Podcasts about Got to Give It Up

It's one of the more unique and perhaps under-appreciated albums in the Beatles otherworldly catalog: “Beatles For Sale”. Recorded in the eye of the Beatlemania storm, with the making of  what would become “Help” right around the corner, this is one of the few Beatles albums that, to quote TLC's tribute to Zach Braff (NBC's “No Scrubs”), “Beatles For Sale”, sadly gets no love. It's occasionally dismissed as a creative and energy step down from the album which preceded it, “A Hard Days Night”. BY MORONS, AM I RIGHT? Because this is a damn fine album, however exhausted and transitional the boys may have been, and it's long past time it gets an authentic, patented UBP deep dish. Hold the sausage, it's almost Meat Free Monday, you jagbag! In addition to dishing Dylan, The Beatles, and the age old political battle of mono vs. stereo, the Now On Sale Two also ponder:

If you always think of the cowbell as some frivolous thing to be mocked by Will Ferrell, you need to listen to more music. This mighty percussion instrument is amazingly versatile! It can anchor a hard rock beat, it can spice up a latin jazz standard, and it can turn an ordinary groove into an all time party anthem. The fabulous cowbell is more than worthy to have it's own episode, and we couldn't think of anyone we'd rather have guesting on this one. The always affable Dustin Prince brought his trusty cowbell for some in-studio demonstration as we wrap up our list with picks 5-1 in Top Ten Cowbell Songs Part 2. Grab a stick and groove with us.If you haven't heard our presentation of picks 10-6, go back and listen to Top Ten Cowbell Songs Part 1 wherever you get Podcasts or here on Apple Podcasts:https://podcasts.apple.com/us/podcast/episode-621-top-ten-cowbell-songs-part-1-w-dustin-prince/id573735994?i=1000659258010Feast your ears! Listen to the Top Ten Cowbell Songs Spotify playlist, featuring every song heard in Parts 1 & 2:https://open.spotify.com/playlist/7fkgO7j35WERVE6jlwW2c5?si=bffc5e7378db4886Come see Dustin rock out the full kit with the Kevin West Band:https://www.facebook.com/kevin.west.90038ATTT's Patreon is back, with an exclusive Bonus Episode every month featuring our patented Emergency Pod! format. Join for just $5 a month and get Patreon Emergency Pod #4 with guest Gabe Scalone, out now:https://www.patreon.com/alltimetoptenWe're chatting about music! If you're on Facebook and want to join the ATTT community, chat with us in the All Time Top Ten Podcast Music Chat group:https://www.facebook.com/groups/940749894391295

and....we're BAAACK! Let's Go!!!| 1 | Groove Is In the Heart | Deee-Lite | 2 | To Be In Love | MAW | 3 | Players Ball (Edit) | Gettoblaster | 4 | Spread Love (Alex Kenji Future Disco Mix) | Joey Negro, Dave Lee, Doug Willis | 5 | Thank You (12" Mix) | Bebe Winans | 6 | Dance (Louie Vega Dance Ritual Mix) | 3 Winans Brothers, The Clark Sisters | 7 | Be with You (Crackazat Remix) | Orlando Voorn | 8 | Superfreak (Original Mix) | Lookee, Stefane | 9 | Nobody Dance | Freiboitar | 10 | Sexy Dancer | Prince | 11 | Lady Cab Driver | Prince | 12 | My Paradise | Jamie Jones | 13 | Señorita (Num Club Mix) | Justin Timberlake | 14 | Senorita Remix (Perfect Driver Music) | TAISUN | 15 | Love On My Mind (feat. Amanda Wilson) | Freemasons, Amanda Wilson | 16 | Given Me Joy | Marc Evans | 17 | The Way U Love Me | Marc Evans | 18 | U Can't Use Me | Tim Titsworth | 19 | Let It Whip (Extended 7" Single Version) | Dazz Band | 20 | Got To Give It Up, Pt. 1 | Marvin Gaye | 21 | Nights Over Egypt | Incognito | 22 | Fill Me In | Craig David | 23 | Never Too Much (NEVER DULL REMIX) | Luther Vandross  | For More Info:   https://linktr.ee/toolcrateradio | 

Five years ago, Robin Thicke and Pharrell Williams finally lost the (musical) lawsuit of the century. Their song, “Blurred Lines,” had been an inescapable summertime hit, a wedding-DJ-standby, and the center of a very Obama-Era debate over whether it was creepy to have a song called “Blurred Lines” in the first place (it was.) Now, it was also found to have violated IP owned by Marvin Gaye's estate, specifically the classic song “Got To Give It Up”—a brilliant track that VIBED a lot like “Blurred Lines” without sharing much, if any, direct musical DNA. It was a bombshell. In the years since, the music industry has changed. Songwriters became more cautious, backroom deals were struck, catalogs got bought, and everyone accused Ed Sheeran of stealing their songs.  But why was the lawsuit actually decided in favor of Gaye? And what does that tell us about the legal structures that shape modern music? To get a better sense, Saxon and Sam dig into the details of the case, unpacking the epically unmoored nature of modern copyright, the invisible impact of sampling, the music biz negotiations that followed the ruling, and the AI possibilities hurtling at us all. Come to hear us try and remember what 2013 sounded like. Stay for some beautiful—and we mean beautiful—depositions.

I'll be playing all of Marvin Gaye's greatest hits including:Can I Get a Witness,Ain't That Pelicular,How Sweet It Is To Be Loved By You,I Heard It Through The Grapevine,What's Going On,Let's Get It On,I Want You,Got To Give It Up,Sexual Healing and many more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/samuel-wilsonjr/message

As broadcast September 26, 2022 with new tunes aplenty in tow.  Tonight we mark a date that a very important live album was recorded at London's Palladium, which became Marvin Gaye's iconic album from 1977.  We also noted some interesting facts about the only studio recording from the album "Got To Give It Up," which appeared right at the end of the live album.  After that, it's huge new music all the way to the end with the exception of Yumi Zouma, who are in the spotlight for our upcoming concerts, as they do their first live on Wednesday up in Seoul at Rolling Hall.  New cuts galore from Channel Tres, Alex G, The 1975, Sure Sure, and Broken Bells to dig into first hour, and then we had some big new pop tunes in part 3 with Khalid, Sam Smith, and 5SOS all out with new joints.  To finish properly in part 4, we covered some of the notable new & recent Korean indie that dropped this month, with Han All, GAYUN, and HANRORO being highlights.#feelthegravityTracklist (st:rt)Part I (00:00)Marvin Gaye – Got To Give It UpMorMor – Chasing GhostsDivino Nino – EcstasyChannel Tres – No LimitNilufer Yanya – Rid of MeSleater-Kinney feat Courtney Barnett – Words and GuitarMonet Ngo – Summer WindPart II (35:21)Alex G – ImmunityThe 1975 – All I Need To HearSure Sure – Lonely OneVieux Farka-Toure & Khruangbin – DiarabiBroken Bells – Love On The RunYumi Zouma – Give It HellYumi Zouma – Where The Light Used To Lay Part III (65:48)Khalid – SatelliteFLO – Not My JobSam Smith feat Kim Petras – UnholyQ – Stereo DriverSiR – Nothing Ever MattersMaya Hawke - Luna Moth5 Seconds of Summer – Bad Omens Part IV (96:50)BAMSOOSUNG – Swimming In StarsHan All – You Know EverythingEntoy feat suru – Blue Mood*GAYUN – DOONGDOONGHANRORO – Don't Be Afraid To FallJOO SEOL OK – I wanted to be lovedAble – How long will it take to forget you? 

Kwame Simmons knows his way around the political spheres of American society. He was only hanging around Florida's state legislature to study the legislative process along with a select group of other educators. He was approached for his input on pending legislation. He gave it. Ninety percent of what he suggested was accepted by the legislation's sponsor and is now codified in Florida education law. And he's just reaching his thirties. My favorite part of this episode is when Kwame breaks down some ways to affect policy most of us don't think about. That Masters Degree in public policy was not wasted. Favorite song: Marvin Gaye's Got To Give It Up. Favorite book is the series The Years of Lyndon Johnson. *The views expressed herein are solely the views of the host and guest, Kwame Simmons. Follow us on Instagram @365brothers and Facebook at 365BrothersThePodcast.  Interested in being a guest? Visit 365brothers.com. Check out Alitu for more ease editing, polishing and publishing your podcast. About this podcast: In each episode, a Brother reflects on his life; explores the experience of being a Black man in America; shares his interactions with law enforcement; and answers the signature question "If America was a woman, what would you say to her? You won't find a collection of conversations with Black men like this anywhere else. Hear their wisdom. Be inspired. Host, Rahbin Shyne, is an author, educator, creative and avid half-marathon walker. Special thanks to Sonji Walker, Shedrick Sanders, Abigail Gonzalez, Don Davis and William Hamilton for their generous support.

