved on to other labels. They had recently signed a gospel singer called Solomon Burke, and he’d had a minor hit with a version of an old country song, “Just Out of Reach”: [Excerpt: Solomon Burke, “Just Out of Reach”] Burke was the closest thing to a male solo star they now had, and clearly a major talent, but he was also a very opinionated person, and not easy to get on with. His grandmother had had a dream, twelve years before he was born, in which she believed God had told her of her future grandson’s importance. She’d founded a church, Solomon’s Temple: The House Of God For All People, in anticipation of his birth, and he’d started preaching there from the age of seven as the church’s spiritual leader. Rather unsurprisingly, he had rather a large ego, and that ego wasn’t made any smaller by the fact that he was clearly a very talented singer. His strong opinions included things like how his music was to be marketed. He was fine with singing pop songs, rather than the gospel music he’d started out in, as he needed the money — he had eight kids, and as well as being a singer and priest, he was also a mortician, and had a side job shovelling snow for four dollars an hour — but he wasn’t keen on being marketed as “rhythm and blues” — rhythm and blues was dirty music, not respectable. His music needed to be called something else. After some discussion with Atlantic, everyone agreed on a new label that would be acceptable to his church, one that had previously been applied to a type of mostly-instrumental jazz influenced by Black gospel music, but from this point on would be applied almost exclusively to Black gospel-influenced pop music in the lineage of Ray Charles and Clyde McPhatter. Burke was not singing rhythm and blues, but soul music. Wexler had produced Burke’s first sessions, but he always thought he worked better when he had a co-producer, and he liked a song Berns had written, “Cry to Me”, another of his Drifters soundalikes. So he asked Berns into the studio to produce Burke singing that song. The two didn’t get on very well at first — Burke’s original comment on meeting Berns was “Who is this Paddy mother–” except he included the expletive that my general audience content rating prevents me from saying there — but it’s hard to argue with the results, one of the great soul records of all time: [Excerpt: Solomon Burke, “Cry to Me”] That made the top five on the R&B chart, and started a run of hits for Burke, whose records would continue to be produced by the team of Berns and Wexler for the next several years. After this initial production success, Berns started producing many other records, most of them again unsuccessful, like a cheap Twist album to cash in on the resurgent Twist craze. And he was still working with Wand records, which is what led to him being invited to assist Dixon with the Isley Brothers session for “Make it Easy on Yourself”.  When they couldn’t get a take done for that track, Berns suggested that they make an attempt at “Twist and Shout”, which he still thought had the potential to be a hit, and which would be perfectly suited to the Isley Brothers — after all, their one hit was “Shout!”, so “Twist and Shout” would be the perfect way for them to get some relevance.  The brothers hated the song, and they didn’t want to record any Twist material at all — apparently they were so vehemently against recording the song that furniture got smashed in the argument over it. But Luther Dixon insisted that they do it, and so they reluctantly recorded “Twist and Shout”, and did it the way Bert Berns had originally envisioned it, Latin feel and all: [Excerpt: The Isley Brothers, “Twist and Shout”] It’s a testament to Ronald Isley’s talent, in particular, that he sounds utterly committed on the record despite it being something he had no wish to take part in at all.  The record made the top twenty on the pop chart and number two in R&B, becoming the Isleys’ first real mainstream hit. It might have even done better, but for an unfortunate coincidence — “Do You Love Me” by the Contours, a song written by Berry Gordy, was released on one of the Motown labels a couple of weeks later, and had a very similar rising vocal hook: [Excerpt: The Contours, “Do You Love Me”] “Do You Love Me” was a bigger hit, making number three in the pop charts and number one R&B, but it’s hard not to think that the two records being so similar must have eaten into the market for both records. But either way, “Twist and Shout” was a proper big hit for the Isleys, and one that established them as real stars, and Berns became their regular producer for a while. Unfortunately, both they and Berns floundered about what to do for a follow-up. The first attempt was one of those strange records that tries to mash up bits of as many recent hits as possible, and seems to have been inspired by Jan & Dean’s then-recent hit with a revival of the 1946 song “Linda”: [Excerpt: Jan and Dean, “Linda”] That song was, coincidentally, written about the daughter of Lee Eastman, the lawyer we mentioned earlier. “Twistin’ With Linda”, the brothers’ response, took the character from that song, and added the melody to the recent novelty hit “Hully Gully”, lyrical references to “Twist and Shout” and Chubby Checker’s Twist hits, and in the tag Ronald Isley sings bits of “Shout”, “Don’t You Just Know It”, “Duke of Earl”, and for some reason “I’m Popeye the Sailor Man”: [Excerpt: The Isley Brothers, “Twistin’ With Linda”] That only made the lower reaches of the charts. Their next single was “Nobody But Me”, which didn’t make the hot one hundred, but would later be covered by the Human Beinz, making the top ten in their version in 1968: [Excerpt: The Isley Brothers, “Nobody But Me”] With Berns still producing, the Isleys moved over to United Artists records, but within a year of “Twist and Shout”, they were reduced to remaking it as “Surf and Shout”, with lyrics referencing another Jan and Dean hit, “Surf City”: [Excerpt: The Isley Brothers, “Surf and Shout”] Oddly, while they were doing this, Berns was producing them on much more interesting material for album tracks, but for some reason, even as Berns was also by now producing regular hits for Solomon Burke, Ben E King and the Drifters, the Isleys were stuck trying to jump on whatever the latest bandwagon was in an attempt at commercial success. Even when they were writing songs that would become hits, they were having no success. The last of the songs that Berns produced for them was another Isleys original, “Who’s That Lady?”: [Excerpt: The Isley Brothers, “Who’s That Lady?”] That would become one of the group’s biggest hits, but not until they remade it nine years later. It was only two years since “Twist and Shout”, but the Isley Brothers were commercially dead. But the success of “Twist and Shout” — and their songwriting royalties from “Shout” — gave them the financial cushion to move to comparatively better surroundings — and to start their own record label. They moved to Teaneck, New Jersey, and named their new label T-Neck in its honour. They also had one of the best live bands in the US at the time, and the first single on T-Neck, “Testify”, produced by the brothers themselves, highlighted their new guitar player, Jimmy James: [Excerpt: The Isley Brothers, “Testify”] But even while he was employed by the Isleys, Jimmy James was playing on other records that were doing better, like Don Covay’s big hit “Mercy, Mercy”: [Excerpt: Don Covay and the Goodtimers, “Mercy, Mercy”] And he soon left the Isleys, going on first to tour with a minor soul artist supporting Sam Cooke and Jackie Wilson, and then to join Little Richard’s band, playing on Richard’s classic soul ballad “I Don’t Know What You’ve Got But It’s Got Me”, also written by Don Covay: [Excerpt: Little Richard, “I Don’t Know What You’ve Got But It’s Got Me”] We’ll be picking up the story of Jimmy James in a couple of months’ time, by which point he will have reverted to his birth name and started performing as Jimi Hendrix. But for the moment, this is where we leave Hendrix and the Isley Brothers, but they will both, of course, be turning up again in the story. But of course, that isn’t all there is to say about “Twist and Shout”, because the most famous version of the song isn’t the Isleys’. While the Beatles’ first single had been only a minor hit, their second, “Please Please Me”, went to number one or two in the  UK charts, depending on which chart you look at, and they quickly recorded a follow-up album, cutting ten songs in one day to add to their singles to make a fourteen-track album. Most of the songs they performed that day were cover versions that were part of their live act — versions of songs by Arthur Alexander, the Cookies, and the Shirelles, among others.  John Lennon had a bad cold that day, and so they saved the band’s live showstopper til last, because they knew that it would tear his throat up. Their version of “Twist and Shout” was only recorded in one take — Lennon’s voice didn’t hold up enough for a second — but is an undoubted highlight of the album: [Excerpt: The Beatles, “Twist and Shout”] Suddenly Bert Berns had a whole new market to work in. And so when we next look at Bert Berns, he will be working with British beat groups, and starting some of the longest-lasting careers in British R&B.  