Lyd the SBW is back on Zoom to chat with her big sister who, for the purposes of this podcast, is referred to as DJ Lil Purse. From Motown to the golden age of salsa music, it’s a veritable bonanza of 20th century music. DJ Lil Purse's questionnaire:If you were a DJ, what would your DJ name be?DJ Lil Purse. Because I am often perceived as a prim little purse, but I’m much more like Mary Poppins’ carpet bag.What was your first and/or favorite 45?A side: I Want You BackB side: Who’s Lovin’ YouJackson 51969LP?VictoryThe Jacksons1984Shout out to DJ Pinto Bean, my mother, who had a big impact on my musical tastes, as did her brother, my Unca Butch:Unchained MelodyRighteous Brothers1965Aquarius/Let the Sunshine InThe 5th Dimension1969Got to Give it UpLive at the London PalladiumMarvin Gaye1979DJ Pinto Bean’s rainy day music: O. C. Smith, O. C. Smith At Home, 1969Unca Butch’s funk: GAP Band, Parliament, Funkadelic, George Clinton, Isaac Hayes, Earth, Wind, & FireFavorite cassette?WhitneyWhitney Houston1987Cassettes artists mentioned:Anita BakerNew EditionBobby BrownTerrence Treny D’ArbyCD?Shepherd MoonsEnya1991Been So LongRaptureAnita Baker1986Artists mentioned:Aretha FranklinJodeciWhat is your go to getting ready to go out musical genre/song?The Glamorous LifeThe Glamorous LifeSheila E.1984What is your go to rainy day genre/song?Night TrainNight TrainThe Oscar Peterson Trio1963(This song is also featured in the 1985 film Back to the Future)The HoursThe Hours Motion Picture SoundtrackPhilip Glass2002New York Philharmonic performing Ravel’s BoleroFilm referenced: The Neverending Story (1984) What do you have on heavy rotation right now?Shout out to Los Muñequitos de Matanzas! El PresoFruko y Sus Tesos1975RebelionJoe Arroyo y La Verdad198?AnacaonaLive at the Cheetah, Volume 1Fania All-Stars1971And finally, what is your favorite sample and/or cover?On Your FaceSpiritEarth, Wind and Fire1976Party Ain’t a PartyMy MelodyQueen Pen (feat. Mr. Cheeks, Markell Riley & Nutta Butta)1997The SpaceTimeMusic theme music is a sample of the Ana-Tole x Jonah Christian Remix of Ready or Not by the Fugees.LINKS:A Sample, A Cover playlistFacebookMerchEmail: spacetimemusicpodcast@gmail.comDJ Lil Purse’s playlistNew York Philharmonic performing Ravel’s BoleroDaddy’s Little Man by O. C. SmithSONG CREDITS:In order of appearanceI Want You BackWho’s Lovin’ YouJackson 51969 Smokey Robinson & The Miracles1965Hold OnBorn to SingEn Vogue1990WaitVictoryThe Jacksons1984Unchained MelodyJust Once in My LifeRighteous Brothers1965Aquarius/Let the Sunshine InThe Age of AquariusThe 5th Dimension1969Got to Give it UpLive at the London PalladiumMarvin Gaye1979Love Will Save DayWhitneyWhitney Houston1987Book of DaysShepherd MoonsEnya1991Been So LongRaptureAnita Baker1986The Glamorous LifeThe Glamorous LifeSheila E.1984Night TrainNight TrainThe Oscar Peterson Trio1963The HoursThe Hours Motion Picture SoundtrackPhilip Glass2002El PresoFruko y Sus Tesos1975RebelionJoe Arroyo y La Verdad198?On Your FaceSpiritEarth, Wind and Fire1976Party Ain’t a PartyMy MelodyQueen Pen (feat. Mr. Cheeks, Markell Riley & Nutta Butta)1997

This is Blurred Laws & Life with Richard Busch & he is here to discuss: getting back to our roots and the ultimate example about how idiotic the law can be, the episode release schedule, two songs that changed his life, the Copyright Act of 1909 and 1976, recorded compositions, not being able to play the full recording of “Got To Give It Up” at the “Blurred Lines” trial, copyright protection, Ed Sheeran being sued by who, and why, plus his team's defense & so much more. This episode is not to be missed. Produced by www.DBPodcasts.com Music Provided by www.FreePlayMusic.com

We take it back to 2013 to dissect one of the all time party jams and iconic music videos when the unique collaborative trio of Robin Thicke, Pharrell Williams and T.I. joined forces to create the classic "Blurred Lines". Listen as we try to figure out what exactly these blurred lines could be?

DC native and soul connoisseur DJ Ronrica takes Lyd the SBW from Disney tunes to Super Fly and music cruises. It’s First Choice vs MJB, Anita vs Lalah and 90s hip-hop vs everybody.DJ Ronrica’s Music ProfileWhat was your first and/or favorite 45/LP?The Aristocats SoundtrackEverybody Wants to be a CatScatman Crothers1970Cassette? Cassettes ring different for me. I bought them. I had them (needed tunes to drive to when I got a car) but we used them to listen to go-go music (DC girl) or to record music from the radio. The latter was memorable because there were a couple of trips I took to visit relatives in NYC.  Boom Boxes and hip-hop were the thing, so I had to record this music I was hearing from the radio as it was different from what we were listening to in DC.*You can also get a taste of go-go in episode 27 A Good Beat (Pump Me Up, E Flat Boogie, Trouble Funk, 1982)*CD? MP3? Can’t think of the first one, but I do remember listening to Anita Baker’s Compositions the first time and thinking it was one of the best sounding, best engineered CDs ever.What is your go to getting ready to go out musical genre/song? Could be anything, depending on mood…examples:Henny & Gingerale How Do You DoMayer Hawthorne2011Let No Man Put Asunder (as mentioned in episode 11 Fanfare for the House)First Choice 1983MaryMary J. Blige1999What is your go to rainy day genre/song? Rainy Night in Tokyo Passion FruitMichael Franks1983What do you have on heavy rotation right now? Heaux TalesJazmine Sullivan feat. Ari Lennox, Anderson.Paak, H. E. R.2021What is your favorite sample and/or cover?Sample:Give Me Your Love (Love Song)Super FlyCurtis Mayfield1972My favorite use of this sample/song is when it was used in the movie ‘Love Jones’ by the house band at the lounge that the characters frequented for poetry/music.  It was a great way to set the tone/mood.The SpaceTimeMusic theme music is a sample of the Ana-Tole x Jonah Christian Remix of Ready or Not by the Fugees.LINKS:A Sample, A Cover playlistFacebookEmail: spacetimemusicpodcast@gmail.comSONG CREDITS:In order of appearanceEverybody Wants to be a CatThe Aristocats SoundtrackScatman Crothers1970Pump Me UpE Flat BoogieTrouble Funk1982Henny & Gingerale How Do You DoMayer Hawthorne2011Got to Give it UpLive at the London PalladiumMarvin Gaye1979Rainy Night in Tokyo Passion FruitMichael Franks1983Give Me Your Love (Love Song)Super FlyCurtis Mayfield1972Nickel BagsReachin’ (A New Refutation of Time and Space)Digable Planets1993Street LifeStreet LifeThe Crusaders (feat. Randi Crawford) 1979Rahsaan PattersonHoodlum Original Soundtrack1997Angel The SongstressAnita Baker1983Lalah Hathaway LiveLalah Hathaway2015 

01. Got To Give It Up - ft. Slick Rick [0:00] 02. Summer Bunnies - ft. R. Kelly [3:08] 03. Back & Forth - ft. R. Kelly [5:48] 04. Down With The Clique - ft. R. Kelly [9:03] 05. Up Jumps Da Boogie - ft. Timbaland, Magoo & Missy Elliott [11:14] 06. One In A Million [Remix] - ft. Ginuwine, Timbaland & Missy Elliott [13:58] 07. One In A Million [17:40] 08. Try Again [21:33] 09. More Than A Woman [24:54] 10. We Need A Resolution - ft. Timbaland [27:35] 11. Are You That Somebody [31:00] 12. Don’t Think They Know - ft. Chris Brown [34:38] 13. Rock The Boat [38:25] 14. I Need You Tonight - ft. Lil’ Kim & Junior M.A.F.I.A. [41:07] 15. Come Back In One Piece - ft. DMX [43:28] 16. If Your Girl Only Knew [46:20] 17. Hot Like Fire [Timbaland's Groove Mix] - ft. Timbaland & Missy Elliott [49:53] 18. Don't Know What To Tell Ya [53:43] 19. Journey To The Past [56:51] 20. 4 Page Letter [1:00:25] 21. Miss You [1:04:15] 22. Age Ain't Nothing But A Number [1:07:41] 23. At Your Best [You Are Love] [1:11:32] 24. I Care 4 U [1:14:18] 25. The One I Gave My Heart To [1:17:39]

How much fun he's having with these episodes during Quarantine, April being better than March, how big the Blurred Lines case was & a tweet by Marvin Gaye about it, fighting after the trial was over on the appeal, those who supported and went against The Gaye's in the Amicus Briefs & more. Then it's an honor & a privilege to have Jan Gaye on Blurred Laws & Life with Richard Busch to discuss: Marvin Gaye's charisma & soulful voice, the cover of Sexual Healing that came closest to Marvin, The Al Bell Episode, Stax Records vs. MoTown, The Jan & Marvin Gaye Story: How they first met, her mother, Marvin asking her to move in with him, meeting other MoTown artists, Smokey Robinson going on Howard Stern & saying that Blurred Lines was a rip off, being around Stevie Wonder & being intimidated, Silvia Moy & how she helped them win their case, the private side of Marvin, his death and impact on people, Marvin's Father murdering him & them living together after purchasing it for his Mother, being broke towards the end of his life because he was never good with money & addiction, the relationship with his children, how he would record songs, creating the rhythm for "Got To Give It Up", their case, being the heirs to Marvin's musical compositions & collecting royalties, EMI administering for Marvin's Estate & Pharrell Williams, the first time she heard Blurred Lines & it's similarities to "Got To Give It Up", performing on the song, what she did next & if the song was licensed, infringement, reaching out to Robin Thicke & Pharell Williams and them suing The Gaye Family, where she was when she found out that they were being sued, contacting them about working something out, how Jan & Richard got connected, going through a war together for 2 years, communicating with Marvin from the beyond, the motion filed before trial & the courts rulings before the case, what opposing council called & said to Richard before the trial, two of his partners wanting to settle, calling Jan to tell her the news & what Jan said to Richard, The strength of their resolve, Richard figuring out how they could win, emails from a Senior Executive of Universal, The Frankenstein Version of Argument of "Got To Give It Up", how Pharrell Williams went on The Today Show before the trial, not harboring any ill will, Donald Trump's tweet about the case and so much more.  Produced by www.DBPodcasts.com

01. Got To Give It Up - ft. Slick Rick [0:00] 02. Summer Bunnies - ft. R. Kelly [3:08] 03. Back & Forth - ft. R. Kelly [5:48] 04. Down With The Clique - ft. R. Kelly [9:03] 05. Up Jumps Da Boogie - ft. Timbaland, Magoo & Missy Elliott [11:14] 06. One In A Million [Remix] - ft. Ginuwine, Timbaland & Missy Elliott [13:58] 07. One In A Million [17:40] 08. Try Again [21:33] 09. More Than A Woman [24:54] 10. We Need A Resolution - ft. Timbaland [27:35] 11. Are You That Somebody [31:00] 12. Don’t Think They Know - ft. Chris Brown [34:38] 13. Rock The Boat [38:25] 14. I Need You Tonight - ft. Lil’ Kim & Junior M.A.F.I.A. [41:07] 15. Come Back In One Piece - ft. DMX [43:28] 16. If Your Girl Only Knew [46:20] 17. Hot Like Fire [Timbaland's Groove Mix] - ft. Timbaland & Missy Elliott [49:53] 18. Don't Know What To Tell Ya [53:43] 19. Journey To The Past [56:51] 20. 4 Page Letter [1:00:25] 21. Miss You [1:04:15] 22. Age Ain't Nothing But A Number [1:07:41] 23. At Your Best [You Are Love] [1:11:32] 24. I Care 4 U [1:14:18] 25. The One I Gave My Heart To [1:17:39]

The Los Lovely Boys break down the 2005 song “Over My Head (Cable Car)” by The Fray. Ryan chronicles internal family drama and the promotions from TV medical drama. How were they both potential catalysts for “Over My Head” becoming a top ten hit? Chris takes a look at the similarities between “Over My Head” and “Closer” by The Chainsmokers, turning into a discussion about the line between creative inspiration and music copyright lawsuits. Anthony dissects the lyricism of the song, which includes deeper lyrics than initially thought. Find out what the reference to Cable Car really means! Stay tuned for another riveting edition of The Top Ten Back Then. The Top Ten Back Then: Take a look at the Billboard Hot 100 Chart from the week of June 3rd, 2006, for a walk down memory lane. We walked through the top ten songs, but there are plenty more worth rediscovering. Check out our ever changing Top Ten Back Then playlist on Spotify: https://open.spotify.com/playlist/756M4o8W2uFIhTNyeTNqZZ?si=6tqojxjqR22KNVfs9QSAZQ Further Reading: Caleb Slade's account of his relationship with his brother (Issac Slade) and the background of his EP, Victory In Defeat: https://www.westword.com/music/caleb-slade-steps-out-of-brother-isaacs-shadow-5111438 The Fray talk about getting credit on The Chainsmokers' “Closer”: https://www.youredm.com/2016/10/27/fray-talk-getting-credit-chainsmokers-closer/ Robin Thicke and Pharrell Williams are found liable in copyright infringement for the similarities between “Blurred Lines” and Marvin Gaye's “Got To Give It Up”: https://www.forbes.com/sites/adriennegibbs/2018/03/21/marvin-gaye-wins-blurred-lines-lawsuit-pharrell-robin-thicke-t-i-off-hook/#4a769744689b Follow Los Lovely Boys: Twitter: https://twitter.com/LosLovelyBoys (@LosLovelyBoys) Instagram: https://www.instagram.com/los_lovely_boys/ (los_lovely_boys) Email: Loslovelyboysllc@gmail.com Follow friendofyours: Soundcloud: https://soundcloud.com/chris_afriendofyours

Title: Marvelous MarvinSong by: Gail Nobles © 2019Vocals by: Gail NoblesKeyboard bass: Gail NoblesOther music and background vocals arranged by: Gail NoblesVoice actor: Gail NoblesQuotes by: Marvin GayePhoto credit: Public Domain(Singing Song)This is Gail Nobles on The Cat Bear Audio Station bringing you Marvin Gaye vibes. He brought us great songs like Mercy Me and What's Going On. Lets Get It On and Got To Give It Up. Are you sad today? Marvin was sometimes troubled too but he brought joy with his music. We were sad when we lost him. The Lord called him home to rest. In music, Marvin was the best. His life told us a story. He broke free from his worry. These are the words that Marvin said: "I write my music according to my lifestyle. If I'm sad, I write that music.... When I was a child, I use to hear music constantly. I long for that to return to me. ..... An artist, if he's truly and artist, he's only interested in one thing. To wake up the minds of men..........." (Singing Song)

Are musicians ripping each other off more than ever? Accusations of plagiarism have been around a long time, but they exploded after musician Robin Thicke was successfully sued over lifting his song “Blurred Lines” from Marvin Gaye’s “Got To Give It Up.” Just ask Katy Perry who recently lost a similar lawsuit over her hit […] The post Showbiz Sandbox 458: The Number of Music Copyright Lawsuits Is Sure To Increase appeared first on Showbiz Sandbox.

Er wolle einen Song so ähnlich wie Got To Give It Up von Marvin Gaye, sagte Sänger Robin Thicke zu Produzent Pharrell Williams. Kurz darauf werden die Single Blurred Lines und das sexy Video zum weltweiten Hit. „Das ist ein Plagiat“, beschwerten sich die Erben von Marvin Gaye und verklagten Robin Thicke und Pharrell Williams erfolgreich.

Carl Allen and I celebrated our mutual birthday last month and I figured I'd change things up and give everyone else a gift on my birthday (the streaming version on the other site), by posting all 3 parts of mine from the party. Here I'm doing all 3 parts together. Enjoy! Subscribe on iTunes: http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=306968245 Follow on Facebook: http://www.facebook.com/home.php?#/group.php?gid=2343903312&ref=ts Follow on Instagram: https://www.instagram.com/dj_j_me (and more archived mixes can be streamed at mixcloud.com/soulshack) Bookings: jamiewichartz @ yahoo.ca (or for unreleased exclusive mix 8gb thumbdrives) Here's the playlist(s): Jamie’s & Carl's Birthday Bash! (Apr 27, 2019) Part 1 1. Dreamer - Pete Rock 2. Woo Hah (Acapella) - Busta Rhymes 3. Express Yourself (Faint One Edit) - Charles Wright & the Watts 103 St. Band 4. Proud - Waajeed 5. My Lovin' (Theo's Cheaptrick Mix) - En Vogue 6. Do Thangs - Casual Connection 7. Groove Thang (Joshua Pathon Edit) - Zhane 8. Don't Walk Away - Jade 9. Finesse Call (King Most Redirection) - Usher x Bruno Mars 10. Every Little Step - Bobby Brown 11. Every Little Thing U Do (rmx) - Christopher Williams 12. I Like Your Style - Bubba 13. Somebody For Me - Heavy D & the Boys 14. Boogie 2nite - Tweet 15. Breathe and Stop - Q-Tip 16. One Thing - Amerie 17. Starboy (Acapella) - The Weeknd Ft. Daft Punk 18. Just Wanna Love U (Give It 2 Me) - Jay Z 19. Nice For What - Drake 20. Sitting Home - Total 21. I Need a Girl Part II - P. Diddy 22. Let Your Hair Down - Dwele 23. Weekend - Kenny Lattimore 24. Believe In Love (Teddy Bear Club Mix) - Teddy Pendergrass 25. Don't Talk (Street Remix) - Jon B 26. Anything (Old Skool Version ft. WU-Tang Clan) - SWV 27. Regulate The President (Flipout & Nick Bike Blend Remix) - Warren G ft. Nate Dogg 28. The Next Episode - Dr. Dre 29. I Get Around - 2Pac 30. Shoop (Acapella) - Salt N Pepa 31. I Got It Made - Special Ed Part 2 32. Return of the Mack (King Most Redirection) - Mark Morrison vs Mavado 33. Big Up - Rayvon Shaggy 34. Creep (Acapella) - TLC 35. Taxi Fare - Mr. Vegas & Lexxus 36. Action - Terror Fabolous 37. Dickie - Buju Banton 38. Ghetto Red Hot - Supercat 39. Real Love (rmx) - Mary J Blige 40. They Want EFX - DAS EFX 41. Oh My God - A Tribe Called Quest 42. I Know You Got Soul - Eric B. & Rakim 43. The Choice Is Yours - Blacksheep 44. Be Faithful - AV8 45. Shout (accapella) - Tears for Fears 46. Work It - Missy 'Misdemeanor' Elliott 47. Cherchez LaGhost - Ghostface Killah 48. Tell Me (acapella) - Groove Theory 49. Buck 'Em Down (rmx) - Blackmoon 50. Most Beautifulest - Keith Murray 51. How High (Acapella) - Redman & Method Man 52. Flavor In Your Ear - Craig Mack 53. I'll Be There For You (You're All I Need) (Puff Daddy Rmx) - Method Man Ft. Mary J. Blige 54. Try Again (Acapella) - Aaliyah Feat. Timbaland 55. Pray For Me - The Weeknd ft Kendrick Lamar 56. The Juicy Message (Casual Connection boogie funk mash-up) - Notorious BIG vs Grand Master Flash 57. Lights, Camera, Action - Mr. Cheeks 58. Sweetest Thing (rmx) - Lauryn Hill 59. Award Tour - A Tribe Called Quest Part 3 60. Weak At The Knees - Slave 61. Do you remember funkin in jamaica (Shea Butter Edit) - Michael Jackson 62. Encore - Cheryl Lynn 63. I Wanna Thank You (Ted Smooth remix) - Alicia Myers 64. Set It Off - Strafe 65. I'll Be Your Friend (orig) - Robert Owens 66. Fired Up - Funky Green Dogs 67. Burning (Original Vibe Mix) - MK 68. Bang Bang You're Mine (Rock Me Gently Mix) - Bang The Party 69. Sweat - Jay Williams 70. Some Lovin' - Liberty City 71. That's The Way Love Is (Deep mix) - Ten City 72. You Used To Hold Me - Ralphi Rosario 73. Work It To The Bone - LNR 74. Deep Inside - Harddrive 75. Love & Happiness (Club Mix) - River Ocean feat India 76. Got To Give It Up (acapella) - Marvin Gaye 77. What A Sensation - KenLou 78. This Is America (Todd Terry & Louie Vega & Kenny Dope Remix) - Childish Gambino 79. Men From the Nile (watch them come) - Roy Davis Jr. 80. Days Like This (Spinna Vocal Mix) - Shaun Escoffery 81. (We Had) A Thing (Matty's Deep Zone Mix) - Abstract Truth 82. Sing It Back (Boris Musical Mix) - Moloko 83. That Girl (Mark Di Meo Edit) - Stevie Wonder 84. Flowerz - Armand Van Helden Ft. Roland Clark 85. Superman - Black Coffee 86. When Doves Cry (DJ-J-ME Music & Wine redrum) - Prince 87. Tears (Classic Vocal) - Frankie Knuckles pres. Satoshi Tomiie

Haben sie den Marvin-Gaye-Song "Got To Give It Up" in "Blurred Lines" abgekupfert? Die Frage ging vor Gericht und Robin Thicke und Pharrell Williams, die Autoren des Megahits von 2013, wurden zur Kasse gebeten.