Episode one hundred and two of A History of Rock Music in Five Hundred Songs looks at "Twist and Shout" by the Isley Brothers, and the early career of Bert Berns. 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 "How Do You Do It?" by Gerry and the Pacemakers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixcloud this week, due to the number of songs by the Isleys. Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley's daughter, so I've had to piece this together from literally dozens of different sources. For information about the Isley Brothers the main source was  Icons of R&B and Soul by Bob Gulla.  The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. This three-CD set, though, is the best overview of the group's whole career. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at one of the great Brill Building songwriters, and at a song he wrote which became a classic both of soul and of rock music. We're going to look at how a novelty Latin song based around a dance craze was first taken up by one of the greatest soul groups of the sixties, and then reworked by the biggest British rock band of all time. We're going to look at "Twist and Shout" by the Isley Brothers. [Excerpt: The Isley Brothers, "Twist and Shout"] When we left the Isley Brothers, they had just signed to Atlantic, and released several singles with Leiber and Stoller, records like "Standing on the Dance Floor" that were excellent R&B records, but which didn't sell: [Excerpt: The Isley Brothers, "Standing on the Dance Floor"] In 1962 they were dropped by Atlantic and moved on to Wand Records, the third label started by Florence Greenberg, who had already started Tiara and Scepter. As with those labels, Luther Dixon was in charge of the music, and he produced their first single on the label, a relatively catchy dance song called "The Snake", which didn't catch on commercially: [Excerpt: The Isley Brothers, "The Snake"] While "The Snake" didn't sell, the Isley Brothers clearly had some commercial potential -- and indeed their earlier hit "Shout" had just recharted, after Joey Dee and the Starliters had a hit with a cover version of it. All that was needed was the right song, and they could be as big as Luther Dixon's other group, the Shirelles. And Dixon had just the song for them -- a song co-written by Burt Bacharach, and sung on the demo by a young singer called Dionne Warwick. Unfortunately, they spent almost all the session trying and failing to get the song down -- they just couldn't make it work -- and eventually they gave up on it, and Bacharach produced the song for Jerry Butler, the former lead singer of the Impressions, who had a top twenty hit with it: [Excerpt: Jerry Butler, "Make it Easy on Yourself"] So they were stuck without a song to record -- and then Dixon's assistant on the session, Bert Berns, suggested that they record one of his songs -- one that had been a flop for another group the previous year. The story of "Twist and Shout" actually starts with a group called the Five Pearls, who made their first record in 1954: [Excerpt: The Five Pearls, "Please Let Me Know"] The Five Pearls recorded under various different names, and in various different combinations, for several different mid-sized record labels like Aladdin throughout the 1950s, but without much success -- the closest they came was when one of the members, Dave "Baby" Cortez, went solo and had a hit with "The Happy Organ" in 1959: [Excerpt: Dave "Baby" Cortez, "The Happy Organ"] But in 1960 two members of the Pearls -- who used different names at different points of their career, but at this point were calling themselves Derek Ray and Guy Howard, signed to Atlantic as a new duo called The Top Notes. Their first single under this name, "A Wonderful Time", did no better than any of their other records had -- but by their third single, they were being produced by a new staff producer -- Phil Spector, who had started taking on production jobs that Leiber and Stoller weren't interested in doing themselves, like a remake of the old folk song "Corrina, Corrina", which had been an R&B hit for Big Joe Turner and which Spector produced for the country singer Ray Peterson: [Excerpt: Ray Peterson, "Corrina, Corrina"] But soon after that, Spector had broken with Leiber and Stoller. Spector was given the opportunity to co-write songs for the new Elvis film, Blue Hawaii. But he was signed to a publishing contract with Leiber and Stoller's company, Trio Music, and they told Hill & Range that he could only do the songs if Trio got half the publishing, which Hill & Range refused -- there was apparently some talk of them going ahead anyway, but Hill & Range were scared of Trio's lawyer, one of the best in the entertainment industry. This wouldn't be the last time that Phil Spector and Lee Eastman ended up on the opposite sides of a disagreement. Shortly after that, Spector's contract mysteriously went missing from Trio's office. Someone remembered that Spector happened to have a key to the office. But by this point Spector had co-written or co-produced a fair few hits, and so he was taken on by Atlantic on his own merits, and so he and Jerry Wexler co-produced singles for the Top Notes, with arrangements by Teddy Randazzo, who we last heard of singing with accordion accompaniment in The Girl Can't Help It. The first of these Top Notes singles, "Hearts of Stone", was an obvious attempt at a Ray Charles soundalike, with bits directly lifted both from "What'd I Say" and Charles' hit "Sticks and Stones": [Excerpt: The Top Notes, "Hearts of Stone"] But the next Top Notes release was the song that would make them at least a footnote in music history. The writing credit on it was Bert Russell and Phil Medley, and while Medley would have little impact on the music world otherwise, the songwriter credited as Bert Russell is worth us looking at. His actual name was Bertrand Russell Berns -- he had been named after the famous philosopher -- and he was a man on a mission. He was already thirty-one, and he knew he didn't have long to live -- he'd had rheumatic fever as a child and it had given him an incurable heart condition. He had no idea how long he had, but he knew he wasn't going to live to a ripe old age. And he'd wasted his twenties already -- he'd tried various ways to get into showbiz, with no success. He'd tried a comedy double act, and at one point had moved to Cuba, where he'd tried to buy a nightclub but backed out when he'd realised it was actually a brothel.  On his return to the US, he'd started working as a songwriter in the Brill Building. In the late fifties he worked for a while with the rockabilly singer Ersel Hickey -- no relation to me -- who had a minor hit with "Bluebirds Over the Mountain": [Excerpt: Ersel Hickey, "Bluebirds Over the Mountain"] Berns was proud just to know Hickey, though, because "Bluebirds Over the Mountain" had been covered by Ritchie Valens, and "La Bamba" was Berns' favourite record -- one he would turn to for inspiration throughout his career. He loved Latin music generally -- it had been one of the reasons he'd moved to Cuba -- but that song in particular was endlessly fascinating to him. He'd written and produced a handful of recordings in the early fifties, before his Cuba trip, but it was on his return that he started to be properly productive. He'd started producing novelty records with a friend called Bill Giant, like a song based on the Gettysburg Address: [Excerpt: Bert and Bill Giant, "The Gettysburg Address"] Or a solo record about the Alamo -- at the time Berns seemed to think that songs about American history were going to be the next big thing: [Excerpt: Bert Berns, "The Legend of the Alamo"] He'd co-written a song called "A Little Bird Told Me" with Ersel Hickey -- not the same as the song of the same name we talked about a year or so ago -- and it was recorded by LaVern Baker: [Excerpt: LaVern Baker, "A Little Bird Told Me"] And he and Medley co-wrote "Push Push" for Austin Taylor: [Excerpt: Austin Taylor, "Push Push"] But he was still basically a nobody in the music industry in 1961. But Jerry Wexler had produced that LaVern Baker record of "A Little Bird Told Me", and he liked Berns, and so he accepted a Berns and Medley cowrite for the next Top Notes session.  The song in question had started out as one called "Shake it Up Baby", based very firmly around the chords and melody of "La Bamba", but reimagined with the Afro-Cuban rhythms that Berns loved so much -- and then further reworked to reference the Twist dance craze. Berns was sure it was a hit -- it was as catchy as anything he could write, and full of hooks.  Berns was allowed into the studio to watch the recording, which was produced by Wexler and Spector, but he wasn't allowed to get involved -- and he watched with horror as Spector flattened the rhythm and totally rewrote the middle section. Spector also added in backing vocals based on the recent hit "Handy Man" -- a "come-a-come-a" vocal line that didn't really fit the song. The result was actually quite a decent record, but despite being performed by all the usual Atlantic session players like King Curtis, and having the Cookies do their usual sterling job on backing vocals, "Twist and Shout" by the Top Notes was a massive flop, and Berns could tell it would be even during the session: [Excerpt: The Top Notes, "Twist and Shout"] The Top Notes soon split up, making no real further mark on the industry -- when Guy Howard died in 1977, he had reverted to his original name Howard Guyton, and the Top Notes were so obscure that his obituaries focused on his time in one of the later touring versions of the Platters. Berns was furious at the way that Spector had wrecked his song, and decided that he was going to have to start producing his own songs, so they couldn't be messed up. But that was put on the back burner for a while, as he started having success. His first chart success as a songwriter was with a song he wrote for a minor group called the Jarmels. By this time, the Drifters were having a lot of success with their use of the same Latin and Caribbean rhythms that Berns liked, and so he wrote "A Little Bit of Soap" in the Drifters' style, and it made the top twenty: [Excerpt: The Jarmels, "A Little Bit of Soap"] He also started making non-novelty records of his own. Luther Dixon at Wand Records heard one of Berns' demos, and decided he should be singing, not just writing songs. Berns was signed to Wand Records as a solo artist under the name "Russell Byrd", and his first single for the label was produced by Dixon. The song itself is structurally a bit of a mess -- Berns seems to have put together several hooks (including some from other songs) but not thought properly about how to link them together, and so it meanders a bit -- but you can definitely see a family resemblance to "Twist and Shout" in the melody, and in Carole King's string arrangement: [Excerpt: Russell Byrd, "You'd Better Come Home"] That made the top fifty, and got Berns a spot on American Bandstand, but it was still not the breakout success that Berns needed. While Berns had been annoyed at Spector for the way he'd messed up "Twist and Shout", he clearly wasn't so upset with him that they couldn't work together, because the second Russell Byrd session, another Drifters knockoff, was produced by Spector: [Excerpt: Russell Byrd, "Nights of Mexico"] But Berns was still looking to produce his own material. He got the chance when Jerry Wexler called him up. Atlantic were having problems -- while they had big vocal groups like the Drifters and the Coasters, they'd just lost their two biggest male solo vocalists, as Bobby Darin and Ray Charles had moved on to other labels. They had recently signed a gospel singer called Solomon Burke, and he'd had a minor hit with a version of an old country song, "Just Out of Reach": [Excerpt: Solomon Burke, "Just Out of Reach"] Burke was the closest thing to a male solo star they now had, and clearly a major talent, but he was also a very opinionated person, and not easy to get on with. His grandmother had had a dream, twelve years before he was born, in which she believed God had told her of her future grandson's importance. She'd founded a church, Solomon's Temple: The House Of God For All People, in anticipation of his birth, and he'd started preaching there from the age of seven as the church's spiritual leader. Rather unsurprisingly, he had rather a large ego, and that ego wasn't made any smaller by the fact that he was clearly a very talented singer. His strong opinions included things like how his music was to be marketed. He was fine with singing pop songs, rather than the gospel music he'd started out in, as he needed the money -- he had eight kids, and as well as being a singer and priest, he was also a mortician, and had a side job shovelling snow for four dollars an hour -- but he wasn't keen on being marketed as "rhythm and blues" -- rhythm and blues was dirty music, not respectable. His music needed to be called something else. After some discussion with Atlantic, everyone agreed on a new label that would be acceptable to his church, one that had previously been applied to a type of mostly-instrumental jazz influenced by Black gospel music, but from this point on would be applied almost exclusively to Black gospel-influenced pop music in the lineage of Ray Charles and Clyde McPhatter. Burke was not singing rhythm and blues, but soul music. Wexler had produced Burke's first sessions, but he always thought he worked better when he had a co-producer, and he liked a song Berns had written, "Cry to Me", another of his Drifters soundalikes. So he asked Berns into the studio to produce Burke singing that song. The two didn't get on very well at first -- Burke's original comment on meeting Berns was "Who is this Paddy mother--" except he included the expletive that my general audience content rating prevents me from saying there -- but it's hard to argue with the results, one of the great soul records of all time: [Excerpt: Solomon Burke, "Cry to Me"] That made the top five on the R&B chart, and started a run of hits for Burke, whose records would continue to be produced by the team of Berns and Wexler for the next several years. After this initial production success, Berns started producing many other records, most of them again unsuccessful, like a cheap Twist album to cash in on the resurgent Twist craze. And he was still working with Wand records, which is what led to him being invited to assist Dixon with the Isley Brothers session for "Make it Easy on Yourself".  When they couldn't get a take done for that track, Berns suggested that they make an attempt at "Twist and Shout", which he still thought had the potential to be a hit, and which would be perfectly suited to the Isley Brothers -- after all, their one hit was "Shout!", so "Twist and Shout" would be the perfect way for them to get some relevance.  The brothers hated the song, and they didn't want to record any Twist material at all -- apparently they were so vehemently against recording the song that furniture got smashed in the argument over it. But Luther Dixon insisted that they do it, and so they reluctantly recorded "Twist and Shout", and did it the way Bert Berns had originally envisioned it, Latin feel and all: [Excerpt: The Isley Brothers, "Twist and Shout"] It's a testament to Ronald Isley's talent, in particular, that he sounds utterly committed on the record despite it being something he had no wish to take part in at all.  The record made the top twenty on the pop chart and number two in R&B, becoming the Isleys' first real mainstream hit. It might have even done better, but for an unfortunate coincidence -- "Do You Love Me" by the Contours, a song written by Berry Gordy, was released on one of the Motown labels a couple of weeks later, and had a very similar rising vocal hook: [Excerpt: The Contours, "Do You Love Me"] "Do You Love Me" was a bigger hit, making number three in the pop charts and number one R&B, but it's hard not to think that the two records being so similar must have eaten into the market for both records. But either way, "Twist and Shout" was a proper big hit for the Isleys, and one that established them as real stars, and Berns became their regular producer for a while. Unfortunately, both they and Berns floundered about what to do for a follow-up. The first attempt was one of those strange records that tries to mash up bits of as many recent hits as possible, and seems to have been inspired by Jan & Dean's then-recent hit with a revival of the 1946 song "Linda": [Excerpt: Jan and Dean, "Linda"] That song was, coincidentally, written about the daughter of Lee Eastman, the lawyer we mentioned earlier. "Twistin' With Linda", the brothers' response, took the character from that song, and added the melody to the recent novelty hit "Hully Gully", lyrical references to "Twist and Shout" and Chubby Checker's Twist hits, and in the tag Ronald Isley sings bits of "Shout", "Don't You Just Know It", "Duke of Earl", and for some reason "I'm Popeye the Sailor Man": [Excerpt: The Isley Brothers, "Twistin' With Linda"] That only made the lower reaches of the charts. Their next single was "Nobody But Me", which didn't make the hot one hundred, but would later be covered by the Human Beinz, making the top ten in their version in 1968: [Excerpt: The Isley Brothers, "Nobody But Me"] With Berns still producing, the Isleys moved over to United Artists records, but within a year of "Twist and Shout", they were reduced to remaking it as "Surf and Shout", with lyrics referencing another Jan and Dean hit, "Surf City": [Excerpt: The Isley Brothers, "Surf and Shout"] Oddly, while they were doing this, Berns was producing them on much more interesting material for album tracks, but for some reason, even as Berns was also by now producing regular hits for Solomon Burke, Ben E King and the Drifters, the Isleys were stuck trying to jump on whatever the latest bandwagon was in an attempt at commercial success. Even when they were writing songs that would become hits, they were having no success. The last of the songs that Berns produced for them was another Isleys original, "Who's That Lady?": [Excerpt: The Isley Brothers, "Who's That Lady?"] That would become one of the group's biggest hits, but not until they remade it nine years later. It was only two years since "Twist and Shout", but the Isley Brothers were commercially dead. But the success of "Twist and Shout" -- and their songwriting royalties from "Shout" -- gave them the financial cushion to move to comparatively better surroundings -- and to start their own record label. They moved to Teaneck, New Jersey, and named their new label T-Neck in its honour. They also had one of the best live bands in the US at the time, and the first single on T-Neck, "Testify", produced by the brothers themselves, highlighted their new guitar player, Jimmy James: [Excerpt: The Isley Brothers, "Testify"] But even while he was employed by the Isleys, Jimmy James was playing on other records that were doing better, like Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy, Mercy"] And he soon left the Isleys, going on first to tour with a minor soul artist supporting Sam Cooke and Jackie Wilson, and then to join Little Richard's band, playing on Richard's classic soul ballad "I Don't Know What You've Got But It's Got Me", also written by Don Covay: [Excerpt: Little Richard, "I Don't Know What You've Got But It's Got Me"] We'll be picking up the story of Jimmy James in a couple of months' time, by which point he will have reverted to his birth name and started performing as Jimi Hendrix. But for the moment, this is where we leave Hendrix and the Isley Brothers, but they will both, of course, be turning up again in the story. But of course, that isn't all there is to say about "Twist and Shout", because the most famous version of the song isn't the Isleys'. While the Beatles' first single had been only a minor hit, their second, "Please Please Me", went to number one or two in the  UK charts, depending on which chart you look at, and they quickly recorded a follow-up album, cutting ten songs in one day to add to their singles to make a fourteen-track album. Most of the songs they performed that day were cover versions that were part of their live act -- versions of songs by Arthur Alexander, the Cookies, and the Shirelles, among others.  John Lennon had a bad cold that day, and so they saved the band's live showstopper til last, because they knew that it would tear his throat up. Their version of "Twist and Shout" was only recorded in one take -- Lennon's voice didn't hold up enough for a second -- but is an undoubted highlight of the album: [Excerpt: The Beatles, "Twist and Shout"] Suddenly Bert Berns had a whole new market to work in. And so when we next look at Bert Berns, he will be working with British beat groups, and starting some of the longest-lasting careers in British R&B.  