IMH PODCAST EP 1"In My House" Internet Music Show"Where the TRUE stories are told - and GREAT music is played"This episode features an exclusive interview with Mike "Agent X" Clark, Agent Chaos & "Mad Mike" Banks (Underground Resistance/UR)Music Playlist includes: Beautiful Feelin' by Carolyn Harding -mixed by Mike "Agent X" Clark (Detroit, Mich.)Techno City by Cybotron (Detroit, Mich.)Punisher by Underground Resistance (Detroit, Mich.)Strings of Life by Derrick May (Detroit, Mich.)Alleys of Your Mind by Cybotron (Detroit, Mich.)Bounce Your Body To The Box by Kevin Saunderson (Detroit, Mich.)Got To Give It Up by Derek Jamerson, Sr., R.I.P (Detroit, Mich.)The Tank by Global Logic (UK)

  Welcome to episode eighteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "Sh-Boom" by the Chords. Click the full post to read liner notes, links to more information, and a transcript of the episode.    ----more----     Resources As always, I've created a Mixcloud streaming playlist with full versions of almost all the songs in the episode. In this case, I have missed out one track that's used in the podcast - I use approximately seven seconds of the intro to "Blurred Lines" by Robin Thicke, without any of the lyrics, in the podcast. I am not going to share that song anywhere, given its lyrical content. My main resources are, as with last week  Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, The Sound of the City by Charlie Gillett, and Marv Goldberg's website. The Chords' music has never been anthologised on CD that I can find out, but almost any good doo-wop compilation should have "Sh-Boom".   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let's talk about one-hit wonders for a while. One-hit wonders have an unusual place in the realm of music history, and one which it's never easy to decide whether to envy or to pity. After all, a one-hit wonder has had a hit, which is more than the vast majority of musicians ever do. And depending on how big the hit is and how good it is, that one hit might be enough to keep them going through a whole career. There are musicians to this day who can go out and perform in front of a crowd of a few thousand people, every night, who've come there just to hear that one song they recorded nearly sixty years ago -- and if the musician is good enough they can get that crowd enjoying their other songs as well. But there are other musicians who can never capitalise on that one record, and who never get another shot. And for those people, as the song goes, "a taste of honey's worse than none at all". What initially looked like it might be a massive career turns into a fluke. Sometimes they take it well and it just becomes a story to tell the grandkids, but other times it messes up everyone's life. There are people out there who've spent thirty or forty years of their life chasing a second hit, who will never be truly happy because they expected more from their brief success than it brought them. There are a lot of one-hit wonders in the world of rock and roll, and a lot of people who end up unlucky, but few have been as unlucky as the Chords, who wrote and recorded one of the biggest hits of all time, but who through a combination of bad luck in choosing a name, and more than a little racism, never managed to have a follow-up. Amazingly, they seem to have handled it far better than most. "Sh-Boom", the Chords' only hit, was the first rhythm and blues record by a black artist or group to make the top ten in the Billboard pop charts, so I suppose this is as good a time as any to talk about how the Billboard charts work, and how they differ from charts in the UK and some other countries. While the UK's singles charts are based only on record sales (and, these days, streams, but that doesn't really apply to this pre-digital era), the Billboard charts have always been an industry-specific thing rather than aimed at the public, and so they were based on many different metrics. As well as charts for record sales, they had (or have) charts for jukebox plays, for radio plays, and various other things. These would be combined into different genre-specific charts first, and those genres would be based on what the radio stations were playing. This means that the country charts would include all the songs played by country stations, the R&B charts all those played by R&B stations, and so on, rather than Billboard deciding themselves what counted as what genre. Then all of these charts would be combined to make the "Hot 100", which is sort of a chart of charts. This would sometimes lead to anomalous results, when more than one type of station started playing a song, and some songs would end up on the country chart *and* the rhythm and blues chart *and* the pop chart. Pop is here a separate type of music in itself, and in the early 1950s what got played on "pop" radio was, essentially, the music that was made by white people in the suburbs *for* white people in the suburbs. In 1954, the year we're talking about, the big hits were "O Mein Papa" by Eddie Fisher... [very short excerpt] "Secret Love" by Doris Day [very short excerpt] and records by Perry Como, Rosemary Clooney, Jo Stafford, and Tony Bennett. Polite, white, middle-class music for polite white middle-class people. None of that hillbilly nonsense, and *certainly* nothing by any black people. Some of it, like the Tony Bennett tracks, was pretty good, but much of it was the kind of horrible pap which made rock and roll, when it finally broke on to the pop charts, seem like such a breath of fresh air. And even the Tony Bennett records weren't in any way exciting -- they were good, but they'd relax you after a hard day, not make you want to get up and dance. What's noticeable here is that the pop music charts were dominated by music aimed at adults. There was no music for teenagers or younger adults hitting the pop charts, and no music for dancing. During the height of the swing era, the big bands had of course been making dance music, but now every last bit of black or lower-class influence was being eradicated, in order to appeal to the "return to normalcy". You see, by the end of the Second World War, America had been through a lot -- so much so that the first call for a "return to normalcy" had been from Warren G. Harding in the 1920 election, nearly thirty years earlier. In the previous forty-five years, the country had been involved in two world wars, suffered through the depression and the dustbowl, and simultaneously seen an unprecedented growth in technology which had brought the car, the plane and now the jet, the cinema and then the talkies, the radio and the TV, and now the atomic bomb, into people's lives. People had undergone the greatest disruption in history, and several generations had now grown up with an idea of what was "normal" that didn't match their reality at all. And so the white, semi-prosperous, middle and upper-working class in America made a collective decision around 1946 that they were going to reconstruct that normality for themselves, and to try to pretend as much as possible that nothing had really changed. And that meant pretending that all the black people who'd moved to the Northern cities from the south in that time, and all the poor white people from Oklahoma and Texas who'd moved west to avoid the dustbowl, simply didn't exist. Obviously those other people had some ideas of their own about that, and about how they fit into the world. And those people had a little more of a voice now than they'd had previously. The black people living in the cities had enjoyed something of a war boom -- there had been so much work in the factories that many black people had pulled themselves up into something approaching affluence. That was quickly snatched away when the war ended and those jobs were quote needed by the returning heroes unquote, but a small number of them had managed to get themselves into economically secure positions, and a larger number now knew that it was *possible* for them to make money, and were more motivated than ever for social change that would let them return to their previous status. (This is a recurring pattern in the American economy, incidentally. Every time there's an economic boom, black people are the last to benefit from it and then the first to be damaged in the downturn that follows. White America is like Lucy, putting the football of the American Dream in front of black people and then taking it away again, over and over.) And so the pop chart was for the people who were working in advertising, having three-martini lunches, and driving home to their new suburban picket-fence houses. And the other charts were for everyone else. And this is why it was the music on the other charts that was so interesting. There's an argument that what made rock and roll something new and interesting wasn't any one feature of the genre, but an attitude towards creation. Early rock and roll was very much what we would now think of as "mash ups" -- collages or montages of wildly different elements being brought together -- and this is what really distinguishes between the innovative musicians and the copycats. If you were bringing together half a dozen elements from different styles, then you were doing rock and roll. But if you were just copying one other record -- even if that other record was itself a rock and roll record -- and not bringing anything new to it, then you weren't doing rock and roll, you were doing pop. And it was the people at the margins who would do rock and roll. Because they were the ones who weren't sealing themselves off and trying to deny reality. We talked a little bit about doo-wop last week, but the songs we talked about there probably wouldn't be called doo-wop by most listeners, though there are clear stylistic similarities. It's probably time for me to explain what doo-wop actually is, musically. It's a style you don't get now, except in conscious pastiches, but it was basically an extension of the Ink Spots' style. You have at least four singers, one of whom is a very prominent bass vocalist who sings nonsense words like "doo wop" or "bom bom ba dom", another of whom is a high tenor who takes most of the leads, and the rest sing harmonies in the middle. While the jump bands and western swing were both music that dominated on the West Coast -- the early jump bands were often based in New York, but LA was really the base of the music -- doo wop was a music of the North-East. It sometimes got as far west as Detroit, but it was mostly New York, Washington DC, and a bit later New Jersey, that produced doo-wop singers. And it was doo-wop that would really take off as a musical style. While the jump bands remained mildly successful, the early fifties saw them decline in popularity as far as the R&B charts went, because the new vocal groups were becoming the dominant form in R&B -- and this was especially true of the "bird groups". The first "bird group" was the Ravens, and they might be considered the first doo-wop group full stop. They took the Ink Spots' "top and bottom" format and extended it, so that on their ballads there'd be more interplay between the high and low vocals. Listening to "You Foolish Thing" you can clearly hear the Ink Spots influence: [excerpt "you Foolish Thing"] On their uptempo music, on the other hand, they just had the bass singer sing the lead: [excerpt: the Ravens “Rock Me All Night Long”] And the Ravens became massively influential. They'd found a way to get the catchiest parts of the Ink Spots sound, but without having to stick so closely to the formula. It could work for all kinds of songs, and soon there were a whole host of bands named after birds and singing in the Ravens' style -- the Orioles, the Flamingoes, the Penguins, the Wrens, and many more. We've already heard one of the bands they influenced when we listened to the Robins. The other major influential bird group was the Orioles, whose "It's Too Soon To Know" is another record that's often considered by some to be "the first rock and roll record" -- though to my ears it just sounds like a derivative of the Ink Spots rather than anything new: [excerpt "It's Too Soon to Know" by the Orioles] So there's a clear stylistic progression there, but we're not looking at anything radically different from what came before. The first real doo-wop record to really have a major impact was "Gee", by the Crows, another bird group, which was recorded and released in 1953, but became a hit in 1954, charting a month after "Sh-Boom" was recorded, but before Sh-Boom itself became a hit: [excerpt: "Gee", the Crows] "Gee" is doo-wop absolutely fully formed, and it's a record which had a massive influence, particularly on young California teenagers who were growing up listening to Johnny Otis' radio show -- both Frank Zappa and the Beach Boys would later record their own strange takes on the song, emphasising how odd the record actually sounded. It's also widely credited as the first R&B record to become a hit with a large part of its audience being white teenagers. More than any other form of R&B, doo-wop traded in the concerns of the adolescent, and so it was the first subgenre to become accessible to that huge demographic of white kids who wanted something new they could appropriate and call their own. "Gee" is a record that deserves an episode to itself, frankly, in terms of importance, but there's not much to say about it -- the Crows had one hit, never had another, split up soon after, and there's no real biographical information out there about them. The record just stands on its own. That's also true for "Sh-Boom", and the Chords were another one-hit wonder, but there's a difference there. While "Gee" was the first doo-wop record to make money from white people, "Sh-Boom" was the first doo-wop record to lose money to white people. [excerpt: “Sh-Boom”, the Chords] The Chords were, at least, not actually a bird group -- they were too individual for that -- but in other respects they're very much in the typical mould of the early doo-wop bands, and "Sh-Boom" is, in many ways, an absolutely typical doo-wop song. "Sh-Boom" was not meant to be a hit. It was released on Cat records, a subsidiary of Atlantic Records, but apparently everyone at Atlantic hated the song -- it was only recorded at the Chords' insistence, and it was originally only a B-side until the song started to hit with the DJs. Sh-Boom was arranged by Jesse Stone, but presumably his contribution was the instrumental, rather than the vocal arrangement, as the song was written by the Chords themselves, originally while sitting together in a car. At the time, according to Buddy McCrea of the band, "When they talked to each other, they'd say 'boom.' They'd say 'Hey, man, boom, how ya doin'." Jimmy Keyes, also of the band, said "'Boom' was the slang word. If you were standing on this block for five minutes, you'd hear that slang word fifteen times or more. We would take the 'boom' and make it sound like a bomb: 'shhhhhh-BOOM'." Even the nonsense words in the background were, according to Keyes, meaningful to the band -- "'A langala langala lang.' Well, you could hear the church bells over there," while other parts were references to someone called "Bip", the uncle of band members Carl and Claude Feaster. Bip was homeless, and apparently stank, and when Bip would come to visit, according to Keyes, "We could smell Bip as soon as he opened the door." They would cover their noses and sing "here comes Bip, a flip a dooba dip." And one suspects that this played a big part in the song's success -- while the lyrics are genial gibberish, they're genial gibberish that had meaning to the singers, if not to the audience. That wasn't necessarily appreciated by older people though. The great satirist Stan Freberg recorded a rather mean-spirited parody of the song, combining it with a parody of Marlon Brando who was similarly popular at the time and who Freberg thought comparable in unintelligibility: [excerpt: Stan Freberg "Sh-Boom"] But there's an element of racism in the popular reaction to the success of "Sh-Boom". There was a belief among many people that since they couldn't understand the lyrics, they were hiding some secret code. And any secret code sung by black men must, obviously, have to do with sex. We'll see a lot of this kind of thing as the story goes on, unfortunately. But of course, meaningless lyrics have a long, long, history in popular music -- much longer than is usually appreciated. Most people, when they're talking about nonsense lyrics, trace scat singing back as far as Louis Armstrong imitating his own trumpet. But there's a good argument that they go back as far as we have records of songs existing, or almost. If you look at traditional folk music you'll often find a common pattern, of people singing "As I walked out one bright summer's day/sing too ra la loo ra la loo ra la lay" or similar. That kind of nonsense singing dates back as far as we have records, and no-one knows how it started, but one hypothesis I've seen which makes sense to me is that it comes from Gregorian chant and similar religious forms. No, seriously. It makes sense when you think about it. One of the places that people in the Middle Ages were most likely to hear music was in church, and many early motets contained Latin texts -- usually sung by the tenors -- while other people would sing commentary or explanation of the lyrics in the vernacular -- English or French or whatever language. Now, for a peasant hearing this, what do you hear? You hear some of the people singing words that make sense to you, in your own language, but it's mixed in with this other gibberish that you don't understand. If the people you're listening to are singing something that makes sense and they drop into Latin, they might as well be singing "Sh-Boom Sh-Boom sha la la la la la la la la la la la" for all the sense it'll make to you. So you come to the conclusion that that's just how songs *are*. They have bits that make sense and then bits of nonsense that sounds good. Indeed, one of the bits of lyric of “Sh-Boom” as it's commonly transcribed is "hey nonny", which if that's the lyric would tie directly back into that old folk tradition -- that is, sadly, the one bit of nonsense syllabics that the band weren't asked about, and so we can't know if they were thinking of minstrels singing "hey nonny nonny", or if it had some other inspiration as personal as Uncle Bip. But either way, after “Sh-Boom” doo-wop, and R&B in general, became obsessed with nonsense syllabics. We'll be hearing a lot of examples of this in the next few years, and it became so prevalent that by 1961 Barry Mann was asking this musical question: [excerpt: “Who Put the Bomp”, Barry Mann] Doo-wop started as a musical style among black teenagers in East Coast cities, but within a few years it became dominated by Italian-American teenagers from the same areas, and we'll see that progression happen over the next eighty or ninety episodes of this podcast. But we can also see it happening in miniature in the Chords' career. Because while they had a big hit with "Sh-Boom", they didn't have the biggest hit with it. If you vaguely know "Sh-Boom", maybe from hearing it in a film soundtrack, you might have been surprised when you heard a snatch of it earlier in this episode. It might have sounded very subtly wrong. It will have sounded *more or less* like the record you know, but... different. That's because the record you know isn't "Sh-Boom" by the Chords, but "Sh-Boom" by the Crew Cuts. To explain why, we're first going to have to talk about "A Little Bird Told Me": "A Little Bird Told Me" was a song originally recorded by Paula Watson on Supreme Records. Watson, and all the musicians on the record, and the record label's owner, were all black. Watson's record went to number two on the R&B charts and number fourteen on the bestseller charts: [excerpt "A Little Bird Told Me", Paula Watson] And then Decca put out a record -- "A Little Bird Told Me", sung by Evelyn Knight: [excerpt: "A Little Bird Told Me", Evelyn Knight] That record went to number one on the pop charts. And everyone involved in *that* record -- the singer, the backing band, the record label owners -- was white. Now, to just show you how ridiculously similar the two are, I'm going to try something -- I'm going to play both records together, simultaneously. [excerpt: both versions of "A Little Bird Told Me" played together] As you can imagine, the owners of Supreme Records were more than a little put out by this. This kind of direct copying was *not* the norm in the late 1940s -- as we've talked about before, it was perfectly normal for people to rework songs into their own style, and to do different versions for different markets, but just to make a record sounding as close as possible to someone else's hit record of the song, that was unusual. So Supreme Records took Decca to court, and said that Decca's record was copyright infringement. It was a direct copy of their record and should be treated as such. Before we go any further, you have to know that there are roughly three different concepts that many people confuse when they're talking about the music industry, all of which are important. There's the song, the recording, and the arrangement. The song is, to put it simply, just what the singer sings. It's the words and the melody line, and maybe the chord sequence if the chord sequence is sufficiently original. But basically, if you can sing it to yourself unaccompanied, that bit's the song. And the copyright in that is owned by the songwriter or her publisher. Now, once a song has been published, either as a record or as sheet music, *anyone* at all can make a recording of it or perform it live. There are certain conditions to that -- you can change the song in minor ways, to put it into your own style, or for example to give the protagonist's love interest a different gender if that's something that concerns you, but you can't make major changes to the song's melody or lyrics without the writer or publisher's permission. You also can't use the song in a film or TV show without jumping through some other hoops, just on a record or live performance. But I could, right now, make and release an album of "Andrew Hickey Sings the Lennon and McCartney Songbook in the Bath" and I wouldn't need anyone's permission to do so, so long as I paid Lennon and McCartney's publishers the legal minimum amount for every copy I sold. I need a songwriter's permission to make the *first* record of their song, but anyone can legally make the second. The next thing is the recording itself -- the specific recording of a specific performance. These days, that too is under copyright -- I can put out my *own* recording of me singing Beatles songs, but I can't just release a CD of one of the Beatles' albums, at least if I don't want to go to prison. A lot of people get confused by this because we talk, for example, about "She Loves You" being "a Beatles song" -- in fact, it's a Lennon and McCartney *song* performed on a Beatles *recording*. These days, each individual recording has its own copyright, but at the time we're talking about, in the US, there was no federal legislation giving copyright to sound recordings -- that didn't end up happening, in fact, until the 1970s. Up to that point, the copyright law around sound recordings was based on case law and odd rulings (for example it was ruled that it was illegal to play a record on the radio without permission, not because of copyright, but because of the right to privacy -- playing a record which had only been licensed for individual use to a group was considered like opening someone's mail). But still, there was usually at least state-level copyright law around recordings, and so record labels were fairly safe. But there's a third aspect, one somewhere between the song and the recording, and that's the arrangement. The arrangement is all the decisions made about how to perform a song -- things like how much of a groove you want it to have, whether you're going to back it with guitar or harpsichord or accordion, whether the backing instruments are going to play countermelodies or riffs or just strum the chords, whether you're going to play it as a slow ballad or an uptempo boogie. All that stuff. Until the "A Little Bird Told Me" case, everyone had assumed that arrangements were copyrightable. It makes sense that they would be -- you can write them down in sheet music form, they make a massive difference to how the performance sounds, they're often what we remember most, and they require a huge amount of creative effort. By every basic principle of copyright law, arrangements should be copyrightable. But the court ruled otherwise, and set a precedent that held until very recently -- until, in fact, a case that only went through its final appeal in December 2018, the "Blurred Lines" case, which ruled on whether Robin Thicke's "Blurred Lines" plagiarised Marvin Gaye's "Got To Give It Up". [excerpts: “Blurred Lines” and “Got To Give It Up”] Between "A Little Bird Told Me" and "Blurred Lines", copyright law in the US held that you could copyright an actual recording, and you could copyright a song, but you couldn't copyright an arrangement or groove. And this had two major effects on the music industry, both of them hugely detrimental to black people. The first was simply that people could steal a groove -- a riff or rhythm or feel -- and make a new record with new lyrics and melody but the same groove, without giving credit. As the genres favoured by black musicians were mostly groove-based, while those favoured by white musicians were mostly melody-based, white musicians were more protected from theft than black musicians were. Bo Diddley, for example, invented the "Bo Diddley beat", but didn't receive royalties from Buddy Holly, the Rolling Stones, or George Michael when they used that rhythm. And secondly, it opened the floodgates to white musicians remaking black musicians' hits in the same style as the black musicians. Up to this point, if a white singer had covered a black musician, or vice versa, it would have been with a different feel and a different arrangement. But now, all of a sudden, whenever a black musician put out an interesting-sounding record, a white person would put out an identical copy, and the white version would get the radio play and record sales. As the black musicians tended to record for tiny labels while the white ones would be on major labels that wouldn't sign black musicians, the result was that a whole generation of black innovators saw their work stolen from them. And we'll be seeing the results of that play out in a lot of the records we talk about in the future. But for most of the records we're going to look at, the one that's stood the test of time will be the original -- very few people nowadays listen to, say, Pat Boone's versions of "Tutti Frutti" or "Ain't That A Shame", because no-one would do so when the Little Richard or Fats Domino versions are available. But with "Sh-Boom", the version that still has most traction is by The Crew Cuts. [excerpt: “Sh-Boom” – the Crew Cuts] The Crew Cuts were a white, Canadian, vocal group, who specialised in rerecording songs originally performed by black groups, in near-identical arrangements, and scoring bigger hits with them than the black people had. In the case of "Sh-Boom", sadly, the characterless white copy has dominated in popular culture over the version that actually has some life in it. The Chords never had another hit, although "Sh-Boom" was successful enough that at one point in 1955 there was even a Sh-Boom shampoo on the market, made by a company owned by the Chords themselves. Lawsuits over the band's name which made them have to be known for a time as the Chordcats contributed to their decline, and while there were several reunions over the years, they never replicated the magic of "Sh-Boom". The Crew Cuts, on the other hand, had many more hits, successfully leeching off sales of records of black artists like the Penguins, Gene and Eunice, Nappy Brown, and Otis Williams and the Charms, and getting more airplay and sales from identical copies. They even had the gall to say that those artists should be grateful to the Crew Cuts, for giving their songs exposure. We'll be talking about several of those songs in the next few weeks. It seems it's not as hard to follow up your first hit if you don't have to have any ideas yourself, just be white.