So, what was my desire to “do” when I envisioned The Music Authority LIVE STREAM Show & Podcast ALMOST SIX years ago, now? Simple! I wanted to do justice to a sound, a style of music NOT being played on the lamestream...Great music, great songs, ARE STILL BEING MADE! You couldn't tell by listening to regular radio. What? Only 12 to 14 artists making palatable art? PLEASE! So, my vision, my goal, to bring to YOU the coolest songs I could find, to open your ears to the coolest artists ignored by the scientists of the mainstream lamestream. Radio should always be an art, not a focus group science experiment in the dumbing down of the listener. You should NEVER be able to say who will be playing next. EVERY song should be a surprise gift! I just wanted to bring you great songs by great artists. The Music Authority LIVE STREAM Show & Podcast...recorded and on Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, APPLE iTunes, AND Google Play Music! AND NOW ON MORNINGS IN CANADA! https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening? How does and can one listen in? Let me list the ways...Listen LIVE here - https://fastcast4u.com/player/jamprell/ Podcast recorded here - https://themusicauthority.transistor.fm/ Take a moment and share this post! Share it! Share it!! Share It!!! SHARED! The Music Authority LIVE STREAM Show & Podcast! Please check out my shows special recorded hour, Tuesday, Wednesday and Thursday at 7PM UK time, 2PM ET, 11AM PT Now Rocking The KOR! www.koradio.rocks ALSO! Hear a completely different recorded hour of Power Pop, Rock, Soul, Rhythm & Blues...NO TWO LIVE SHOWS THE SAME, Friday, Saturday and Sunday on Pop Radio UK 6PM UK, 1PM ET, 10AM PT!August, 25, 2020, Tuesday, “Singles Releases” Hour One…Orbis Max - TMA SHOW OPEN THEMEIrene Pena - Won't Back Down (Futureman Records)92 Games - SundayVolker Milch - EmotionBankrupt - Tropical BreakdownVanilla - The CallIndonesian Junk - Headbanger [Spiderbites] (Rum Bar Records)Caleb Caming & The Heat - You've Got Me (in Agony)The Viewers - 01 Beautiful (Big Stir Records)The Viewers - 02 It's My Time (Big Stir Records)Fabian Jack - Silent AlarmAndrew Taylor - 06 More Of The Same [Somewhere To Be]The Explorer's Club - Somebody Made For Me (Goldstar Recordings)Future Radio - 02 Fire with FireFolk Devils – ForeverThe Needs - I Regret It [You Need The Needs]Gallows Birds - My Lambretta (Rum Bar Records)Gallows Birds – Local Girls (Rum Bar Records)Geoff Palmer & Lucy Ellis - 03 In Spite of Ourselves [Your Face is Weird]