  Welcome to episode eighteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Sh-Boom” by the Chords. Click the full post to read liner notes, links to more information, and a transcript of the episode.    —-more—-     Resources As always, I’ve created a Mixcloud streaming playlist with full versions of almost all the songs in the episode. In this case, I have missed out one track that’s used in the podcast – I use approximately seven seconds of the intro to “Blurred Lines” by Robin Thicke, without any of the lyrics, in the podcast. I am not going to share that song anywhere, given its lyrical content. My main resources are, as with last week  Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, The Sound of the City by Charlie Gillett, and Marv Goldberg’s website. The Chords’ music has never been anthologised on CD that I can find out, but almost any good doo-wop compilation should have “Sh-Boom”.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let’s talk about one-hit wonders for a while. One-hit wonders have an unusual place in the realm of music history, and one which it’s never easy to decide whether to envy or to pity. After all, a one-hit wonder has had a hit, which is more than the vast majority of musicians ever do. And depending on how big the hit is and how good it is, that one hit might be enough to keep them going through a whole career. There are musicians to this day who can go out and perform in front of a crowd of a few thousand people, every night, who’ve come there just to hear that one song they recorded nearly sixty years ago — and if the musician is good enough they can get that crowd enjoying their other songs as well. But there are other musicians who can never capitalise on that one record, and who never get another shot. And for those people, as the song goes, “a taste of honey’s worse than none at all”. What initially looked like it might be a massive career turns into a fluke. Sometimes they take it well and it just becomes a story to tell the grandkids, but other times it messes up everyone’s life. There are people out there who’ve spent thirty or forty years of their life chasing a second hit, who will never be truly happy because they expected more from their brief success than it brought them. There are a lot of one-hit wonders in the world of rock and roll, and a lot of people who end up unlucky, but few have been as unlucky as the Chords, who wrote and recorded one of the biggest hits of all time, but who through a combination of bad luck in choosing a name, and more than a little racism, never managed to have a follow-up. Amazingly, they seem to have handled it far better than most. “Sh-Boom”, the Chords’ only hit, was the first rhythm and blues record by a black artist or group to make the top ten in the Billboard pop charts, so I suppose this is as good a time as any to talk about how the Billboard charts work, and how they differ from charts in the UK and some other countries. While the UK’s singles charts are based only on record sales (and, these days, streams, but that doesn’t really apply to this pre-digital era), the Billboard charts have always been an industry-specific thing rather than aimed at the public, and so they were based on many different metrics. As well as charts for record sales, they had (or have) charts for jukebox plays, for radio plays, and various other things. These would be combined into different genre-specific charts first, and those genres would be based on what the radio stations were playing. This means that the country charts would include all the songs played by country stations, the R&B charts all those played by R&B stations, and so on, rather than Billboard deciding themselves what counted as what genre. Then all of these charts would be combined to make the “Hot 100”, which is sort of a chart of charts. This would sometimes lead to anomalous results, when more than one type of station started playing a song, and some songs would end up on the country chart *and* the rhythm and blues chart *and* the pop chart. Pop is here a separate type of music in itself, and in the early 1950s what got played on “pop” radio was, essentially, the music that was made by white people in the suburbs *for* white people in the suburbs. In 1954, the year we’re talking about, the big hits were “O Mein Papa” by Eddie Fisher… [very short excerpt] “Secret Love” by Doris Day [very short excerpt] and records by Perry Como, Rosemary Clooney, Jo Stafford, and Tony Bennett. Polite, white, middle-class music for polite white middle-class people. None of that hillbilly nonsense, and *certainly* nothing by any black people. Some of it, like the Tony Bennett tracks, was pretty good, but much of it was the kind of horrible pap which made rock and roll, when it finally broke on to the pop charts, seem like such a breath of fresh air. And even the Tony Bennett records weren’t in any way exciting — they were good, but they’d relax you after a hard day, not make you want to get up and dance. What’s noticeable here is that the pop music charts were dominated by music aimed at adults. There was no music for teenagers or younger adults hitting the pop charts, and no music for dancing. During the height of the swing era, the big bands had of course been making dance music, but now every last bit of black or lower-class influence was being eradicated, in order to appeal to the “return to normalcy”. You see, by the end of the Second World War, America had been through a lot — so much so that the first call for a “return to normalcy” had been from Warren G. Harding in the 1920 election, nearly thirty years earlier. In the previous forty-five years, the country had been involved in two world wars, suffered through the depression and the dustbowl, and simultaneously seen an unprecedented growth in technology which had brought the car, the plane and now the jet, the cinema and then the talkies, the radio and the TV, and now the atomic bomb, into people’s lives. People had undergone the greatest disruption in history, and several generations had now grown up with an idea of what was “normal” that didn’t match their reality at all. And so the white, semi-prosperous, middle and upper-working class in America made a collective decision around 1946 that they were going to reconstruct that normality for themselves, and to try to pretend as much as possible that nothing had really changed. And that meant pretending that all the black people who’d moved to the Northern cities from the south in that time, and all the poor white people from Oklahoma and Texas who’d moved west to avoid the dustbowl, simply didn’t exist. Obviously those other people had some ideas of their own about that, and about how they fit into the world. And those people had a little more of a voice now than they’d had previously. The black people living in the cities had enjoyed something of a war boom — there had been so much work in the factories that many black people had pulled themselves up into something approaching affluence. That was quickly snatched away when the war ended and those jobs were quote needed by the returning heroes unquote, but a small number of them had managed to get themselves into economically secure positions, and a larger number now knew that it was *possible* for them to make money, and were more motivated than ever for social change that would let them return to their previous status. (This is a recurring pattern in the American economy, incidentally. Every time there’s an economic boom, black people are the last to benefit from it and then the first to be damaged in the downturn that follows. White America is like Lucy, putting the football of the American Dream in front of black people and then taking it away again, over and over.) And so the pop chart was for the people who were working in advertising, having three-martini lunches, and driving home to their new suburban picket-fence houses. And the other charts were for everyone else. And this is why it was the music on the other charts that was so interesting. There’s an argument that what made rock and roll something new and interesting wasn’t any one feature of the genre, but an attitude towards creation. Early rock and roll was very much what we would now think of as “mash ups” — collages or montages of wildly different elements being brought together — and this is what really distinguishes between the innovative musicians and the copycats. If you were bringing together half a dozen elements from different styles, then you were doing rock and roll. But if you were just copying one other record — even if that other record was itself a rock and roll record — and not bringing anything new to it, then you weren’t doing rock and roll, you were doing pop. And it was the people at the margins who would do rock and roll. Because they were the ones who weren’t sealing themselves off and trying to deny reality. We talked a little bit about doo-wop last week, but the songs we talked about there probably wouldn’t be called doo-wop by most listeners, though there are clear stylistic similarities. It’s probably time for me to explain what doo-wop actually is, musically. It’s a style you don’t get now, except in conscious pastiches, but it was basically an extension of the Ink Spots’ style. You have at least four singers, one of whom is a very prominent bass vocalist who sings nonsense words like “doo wop” or “bom bom ba dom”, another of whom is a high tenor who takes most of the leads, and the rest sing harmonies in the middle. While the jump bands and western swing were both music that dominated on the West Coast — the early jump bands were often based in New York, but LA was really the base of the music — doo wop was a music of the North-East. It sometimes got as far west as Detroit, but it was mostly New York, Washington DC, and a bit later New Jersey, that produced doo-wop singers. And it was doo-wop that would really take off as a musical style. While the jump bands remained mildly successful, the early fifties saw them decline in popularity as far as the R&B charts went, because the new vocal groups were becoming the dominant form in R&B — and this was especially true of the “bird groups”. The first “bird group” was the Ravens, and they might be considered the first doo-wop group full stop. They took the Ink Spots’ “top and bottom” format and extended it, so that on their ballads there’d be more interplay between the high and low vocals. Listening to “You Foolish Thing” you can clearly hear the Ink Spots influence: [excerpt “you Foolish Thing”] On their uptempo music, on the other hand, they just had the bass singer sing the lead: [excerpt: the Ravens “Rock Me All Night Long”] And the Ravens became massively influential. They’d found a way to get the catchiest parts of the Ink Spots sound, but without having to stick so closely to the formula. It could work for all kinds of songs, and soon there were a whole host of bands named after birds and singing in the Ravens’ style — the Orioles, the Flamingoes, the Penguins, the Wrens, and many more. We’ve already heard one of the bands they influenced when we listened to the Robins. The other major influential bird group was the Orioles, whose “It’s Too Soon To Know” is another record that’s often considered by some to be “the first rock and roll record” — though to my ears it just sounds like a derivative of the Ink Spots rather than anything new: [excerpt “It’s Too Soon to Know” by the Orioles] So there’s a clear stylistic progression there, but we’re not looking at anything radically different from what came before. The first real doo-wop record to really have a major impact was “Gee”, by the Crows, another bird group, which was recorded and released in 1953, but became a hit in 1954, charting a month after “Sh-Boom” was recorded, but before Sh-Boom itself became a hit: [excerpt: “Gee”, the Crows] “Gee” is doo-wop absolutely fully formed, and it’s a record which had a massive influence, particularly on young California teenagers who were growing up listening to Johnny Otis’ radio show — both Frank Zappa and the Beach Boys would later record their own strange takes on the song, emphasising how odd the record actually sounded. It’s also widely credited as the first R&B record to become a hit with a large part of its audience being white teenagers. More than any other form of R&B, doo-wop traded in the concerns of the adolescent, and so it was the first subgenre to become accessible to that huge demographic of white kids who wanted something new they could appropriate and call their own. “Gee” is a record that deserves an episode to itself, frankly, in terms of importance, but there’s not much to say about it — the Crows had one hit, never had another, split up soon after, and there’s no real biographical information out there about them. The record just stands on its own. That’s also true for “Sh-Boom”, and the Chords were another one-hit wonder, but there’s a difference there. While “Gee” was the first doo-wop record to make money from white people, “Sh-Boom” was the first doo-wop record to lose money to white people. [excerpt: “Sh-Boom”, the Chords] The Chords were, at least, not actually a bird group — they were too individual for that — but in other respects they’re very much in the typical mould of the early doo-wop bands, and “Sh-Boom” is, in many ways, an absolutely typical doo-wop song. “Sh-Boom” was not meant to be a hit. It was released on Cat records, a subsidiary of Atlantic Records, but apparently everyone at Atlantic hated the song — it was only recorded at the Chords’ insistence, and it was originally only a B-side until the song started to hit with the DJs. Sh-Boom was arranged by Jesse Stone, but presumably his contribution was the instrumental, rather than the vocal arrangement, as the song was written by the Chords themselves, originally while sitting together in a car. At the time, according to Buddy McCrea of the band, “When they talked to each other, they’d say ‘boom.’ They’d say ‘Hey, man, boom, how ya doin’.” Jimmy Keyes, also of the band, said “‘Boom’ was the slang word. If you were standing on this block for five minutes, you’d hear that slang word fifteen times or more. We would take the ‘boom’ and make it sound like a bomb: ‘shhhhhh-BOOM’.” Even the nonsense words in the background were, according to Keyes, meaningful to the band — “‘A langala langala lang.’ Well, you could hear the church bells over there,” while other parts were references to someone called “Bip”, the uncle of band members Carl and Claude Feaster. Bip was homeless, and apparently stank, and when Bip would come to visit, according to Keyes, “We could smell Bip as soon as he opened the door.” They would cover their noses and sing “here comes Bip, a flip a dooba dip.” And one suspects that this played a big part in the song’s success — while the lyrics are genial gibberish, they’re genial gibberish that had meaning to the singers, if not to the audience. That wasn’t necessarily appreciated by older people though. The great satirist Stan Freberg recorded a rather mean-spirited parody of the song, combining it with a parody of Marlon Brando who was similarly popular at the time and who Freberg thought comparable in unintelligibility: [excerpt: Stan Freberg “Sh-Boom”] But there’s an element of racism in the popular reaction to the success of “Sh-Boom”. There was a belief among many people that since they couldn’t understand the lyrics, they were hiding some secret code. And any secret code sung by black men must, obviously, have to do with sex. We’ll see a lot of this kind of thing as the story goes on, unfortunately. But of course, meaningless lyrics have a long, long, history in popular music — much longer than is usually appreciated. Most people, when they’re talking about nonsense lyrics, trace scat singing back as far as Louis Armstrong imitating his own trumpet. But there’s a good argument that they go back as far as we have records of songs existing, or almost. If you look at traditional folk music you’ll often find a common pattern, of people singing “As I walked out one bright summer’s day/sing too ra la loo ra la loo ra la lay” or similar. That kind of nonsense singing dates back as far as we have records, and no-one knows how it started, but one hypothesis I’ve seen which makes sense to me is that it comes from Gregorian chant and similar religious forms. No, seriously. It makes sense when you think about it. One of the places that people in the Middle Ages were most likely to hear music was in church, and many early motets contained Latin texts — usually sung by the tenors — while other people would sing commentary or explanation of the lyrics in the vernacular — English or French or whatever language. Now, for a peasant hearing this, what do you hear? You hear some of the people singing words that make sense to you, in your own language, but it’s mixed in with this other gibberish that you don’t understand. If the people you’re listening to are singing something that makes sense and they drop into Latin, they might as well be singing “Sh-Boom Sh-Boom sha la la la la la la la la la la la” for all the sense it’ll make to you. So you come to the conclusion that that’s just how songs *are*. They have bits that make sense and then bits of nonsense that sounds good. Indeed, one of the bits of lyric of “Sh-Boom” as it’s commonly transcribed is “hey nonny”, which if that’s the lyric would tie directly back into that old folk tradition — that is, sadly, the one bit of nonsense syllabics that the band weren’t asked about, and so we can’t know if they were thinking of minstrels singing “hey nonny nonny”, or if it had some other inspiration as personal as Uncle Bip. But either way, after “Sh-Boom” doo-wop, and R&B in general, became obsessed with nonsense syllabics. We’ll be hearing a lot of examples of this in the next few years, and it became so prevalent that by 1961 Barry Mann was asking this musical question: [excerpt: “Who Put the Bomp”, Barry Mann] Doo-wop started as a musical style among black teenagers in East Coast cities, but within a few years it became dominated by Italian-American teenagers from the same areas, and we’ll see that progression happen over the next eighty or ninety episodes of this podcast. But we can also see it happening in miniature in the Chords’ career. Because while they had a big hit with “Sh-Boom”, they didn’t have the biggest hit with it. If you vaguely know “Sh-Boom”, maybe from hearing it in a film soundtrack, you might have been surprised when you heard a snatch of it earlier in this episode. It might have sounded very subtly wrong. It will have sounded *more or less* like the record you know, but… different. That’s because the record you know isn’t “Sh-Boom” by the Chords, but “Sh-Boom” by the Crew Cuts. To explain why, we’re first going to have to talk about “A Little Bird Told Me”: “A Little Bird Told Me” was a song originally recorded by Paula Watson on Supreme Records. Watson, and all the musicians on the record, and the record label’s owner, were all black. Watson’s record went to number two on the R&B charts and number fourteen on the bestseller charts: [excerpt “A Little Bird Told Me”, Paula Watson] And then Decca put out a record — “A Little Bird Told Me”, sung by Evelyn Knight: [excerpt: “A Little Bird Told Me”, Evelyn Knight] That record went to number one on the pop charts. And everyone involved in *that* record — the singer, the backing band, the record label owners — was white. Now, to just show you how ridiculously similar the two are, I’m going to try something — I’m going to play both records together, simultaneously. [excerpt: both versions of “A Little Bird Told Me” played together] As you can imagine, the owners of Supreme Records were more than a little put out by this. This kind of direct copying was *not* the norm in the late 1940s — as we’ve talked about before, it was perfectly normal for people to rework songs into their own style, and to do different versions for different markets, but just to make a record sounding as close as possible to someone else’s hit record of the song, that was unusual. So Supreme Records took Decca to court, and said that Decca’s record was copyright infringement. It was a direct copy of their record and should be treated as such. Before we go any further, you have to know that there are roughly three different concepts that many people confuse when they’re talking about the music industry, all of which are important. There’s the song, the recording, and the arrangement. The song is, to put it simply, just what the singer sings. It’s the words and the melody line, and maybe the chord sequence if the chord sequence is sufficiently original. But basically, if you can sing it to yourself unaccompanied, that bit’s the song. And the copyright in that is owned by the songwriter or her publisher. Now, once a song has been published, either as a record or as sheet music, *anyone* at all can make a recording of it or perform it live. There are certain conditions to that — you can change the song in minor ways, to put it into your own style, or for example to give the protagonist’s love interest a different gender if that’s something that concerns you, but you can’t make major changes to the song’s melody or lyrics without the writer or publisher’s permission. You also can’t use the song in a film or TV show without jumping through some other hoops, just on a record or live performance. But I could, right now, make and release an album of “Andrew Hickey Sings the Lennon and McCartney Songbook in the Bath” and I wouldn’t need anyone’s permission to do so, so long as I paid Lennon and McCartney’s publishers the legal minimum amount for every copy I sold. I need a songwriter’s permission to make the *first* record of their song, but anyone can legally make the second. The next thing is the recording itself — the specific recording of a specific performance. These days, that too is under copyright — I can put out my *own* recording of me singing Beatles songs, but I can’t just release a CD of one of the Beatles’ albums, at least if I don’t want to go to prison. A lot of people get confused by this because we talk, for example, about “She Loves You” being “a Beatles song” — in fact, it’s a Lennon and McCartney *song* performed on a Beatles *recording*. These days, each individual recording has its own copyright, but at the time we’re talking about, in the US, there was no federal legislation giving copyright to sound recordings — that didn’t end up happening, in fact, until the 1970s. Up to that point, the copyright law around sound recordings was based on case law and odd rulings (for example it was ruled that it was illegal to play a record on the radio without permission, not because of copyright, but because of the right to privacy — playing a record which had only been licensed for individual use to a group was considered like opening someone’s mail). But still, there was usually at least state-level copyright law around recordings, and so record labels were fairly safe. But there’s a third aspect, one somewhere between the song and the recording, and that’s the arrangement. The arrangement is all the decisions made about how to perform a song — things like how much of a groove you want it to have, whether you’re going to back it with guitar or harpsichord or accordion, whether the backing instruments are going to play countermelodies or riffs or just strum the chords, whether you’re going to play it as a slow ballad or an uptempo boogie. All that stuff. Until the “A Little Bird Told Me” case, everyone had assumed that arrangements were copyrightable. It makes sense that they would be — you can write them down in sheet music form, they make a massive difference to how the performance sounds, they’re often what we remember most, and they require a huge amount of creative effort. By every basic principle of copyright law, arrangements should be copyrightable. But the court ruled otherwise, and set a precedent that held until very recently — until, in fact, a case that only went through its final appeal in December 2018, the “Blurred Lines” case, which ruled on whether Robin Thicke’s “Blurred Lines” plagiarised Marvin Gaye’s “Got To Give It Up”. [excerpts: “Blurred Lines” and “Got To Give It Up”] Between “A Little Bird Told Me” and “Blurred Lines”, copyright law in the US held that you could copyright an actual recording, and you could copyright a song, but you couldn’t copyright an arrangement or groove. And this had two major effects on the music industry, both of them hugely detrimental to black people. The first was simply that people could steal a groove — a riff or rhythm or feel — and make a new record with new lyrics and melody but the same groove, without giving credit. As the genres favoured by black musicians were mostly groove-based, while those favoured by white musicians were mostly melody-based, white musicians were more protected from theft than black musicians were. Bo Diddley, for example, invented the “Bo Diddley beat”, but didn’t receive royalties from Buddy Holly, the Rolling Stones, or George Michael when they used that rhythm. And secondly, it opened the floodgates to white musicians remaking black musicians’ hits in the same style as the black musicians. Up to this point, if a white singer had covered a black musician, or vice versa, it would have been with a different feel and a different arrangement. But now, all of a sudden, whenever a black musician put out an interesting-sounding record, a white person would put out an identical copy, and the white version would get the radio play and record sales. As the black musicians tended to record for tiny labels while the white ones would be on major labels that wouldn’t sign black musicians, the result was that a whole generation of black innovators saw their work stolen from them. And we’ll be seeing the results of that play out in a lot of the records we talk about in the future. But for most of the records we’re going to look at, the one that’s stood the test of time will be the original — very few people nowadays listen to, say, Pat Boone’s versions of “Tutti Frutti” or “Ain’t That A Shame”, because no-one would do so when the Little Richard or Fats Domino versions are available. But with “Sh-Boom”, the version that still has most traction is by The Crew Cuts. [excerpt: “Sh-Boom” – the Crew Cuts] The Crew Cuts were a white, Canadian, vocal group, who specialised in rerecording songs originally performed by black groups, in near-identical arrangements, and scoring bigger hits with them than the black people had. In the case of “Sh-Boom”, sadly, the characterless white copy has dominated in popular culture over the version that actually has some life in it. The Chords never had another hit, although “Sh-Boom” was successful enough that at one point in 1955 there was even a Sh-Boom shampoo on the market, made by a company owned by the Chords themselves. Lawsuits over the band’s name which made them have to be known for a time as the Chordcats contributed to their decline, and while there were several reunions over the years, they never replicated the magic of “Sh-Boom”. The Crew Cuts, on the other hand, had many more hits, successfully leeching off sales of records of black artists like the Penguins, Gene and Eunice, Nappy Brown, and Otis Williams and the Charms, and getting more airplay and sales from identical copies. They even had the gall to say that those artists should be grateful to the Crew Cuts, for giving their songs exposure. We’ll be talking about several of those songs in the next few weeks. It seems it’s not as hard to follow up your first hit if you don’t have to have any ideas yourself, just be white.