Admirons dans cet épisode story le parcours très productif des Bass Bumpers (et de ses 2 interprètes principaux), groupe allemand de clubbing qui a participé à l'essor de l'eurodance. Bonne écoute! Retrouvez Eurodance Story sur - Soundcloud : https://soundcloud.com/eurodance-story - Apple Podcast : https://itunes.apple.com/fr/podcast/eurodance-story/id1446532245 - Podcloud : https://podcloud.fr/podcast/eurodancestory - Deezer : https://www.deezer.com/en/show/363652 - PlayerFM : https://player.fm/series/2469797 - Spotify: https://open.spotify.com/show/56NAqZG3NAlTA7R9BYNPfS - TuneIn : https://tunein.com/podcasts/Music-Podcasts/Eurodance-Story-p1186379/ - Stitcher : https://www.stitcher.com/podcast/eurodance-story - Google Podcast : https://www.google.com/podcasts?feed=aHR0cHM6Ly9ldXJvZGFuY2VzdG9yeS5sZXBvZGNhc3QuZnIvcnNz - Pocket Casts : https://pca.st/xV9i - Castbox : https://castbox.fm/channel/Eurodance-Story%7D-id1956149 - et sur toutes les autres plateformes de podcast : Podcast Addict etc.... Vote pour tes artistes préférés : https://forms.gle/RCV343AhxiVGMskR6 Eurodance Story est aussi sur : Facebook : https://www.facebook.com/EurodanceStory Twitter : https://twitter.com/Eurodance_Story Instagram : https://www.instagram.com/eurodancestory/ Discord : https://discord.gg/J8sWFav Me contacter sur Twitter : @MaadHakim Tracklist : 0:00 Bass Bumpers - Runnin' (Marvellous Trance Mix) 5:34 Bass Bumpers - Can't Stop Dancing (Maystick Mix) 9:20 Bass Bumpers - Get the Big Bass (Hey! Beat Mix) 14:51 E-Mello - Situation 18:39 Deep Jam - When Boys Talk (12 Club Mix) 21:28 Bass Bumpers - The Music's Got Me 27:08 Brooklyn Bounce - The Music's Got Me 30:51 Vamoz - In the Summer 35:31 Amanda Lear - Fantasy 39:13 Bass Bumpers - Move to the Rhythm 43:53 Inner City - Paradise 47:22 Sydney Fresh - Drive Me Crazy 50:33 Any Questions - Living on a Fantasy (Smooth Mix) 54:17 Bass Bumpers - Don't Fight the Feeling 58:07 Capital Sounds - In the Night 1:03:40 First Base - Love is Paradise 1:10:28 (évoqué) Vito V. Feat. Anna Berardi - Love Is Paradise 1:11:19 Bass Bumpers - The Music's Got Me 2015 (La Chord Single Mix) 1:13:45 Bass Bumpers - Runnin' 1:19:05 Bass Bumpers - The M.E.L.L.O. 1:22:42 Damage Control - You've Got To Believe 1:27:38 Bass Bumpers - Good Fun 1:31:50 Los Del Rio - Macarena (Bass Bumpers Remix Radio Edit) 1:34:00 Bass Bumpers - Keep On Pushing 1:39:37 Modern Art - No More Pain 1:43:02 Bass Bumpers - Tour de France 1:45:25 Bass Bumpers - The Music Turns Me On (Ladadi Ladada) 1:48:48 Gardeweg - All I Want 1:51:59 Starsplash - Rainbow In The Sky 1:55:56 Snap Vs. CJ Stone - Rhythm is a Dancer 2003 1:59:35 Crazy Frog - Axel F 2:02:49 Bass Bumpers - Big Girl's Mouth 2:07:23 K.K. Project - Mary Had a Little Boy (feat. Felicia Uwaje) 2:09:08 Felicia Uwaje - Strike It Up 2:11:58 Bass Bumpers - Touch Me 2:15:03 Bass Bumpers - Give Yourself to Me 2:20:30 Bass Bumpers - Runnin' (Trance Radio Mix)

He's Got Me by New Direction Bible Fellowship

Episode 126 features an interview with Shrenik, Liam, and Steve of Brooklyn’s Minaxi. The band just released their debut album, Khwab, back in March and have plans to release a series of three EPs over the next few months. Tune in to hear all about it! Plus, the band performed a special live set that includes two soon to be released songs, “It’s Got Me,” and “Smile.” We also chatted about frontman Shrenik’s origins in Mumbai and how the band incorporates an array of influences, including shoegaze, dream pop, sufi music, and Hindustani pop into their eclectic sound.You can purchase Khwab via Bandcamp. The album is also available on all streaming services, including Spotify.

Radio show first broadcast on The Face Radio, Brooklyn at 5:00pm ET on 10 May 2020. Also online at https://thefaceradio.com/ Track List: Little Richard – Tutti Frutti Little Richard – Good Golly Miss Molly David Bowie – Suffragette City Little Richard – Rip It Up Little Richard – Ready Teddy John Lennon – Slipping And Sliding Little Richard – Long Tall Sally The Rolling Stones – It’s Only Rock n Roll Little Richard – Brown Sugar Little Richard – Bama Lama Bama Loo Otis Redding – Shout Bamalama James Brown – There It Is Little Richard – I Don’t Want To Discuss It Esquerita – Rocking The Joint Little Richard – Poor Dog Little Richard – Keep A’ Knocking Jimi Hendrix – Voodoo Chile (Slight Return) Little Richard – I Don’t Know What You’ve Got But It’s Got Me

1st set They Might Be Giants - It’s Spare the Rock ID They Might Be Giants - Cowtown Guy Davis - We All Need More Kindness In This World ID Jose-Luis Orozco - Los Pollitos (new) Dan Zanes & Claudia Eliaza - New York City Justin Roberts - When You First Let Go (new) ID Thao & the Get Down Stay Down - Brand New Key JJK PROMO [KUTX - Lead Belly - Polly Wee (The Frog Song) [WJFF/KCMJ - Muckafurgason - Dictionary 2nd set Lunch Money - Somehow a Frog Finds a Pond ID (prep to rock) TMBG - Don’t Spare the Rock! ID Miss Paula & the Candy Bandits - Monster Truck Josh & the Jamtones - I Love U Future Hits - Eight City Blocks (new) ID 3rd set Mates of State - I Am a Scientist Dog on Fleas - Do You Wanna know My New Dance Step? Mista Cookie Jar - Just Another Finger (new) ID Elliott Park - Rum Tiki Tum (new) Josh Lovelace - You’ve Got Me and I’ve Got You (new) Alastair Moock (feat. Sol y Canto & Alisa Amador) - No Wall ID They Might Be Giants - Robot Parade They Might Be Giants - Spare the Rock

Mercury almost GOT ME. It's in retrograde ya'll-- feel free to use it for excuses for why you can't get it together for the next few weeks. This episode we will wish our GOOD GIRLFRIEND MEGAN a happy birthday, tell you about how Mya punked ya'll bloggers, Oprah and Gayle King and my thoughts on the Power Series Finale. I also tell ya'll why I'm not that enthusiastic about the release of "The Photograph", but i'm gonna see it because-- well BLACK. Enjoy, Share, and follow me on @SoTheresThatPod and like the page on Facebook--- Keetha Kentucky Presents: So There's That Podcast.

Juicy interview with LOVE + RELATIONSHIP coach, MacKenzie Eason. She uncovers some of the illusory myths around what a conscious relationship should be like.  Spiritual gaslighting? Toxic relationships? Fantasy of perfect relationship kills?   Mackenzie is a soulful woman who has learned her wisdom the hard way navigating an abusive relationship. On this episode we dive into the challenges & the joys of a healthy thriving romantic relationship.    She helps listeners identify & triage spiritual gaslighting, toxic relationships, and outlines what things are helpful to track when you are dating.    Ask yourself, “What is the play-to-processing ratio in this relationship?” ~Luna Love   That one GOT ME! Such juicy tangible info shared in this podcast.  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Be sure to subscribe to our channel and leave a 5-star review! It helps so much! And follow us on Instagram: www.instagram.com/robinriveraignites WWW.instagram.com/cosmiccreatrixpodcast   To snag a complimentary “Emotional Mastery & Radiant Relationship Call” with Mackenzie, direct message her on her instagram. website: https://www.kenzieeason.com/ Instagram: @_honeyintheheart_ Podcast: Honey in the Heart

In this episode BABE talks about his NEW Remix of GOT ME, controlling your emotions, and having a routine. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode BABE talks about ending 2019 in a good note, moving the studio setup around, Seahawks, and his GOT ME remix. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

THE NEATBEATS WEEKEND 3:10 THE LET’S GO’s 1.2.BOMB! 2:58 The Buzzcocks Get On Our Own 2:27 Gyasi Kiss Kiss 2:36 The Out-Islanders Ebb Tide (Instrumental) (1996 Digital Remaster) 2:15  Kick Lips She’s Got Me 2:55 VIGIL OF WAR HURRICANE 3:37 宇宙ネコ子 Kimi No Youni Ikiretara 3:49 Tomboys Run 3:14 Alvino Rey & His Orchestra Blues […]

01- Babyroots - Rock My Baby 02- Double You - Who's Fooling Who 03- Club House - I'm Falling Too 04- Madonna - Deeper & Deeper 05- Double You - We All Need Love 06- Undercover - Baker Street 07- Lee Marrow Feat. Charme ‎– I Want Your Love 08- Robin S - Show Me Love 09- MK Feat. Alana - Always 10- Double You - Please Don't Go 11- Magic Marmalade - Don't Stop The Beat 12- Bizarre Inc Feat. Angie Brown ‎– I'm Gonna Get You 13- Rozalla - Are You Ready To Fly 14- Plus Staples - I Feel The Friction 15- Co.Ro. Feat Taleesa - Because The Night 16- Snap! - Rhythm Is A Dancer 17- Dr. Alban - It's My Life 18- Haddaway - What Is Love 19- Bass Bumpers Feat E. Mello & Felicia – The Music's Got Me! 20- JK - You Make Me Feel Good 21- Plus Staples - We Got 2 Be 22- Captain Hollywood Project - More And More 23- Kim Wilde - If I Can't Have You 24- Netzwerk - Send Me An Angel 25- Sonia Davis - Bette Davis Eyes 26- Information Society - Peace & love Inc. 27- DJ Dero - Do The Rave Stomp 28- L.A. Style - I'm Raving (O Si Nene) 29- The Movement - Jump 30- Awesome 3 - Don't Go 31- LDV - Climb Wall 32- Sound Factory - Understand This Groove 33- Not Real Presence - Chiki Chika 34- Jaydee - Plastic Dreams 35- M.C. Sar & The Real McCoy - Automatic Lover (Call For Love) 36- Odyssey - Talk To Me 37- Masterboy - Everybody Needs Somebody 38- Corona Feat. Ice MC - The Rhythm Of The Night 39- Delegation Feat. Rick Bailey - Wanna Be The Winner 40- Maxx - Get-A-Way 41- DJ Miko - What’s Up 42- Playahitty - The Summer Is Magic 43- Double You Feat. Alexia - Part-Time Lover 44- Ice MC - Take Away The Colour 45- Le Click – Tonight Is The Night