Sportsdirektør og tidligere cykelrytter Brian Holm elsker rockmusik, særligt de irske hardrockere Thin Lizzy. Når familien er lagt i seng, skruer han op for favoritnummeret ”Got To Give It Up”, gruppens taberhymne fra 1979, og mindes sine unge år i et til tider barskt miljø på Amager. Varighed: 8:14

1. Scratching Circles - JD McPherson 2. You Never Can Tell - Chuck Berry 3. White Lightning - Big Bopper 4. Flip Flop Mama - Eddie Bond 5. Sweetie Pie - Eddie Cochran SET 2 6. Hava Nagila - Dick Dale 7. Money (That’s What I Want) - The Rolling Stones 8. Da Doo Ron Ron - The Crystals 9. Ain’t That A Groove - James Brown SET 3 10. Tramp - Otis Redding & Carla Thomas 11. Uptight (Everything’s Alright) - Stevie Wonder 12. Come To Me - Mary Wells 13. Hang on Sloopy - The McCoys SET 4 14. Blow Your Whistle - Chuck Brown 15. I Just Want To Celebrate - Rare Earth 16. You’ve Got To Give It Up, Pt.1 - Marvin Gaye 17. Be Young, Be Foolish, Be Happy - The Tams 50srocknroll 60srocknroll soul doowop girlgroups garagerock rocknroll rock&roll classicsoul

Special Guest Lamar Farr. | Sports. | NBA. | Carmello to the Thunder. | D. Wade to the Cavs. | Adam Silver Not Concerned w/ Kneeling What Ifs. | Curry & Dubs Uninvited to White House. | NFL. | Steelers Have Tunnel Vision During Anthem. | PA Fire Chief Calls Tomlin an Ignorant Ni**a. | 3PC Spicy Of The Weak - Ray Lewis. | Trump Says Owners Should Fine Kneeling Players. | Entertainment. | Curb Has Returned. | This Is Us Is A Must. | Def Comedy Jam 25. | What Happened to Monday. | Posted Up. | Chivalry Scenario. | Bodak Yellow Challenge. | The D&P Challenge. | Etc. *Musical Theme (Sounds of the Summer) - Summer Madness - Kool & The Gang. | Summer Time - DJJJ & The Fresh Prince. | Back Yard Party - R. Kelly. | Got To Give It Up. - Marvin Gaye. | Show Me How to Love - Musiq. This. That. & The III provides a fresh perspective on most any situationship one may face in life. From health and happiness, to family, business, music and culture, This. That. & The III with Calvin & Rici is the new wave in internet radio. A show concept that is rooted in providing its listeners with everything they want their news programming to be and nothing it currently is, This. That. & The III not only raises the bar for lifestyle shows, it redefines it. Be sure to tune in and turn up w/ Calvin & Rici of This. That. & The III. The Undisputed King & Queen of Chicago Podcasts. Check It Out!!!

Hi dudes! Today I talk to filmmaker, comedian, actor, and friend Angela Palladino! We speak about using movement to overcome shyness (“Got To Give It Up”), the ideal of not giving a f*ck (“Rise With The Fists”), making your best work under collaboration and the rush when someone knows exactly what you’re trying to do … Continue reading "Episode 6 – Angela Palladino"

Special Guest Kid from Chicago Playground Clothing Co. | Entertainment. | Them Thrones. | Insecure. | Power. | Politics. | Trumps vs. N. Korea. | Around The Town. | Previewed the B. Biliken Parade.| Health & Wellness. | Top 10 Cities w/ the Highest HIV Rates. | This. That. & The III. Game Show. | Relationships.| Experience Levels. *Musical Theme (Sounds of the Summer) - Summer Madness - Kool & The Gang. | Summer Time - DJJJ & The Fresh Prince. | Back Yard Party - R. Kelly. | Got To Give It Up. - Marvin Gaye. | Show Me How to Love - Musiq. This. That. & The III provides a fresh perspective on most any situationship one may face in life. From health and happiness, to family, business, music and culture, This. That. & The III with Calvin & Rici is the new wave in internet radio. A show concept that is rooted in providing its listeners with everything they want their news programming to be and nothing it currently is, This. That. & The III not only raises the bar for lifestyle shows, it redefines it. Be sure to tune in and turn up w/ Calvin & Rici of This. That. & The III. The Undisputed King & Queen of Chicago Podcasts. Check It Out!!!

Special Guest Shawn Frison of Scholars Basketball Assoc. & Othell of Lucky Living Clothing Brand. | Sports. | NBA. | Entertainment. | NFL. | Kap. | Ray Lewis. | Fatherhood. | Mentoring. | Chicago's Youth. | This. That. & The III. Game Show. *Musical Theme (Sounds of the Summer) - Summer Madness - Kool & The Gang. | Summer Time - DJJJ & The Fresh Prince. | Back Yard Party - R. Kelly. | Got To Give It Up. - Marvin Gaye. | Show Me How to Love - Musiq. This. That. & The III provides a fresh perspective on most any situationship one may face in life. From health and happiness, to family, business, music and culture, This. That. & The III with Calvin & Rici is the new wave in internet radio. A show concept that is rooted in providing its listeners with everything they want their news programming to be and nothing it currently is, This. That. & The III not only raises the bar for lifestyle shows, it redefines it. Be sure to tune in and turn up w/ Calvin & Rici of This. That. & The III. The Undisputed King & Queen of Chicago Podcasts. Check It Out!!!

Para mi aventura número trece y para celebrarlo dedicaré el programa a todas esas músicas negras que tanto nos hacen vibrar, ritmos alegres, bajos profundos, melodías bailables y voces enérgicas y profundas. El programa de hoy lo he titulado: Músicas de Ébano.Playlist del programa:00 - Blaudzun-Solar (Intro).01 - Fatboy Slim - Where U Iz.02 - Lizzo - Worship.03 - Alex Newell & DJ Cassidy (with Nile Rodgers) Kill The Lights.04 - Vintage Trouble-Pelvis Pusher .05 - (Calvin Harris, Young Thug And Ariazna Grande)-Heatstroke.06 - Black Joe Lewis & The Honey Bears-Gunpowder.07 - JC Brooks The Uptown Sound-Baltimoe Is The New Brooklyn.08 - Kim Burrell, Pharell Williams-I See a Victory.09 - Robert Randolph & The Family Band-Gonna Be All Right.10 - MF Robots-The Night Is Calling.11 - Got To Give It Up-feat. Brendan Reilly & Soul Family.12 - Lenny Kravitz-Life Ain t Ever Been Better Than It Is Now.13 - The Excitements-Four Loves.14 - The Sweet Divines-Heckuva Man.15 - The Haggis Horns-I Can't Stop the Feeling (feat. Lucinda Slim).16 - Jason Derulo - Kiss The Sky (Official Music Video).17 - The Trammps - Disco Inferno.18 - Blaudzun-Solar (Despedida).

Para mi aventura número trece y para celebrarlo dedicaré el programa a todas esas músicas negras que tanto nos hacen vibrar, ritmos alegres, bajos profundos, melodías bailables y voces enérgicas y profundas. El programa de hoy lo he titulado: Músicas de Ébano.Playlist del programa:00 - Blaudzun-Solar (Intro).01 - Fatboy Slim - Where U Iz.02 - Lizzo - Worship.03 - Alex Newell & DJ Cassidy (with Nile Rodgers) Kill The Lights.04 - Vintage Trouble-Pelvis Pusher .05 - (Calvin Harris, Young Thug And Ariazna Grande)-Heatstroke.06 - Black Joe Lewis & The Honey Bears-Gunpowder.07 - JC Brooks The Uptown Sound-Baltimoe Is The New Brooklyn.08 - Kim Burrell, Pharell Williams-I See a Victory.09 - Robert Randolph & The Family Band-Gonna Be All Right.10 - MF Robots-The Night Is Calling.11 - Got To Give It Up-feat. Brendan Reilly & Soul Family.12 - Lenny Kravitz-Life Ain t Ever Been Better Than It Is Now.13 - The Excitements-Four Loves.14 - The Sweet Divines-Heckuva Man.15 - The Haggis Horns-I Can't Stop the Feeling (feat. Lucinda Slim).16 - Jason Derulo - Kiss The Sky (Official Music Video).17 - The Trammps - Disco Inferno.18 - Blaudzun-Solar (Despedida).