01- Babyroots - Rock My Baby 02- Double You - Who's Fooling Who 03- Club House - I'm Falling Too 04- Madonna - Deeper & Deeper 05- Double You - We All Need Love 06- Undercover - Baker Street 07- Lee Marrow Feat. Charme ‎– I Want Your Love 08- Robin S - Show Me Love 09- MK Feat. Alana - Always 10- Double You - Please Don't Go 11- Magic Marmalade - Don't Stop The Beat 12- Bizarre Inc Feat. Angie Brown ‎– I'm Gonna Get You 13- Rozalla - Are You Ready To Fly 14- Plus Staples - I Feel The Friction 15- Co.Ro. Feat Taleesa - Because The Night 16- Snap! - Rhythm Is A Dancer 17- Dr. Alban - It's My Life 18- Haddaway - What Is Love 19- Bass Bumpers Feat E. Mello & Felicia – The Music's Got Me! 20- JK - You Make Me Feel Good 21- Plus Staples - We Got 2 Be 22- Captain Hollywood Project - More And More 23- Kim Wilde - If I Can't Have You 24- Netzwerk - Send Me An Angel 25- Sonia Davis - Bette Davis Eyes 26- Information Society - Peace & love Inc. 27- DJ Dero - Do The Rave Stomp 28- L.A. Style - I'm Raving (O Si Nene) 29- The Movement - Jump 30- Awesome 3 - Don't Go 31- LDV - Climb Wall 32- Sound Factory - Understand This Groove 33- Not Real Presence - Chiki Chika 34- Jaydee - Plastic Dreams 35- M.C. Sar & The Real McCoy - Automatic Lover (Call For Love) 36- Odyssey - Talk To Me 37- Masterboy - Everybody Needs Somebody 38- Corona Feat. Ice MC - The Rhythm Of The Night 39- Delegation Feat. Rick Bailey - Wanna Be The Winner 40- Maxx - Get-A-Way 41- DJ Miko - What’s Up 42- Playahitty - The Summer Is Magic 43- Double You Feat. Alexia - Part-Time Lover 44- Ice MC - Take Away The Colour 45- Le Click – Tonight Is The Night

01- Babyroots - Rock My Baby 02- Double You - Who's Fooling Who 03- Club House - I'm Falling Too 04- Madonna - Deeper & Deeper 05- Double You - We All Need Love 06- Undercover - Baker Street 07- Lee Marrow Feat. Charme ‎– I Want Your Love 08- Robin S - Show Me Love 09- MK Feat. Alana - Always 10- Double You - Please Don't Go 11- Magic Marmalade - Don't Stop The Beat 12- Bizarre Inc Feat. Angie Brown ‎– I'm Gonna Get You 13- Rozalla - Are You Ready To Fly 14- Plus Staples - I Feel The Friction 15- Co.Ro. Feat Taleesa - Because The Night 16- Snap! - Rhythm Is A Dancer 17- Dr. Alban - It's My Life 18- Haddaway - What Is Love 19- Bass Bumpers Feat E. Mello & Felicia – The Music's Got Me! 20- JK - You Make Me Feel Good 21- Plus Staples - We Got 2 Be 22- Captain Hollywood Project - More And More 23- Kim Wilde - If I Can't Have You 24- Netzwerk - Send Me An Angel 25- Sonia Davis - Bette Davis Eyes 26- Information Society - Peace & love Inc. 27- DJ Dero - Do The Rave Stomp 28- L.A. Style - I'm Raving (O Si Nene) 29- The Movement - Jump 30- Awesome 3 - Don't Go 31- LDV - Climb Wall 32- Sound Factory - Understand This Groove 33- Not Real Presence - Chiki Chika 34- Jaydee - Plastic Dreams 35- M.C. Sar & The Real McCoy - Automatic Lover (Call For Love) 36- Odyssey - Talk To Me 37- Masterboy - Everybody Needs Somebody 38- Corona Feat. Ice MC - The Rhythm Of The Night 39- Delegation Feat. Rick Bailey - Wanna Be The Winner 40- Maxx - Get-A-Way 41- DJ Miko - What’s Up 42- Playahitty - The Summer Is Magic 43- Double You Feat. Alexia - Part-Time Lover 44- Ice MC - Take Away The Colour 45- Le Click – Tonight Is The Night

01. Max Styler feat. Laura White - Let Me Take You There (Dim Mak) 02. Steve Aoki feat. Darren Criss – Crash Into Me (Ultra)
 03. Two Friends Dani Poppitt - Dollar Menu (Clean Edit) (Dim Mak)
 04. DIM MAK NEW RELEASE PLAYLIST on SPOTIFY: Riot ten & SAYMYNAME feat. Milano The Don - Glocks (Dim Mak)
 05. Godlands & Jeanie feat. Jelacee - No Stress (Clean Edit) (Dim Mak) 06. Tisoki - Razor Blades (Dim Mak)
 07. DIM MAK PICK OF THE WEEK: Matroda - Kulio (Dim Mak)
 08. Keeld - Freek (New Noise)
 09. Warden - Massive (New Noise)
 10. HELLBOUND! – Only (New Noise) 11. Guest Mix: Party Pupils
 MAX - Love Me Less (Party Pupils Remix)
 Hoodboi & Pat Lok - Day Trip
 A-Trak - Work It Out
 MAM - Sunset Funk
 Party Pupils - Bite My Tongue
 Big Gigantic w/ Ashe - Friends
 Whethan, The Knocks, Crystal Fighters - Summer Luv Anderson Paak - Am I Wrong? (Party Pupils Flip)
 Party Pupils - Tsukiji Funk (Unreleased)
 Yung Bae - You’ve Got Me
 12. #TBT: Tittsworth & Valentino Khan - TNT (Dim Mak)

Join hosts DJ Lloyd Willin', David Roughin, DJ, and Brotha2daknight as they discuss Kyle Kashuv's rejection letter from Harvard, the Home Invasion Hero, New Gold Link, Drake's Championship Singles, Dreamville's "Down Bad" and "Got Me", Bow Wow's Most Recent L, OJ's Return to Twitter, Toronto's Championship Run, AD to the Lakers, and much more! Special Shoutout to That's an Opinion Media's DJ Wells, and Drunken Knight's Brotha2daKnight for sliding through complete the team this week. DOWNLOAD. LISTEN. WELCOME TO THE PREGAME. for all things PreGame Podcast visit livefromthepregame.com

M. Teezy & Dimitri discuss how the NBA Finals' finale resulted in Drake's "The Best In The World Pack," Dreamville releasing "Down Bad" and "Got Me," Jim Jones' under-the-radar album, "El Capo," Future's new album, "Save Me," Hov reaching a billi and Dimitri attending Anderson .Paak's live show!

Play Pause Support the PodcastDownloadShare var srp_player_params_677258c05299c = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c05299c = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c05299c"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c05299c"); } Get ready to groove to the third volume of the Ultimate Trash Disco Collection: Old School Disco at its finest! Dive into Disco history as we bring you an incredible mix of legendary Trash Disco tracks. In the early days, these songs were crafted by live musicians, resulting in intricate beats that may sound mismatched. Thanks to modern technology, we've aligned the beats for smooth DJ transitions, but the original recordings often had timing issues. To correct this, we've employed automated beat correction, creating what I like to call "dirty beats" reminiscent of the '90s garage sound. One standout track, "Hit 'N Run Lover" by Carol Jiana, required extensive adjustments due to misaligned drums and percussion. Despite the challenges, we've included it to honor its importance in Disco history. Relive the glory days of old school disco with timeless classics like Sister Sledge's "Lost In Music" and Karen Young's "Hot Shot," Get down to Linda Clifford's "If My Friends Could See Me Now" and CJ & Co.'s "Devil's Gun." Feel the groove with Inner Life's "Ain't No Mountain High Enough" featuring the fabulous vocals of Jocelyn Brown and enjoy Donna Summer's "I Love You" from her critically acclaimed "Once Upon A Time" concept album. Let Gloria Gaynor's "Never Can Say Goodbye" and Village People's "San Francisco [You've Got Me]" transport you to the heart of the disco era. And that's just the beginning! Prepare for a dancefloor extravaganza with Old School Disco tracks that will keep you moving. From Chic's "Le Freak" to The Jacksons' "Shake Your Body [Down To The Ground]," the energy is unstoppable. Experience the magic of Patrice Rushen's "Haven't You Heard" and the infectious rhythms of Boney M's "Sunny". Don't miss out on this incredible collection of Old School Disco gems. Let the music take you on a journey back in time. Until the next time...ENJOY! Album: Trash Disco | The Ultimate Collection Vol. 3Artists: VariousGenre: DiscoLength: 02:46:50 1. Sister Sledge - Lost In Music (Dimitri From Paris Remix) 2. Karen Young - Hot Shot (Joey Negro Sure Shot Mix) 3. Linda Clifford - If My Friends Could See Me Now (Digital Visions Re-Edit) 4. CJ & Co. - Devil's Gun (Digital Visions Re-Edit) 5. Don Ray - Got To Have Loving (Digital Visions Re-Edit) 6. Inner Life - Ain't No Mountain High Enough (WhiteNoize Remix) 7. Donna Summer - I Love You (Digital Visions Re-Edit) 8. Gloria Gaynor - Never Can Say Goodbye (Digital Visions Re-Edit) 9. Village People - San Francisco [You've Got Me] (Digital Visions Re-Edit) 10. Chic - Le Freak (Digital Visions Re-Edit) 11. Sister Sledge - We Are Family (Digital Visions Re-Edit) 12.

This has been a very stressful week, and some kind of way I had to find my way to release. My job was trippen and my wife and brothers from the church were the only one who I had in my corner. If it wasn't for them then aint no telling where I would have been or what I was capable of doing. Life is real out here and when someone messes with your livelihood sometimes you are not the most rational individual. So with that being said I am so thankful for my wife and my brothers, they let me know that no matter what I go through God always Got Me.

Secret collab! Got Me a Movie (Andrew and Elbee Bargeron) and SPLATHOUSE (ALSO Elbee Bargeron) present a chat with legendary drive-in movie critic (and self proclaimed ONLY drive-in movie critic) Joe Bob Briggs! Grab a favorite sixer and listen to this double wide "fireside" chat in prep for this Friday's 24 hour Joe Bob movie marathon on Shudder! The Last Drive-in with Joe Bob Briggs streams Friday, July 13th on Shudder! www.shudder.com

175 hours in and we still find Mod Marty dropping black gold onto turntables spinning at 45 revolutions per minute calibrated to output top quality sounds. Get into it. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "Grits Ain't Groceries (All Around The World)" Little Milton - Checker "You're No Good" Dee Dee Warwick - Jubilee "What's This I See" June Conquest - Cur-Tom "If You Wanna" Baby Jean - Stacy "Soul Motion" The Exciters - Shout "So Anna Just Love Me" Roy Lee Johnson - Josie "I Just Don't Care" The "D" Men - Veep "She's A Mod" Ray Columbus & The Invaders - Zodiac "GeeTO Tiger" The Force Five - Ascot "Baby You've Got Me" Prince Harold - Mecury "Earthquake" Bobbi Lynn - Elf "Use Your Head" Mary Wells - 20th Century "Stepping Closer To Your Heart" Gladys Knight & The Pips - Soul "Time Stopped" Marvin Smith - Brunswick "(Somebody Somewhere) Needs You" Darrell Banks - Revilot "Farmer John" The Dee Jays - Polydor International "Baby You Blow My Mind" Paul Young - Philips "Fairyland" Pop Workshop - Fontana "Trying To Live My Life" Otis Clay - Hi "Keep It Coming" Denise Lasalle - Westbound "Soul Stomp" Earl Van Dyke - Tamla

Programa de radio emitido a través del Facebook Live, donde cada sabado a las 22:00 se reviven los temas que sonaban en las discotecas en los 90's & 00's, por Djs de la época, en un ambiente distendido y con un toque de humor. Facecbook https://www.facebook.com/museodance/videos/479336855818103/ TRACKLIST TRACKLIST 1. Bass Bumpers ?– The Music's Got Me (1992) 2. Format ?– Solid Session (1997) 3. Paps 'N' Skar ?– Get It On (2001) 4. Not Real Presence ?– Chiki Chika (1992) 5. Celeda ?– The Underground (2001) 6. Everything But The Girl ?– Missing (1995) 7. Silicone Soul ?– Right On! (2001) 8. Emotional G ?– Toffee (1993) 9. Alexia ?– The Music I Like (1998) 10. Nikolai ?– Ready To Flow (1997) 11. Nalin & Kane ?– Beachball (1997) 12. Boys-R-Us ?– Singin' In My Mind (1998) 13. Alice Deejay ?– Better Off Alone (1998) 14. ATB ?– You're Not Alone (2002) 15. DJ Quicksilver ?– Bellissima (1997) 16. Darren Tate vs Jono Grant ?– Let The Light Shine In (2003) 17. Luis Junior ?– I Believe In You (1999) 18. Ian Van Dahl ?– Reason (2002) 19. Kadoc ?– The Nighttrain (1995) 20. Fragma ?– Man In The Moon (2003) 21. Marty Martin va Anche Lotti - mashup Lover Why vs. Subway 26 - 2018 22. Tiësto ?– Adagio For Strings (2005) 23. Orion Too Featuring Caitlin ?– You And Me (2000) 24. Project Medusa ?– Something Is Wrong - Part II (2001) 25. MODO ?– Eins, Zwei, Polizei (1994) 26. Abel The Kid & Raul Ortiz ?– Groove 1.0 (2001) 27. Milk Inc. ?– Walk On Water (2000) 28. DJ Sylvan ?– Thank You (1994) 29. Noyze ?– Stay With Me (2002) 30. Arkimed ?– L'Ultimo Dei Mohicani (1997) 31. Cascada ?– Everytime We Touch (2005) 32. Scorpia ?– Hypnose (1994) 33. Chumy Dj - The way you touch (2004) 34. Cetu Javu ?– A Donde (1989) ...

On the day of Winnipeg's ONLY all vinyl 60's Dance Party, Mod Marty shares his dream Northern Soul hour, a warm up for what's to come. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: "That Beatin' Rhythm" Richard Temple - Mirwood "Out On The Floor" Dobie Gray - Charger "Barefootin'" Robert Parker - Nola "Come On Train" Don Thomas - Vee-Jay "Try My Love" Moses Smith - Dionn "Baby You've Got Me" The Emeralds - King "Baby Mine" Thelma Houston - Capitol "Livin' Above Your Head" Jay & The Americans - United Artists "She Blew A Good Thing" The Poets - Symbol "If You Ask Me (Because I Love You)" Jerry Williams - Calla "Landslide" Tony Clarke - Chess "A Lot Of Love" Homer Banks - Minit "My Dear Heart" Shawn Robinson - Minit "I'm So Glad" The Fuzz - Calla "I'm Gonna Run Away From You" Tami Lynn - Atco "Change My Darkness Into Light" The Flirtations - Josie "I Hurt On The Other Side" Jerry Cook - Capitol "Let's talk It Over" Spencer Wiggins - Kent "Just Cant Get Enough Of You" The Apollas - Loma "Ready, Willing & Able" Jimmy Holiday & Clydie King - Minit "Good Time Tonight" The Soul Sisters - Sue

"Special Valatimes Day edition for all the lovers out there." - Mayer Hawthorne Tracklist: Charles Sheffield "It's Your Voodoo Working" Sylvia "Pillow Talk" Rex Orange County "Loving Is Easy (f. Benny Sings)" Satin "Your Love's Got Me" Calvin Johnson "Dance of Love" Rhye "Taste" Sade "Lovers Rock" Mayer Hawthorne "I Need You" Bilal "All For Love" The Cure "Lovesong" Rivage "I Need You Baby" The Whispers "In Love Forever" Wizdom "I'm So In Love With You" The Ambassadors "I Really Love You" Karen Silver "Crazy For Your Love" Carlton and The Shoes "Love Me Forever" Barry White "I've Got So Much To Give"

Dr Jeremy Goldberg triggered tears to stream down my face in today's interview. This is somewhat uncommon for me and somehow the kindness seeping out of every cell of this human just GOT ME! The science of compassion is something Jeremy has professionally and personally studied for over a decade. From researching and working on saving the Great Barrier Reef and the world's oceans to leaving little bombs of handwritten love across the globe, the love bursting from this man is pretty freaking extraordinary. He has cultivated a strong base of over 35,000 people who are inspired by his writings on the daily and he has spoken his part about kindness on the stage of TEDx Townsville. A spoken word poet, mentor, speaker and soon to be published author,  Jeremy and I (in short) dive into: What we can ask ourselves if giving kindness to a stranger makes us feel uncomfortable. The ripple effect of compassion and how it can flow on for years to come. Starting right here, right now with your idea and letting it guide you. Noticing that at our core, we are good beings and it's just that we get in our own way. How to have big bold dreams and simultaneously let go of the outcomes. How the angst of a punk rocker was fuelled into a mission of spreading kindness. What to do with the "imposter" in our mind that says our dreams are just not good enough. The Get Shit Done restructure that needs to occur in our internal and external worlds to make lasting change. Jeremy's biggest insecurities and how following his inspiration helped transcend his self-limits.     I think our greatest lesson here is understanding that we are innately designed to love, be loved, give, receive and transform. That was my take away, and I would love to know yours - comment below and let us know! And I will leave you with this… Fuck This. We can do better. "We", as in, everyone. So, let's ask ourselves: What would the world be like if we were all just a little bit kinder? Dr Jeremy Goldberg   You can find Jeremy here: Website Instagram Facebook

Bosco was an artist that Morgan knew, from jump, she wanted to get on the show. A Savannah native who's now an L.A. transplant (by way of Atlanta), Bosco's been steady climbing the ranks in the music game and has had a breakout year in 2017, especially wiht the release of her full-length, b. For her pick, Bosco wanted to revisit one of the formative albums that shaped her imagination as a kid: Erykah Badu's sophomore album: Mama's Gun. If Baduizm helped put Badu on the map, Mama's Gun - which was produced by the same Soulquarian team also working on D'Angelo's Voodoo and Common's Like Water For Chocolate - firmly established her as the preeminent queen of what was then called neo-soul and these days seems better described as future soul. Our conversation touched on many aspects of how Badu and her sound landed on people's ears back at the turn of the century and how it continues to reverberate today. More on Erykah Badu's Mama's Gun Daphne Brook's review in Pitchfork. Kieran Yates' "My Favorite Album" review in The Guardian.  Mensah Demary's "Liner Notes" breakdown of the album in The Toast. More on Bosco Alexander Aplerku's profile in Noisey. Julianne Shepherd's profile in The Muse. Website | Soundcloud | Twitter | Instagram | Facebook Show Tracklisting (all songs from Mama's Gun unless indicated otherwise): ”Bag Lady” Bosco: b. “Castles” Erykah Badu: Baduizm “Apple Tree” ”Other Side Of The Game” The Roots: Things Fall Apart “You’ve Got Me ft. Erykah Badu and Jill Scott Live” Res: How I Do “How I Do” ”Cleva” SZA: Ctrl “Normal Girl” ”Time’s A Wastin” ”…&On” ”Didn’t Cha Know” Bosco: b. “Free” ”Penitentiary Philosophy” ”A.D. 2000” ”Orange Tree” …&On ”Kiss Me ON My Neck” ”Booty” ”Green Eyes” ”In Love With You Ft. Stephen Marley” Erykah Badu: “I’ve Been Going Through it All” ”Orange Tree” …&On ”Kiss Me ON My Neck” ”Booty” ”Green Eyes” ”In Love With You Ft. Stephen Marley” Erykah Badu: Erykah Badu “Amerykahn Promise” If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!

Breaking up can be soul-crushing. But for Alex Cohen writing, and singing, about it one way to help ease the pain. The frontwoman of four-year-old Brooklyn-via-Austin indie rock band Alex Napping channeled the hurt, confusion and distress of a painful romantic split into the band’s excellent second album, "Mise En Place," which came out on the Father/Daughter Records label in May.  Speaking to Paste Magazine earlier this year, Cohen explained the inspiration behind the album’s nine emotionally rich songs. "While I was writing the songs on this record, and what a lot of the songs are about this time in my life where I was really unhappy; I was in a relationship that I was making a lot of personal sacrifices to be in, and I felt like I had lived my whole life on this idea that if I do things a proper way then things will turn out the way that I want them to,” she said. "I feel like while writing this record I slowly began to realize that things are way more chaotic and unpredictable than that.”  So she did what so many young, creative seekers do with her broken heart: she wrote a song about it. A whole album, really, some of which she shared during her visit to the WCPO Digital Lounge for the latest Lounge Acts session. The emotionally fraught collection from the four-piece — which also includes guitarist Adrian Haynes, bassist Tomas Garcia-Olano and drummer Andrew Stevens — is anchored by Cohen’s feathery voice and clear-eyed, direct lyrics. One of the finest examples is from “Fault,” where she sings the laceratingly direct couplet, “There’s a pause in your breath, I know it/ There’s a fault in your step, I can tell/ If nothing is wrong then you’re lying/ The water’s all gone from your well.” With a mix of alt rock sway and spare, sometimes icy arrangements that lift Cohen’s voice over the Haynes’ fuzzy guitar lines, the songs on "Mise" put her story front and center, bringing to mind the expansive sound of such beloved ‘90s shoegazer bands as Slowdive and Lush. From the subtle bubble of “Tender” to the loud-quiet-loud guitar rock of “You’ve Got Me” and the blistering “Temperamental Bed,” Alex Napping will feed your head and your heart. Setlist: Fault Leave It - interview - Heart Swells 2.0 Hear Me Mixed by Brian Niesz Hosted by Gil Kaufman

God's Got Me! [June 12 2016] by Harvest Niagara

Welcome to a very special mix for this month’s podcast. It’s all my own stuff from dsev music. I just decided that with the 9 year anniversary of the first DSEV Music release it was time to do a special mix. This is the first dsev music mix and I hope you guys enjoy it. Remember,” I’m a producer and sensitive about my shit!” ( A subtle shout out to Ms. Badu…listen and you will know) Tracklist: 01. Sacrifice - Original [dsev 30] coming soon 02. My Love - Souldub [dsev 28] 03. What A Day - Original [dsev 29] coming soon 04. Heaven’s Groove - [dsev 26] 05. Baby Girl - [dsev 31] coming soon 06. Funky Thing -[dsev 20] 07. House You - [dsev 21] 08. Come On Feet [dsev 31] coming soon 09. 1961 - [dsev 25] 10. Every Day - Flowz Groove [dsev 27] 11. Praise - [dsev 25] 12. Gotta Go - [dsev 22] 13. Kick It - [dsev 24] 14. Something’s Got Me - [dsev 26] 15. Baby Don’t Leave - [dsev 26] 16. Like A Lady - [dsev 24] 17. Things You Do - [dsev 22] 18. Shake Your Thing - [dsev 24] 19. Traffic - [dsev 25] 20. Mr. President - Flowzalicious Dub [dsev 22] 21. Saxy Groove - [dsev 21] 22. Soulful - [dsev 20] 23. Nevermore - [dsev 25] 24. Come To Me - [dsev 25]

Playlist : Alcazar _ Crying at the discoteque 2001 ::: Gala _ Come into my life 1997 ::: Bass Bumpers feat. E. Mello and Felicia _ The Music's Got Me 1992 ::: Tambourines _ Hello Daddy 1993 ::: Ti.Pi.Cal. _ Illusion 1994 ::: Gusto _ Disco's revenge 1996 ::: Jaydee _ Plastic Dreams 1992 ::: Sandy _ Bad boy (DWA Long Mix) 1995 ::: Datura Feat. Billie Ray Martin _ Mystic Motion 1995 ::: Jola _ Moon And Sun 1998 ::: L.i.n.k. Feat. Johny B _ Living Without You 2001 ::: 740Boyz _ Party Over Here 1996 ::: Orange Blue _ If You wanna be (my only) 1994 ::: Fiocco _ Afflitto 1997 ::: M.C. Sar and The Real McCoy ‎_ Run Away 1994