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Close to You is the breakthrough album by the American pop duo The Carpenters, consisting of siblings Karen and Richard Carpenter. Marking their second studio release, the album propelled them into the spotlight with its soft pop sound, lush orchestration, and Karen Carpenter's signature warm, melancholic vocals.The album features the iconic title track "(They Long to Be) Close to You," written by Burt Bacharach and Hal David, which became a number-one hit and earned the duo two Grammy Awards. Another standout single, "We've Only Just Begun," also became a wedding standard and a top-charting success.With a blend of pop, soft rock, and easy listening, Close to You captures the early '70s zeitgeist of romantic optimism and gentle melodies. The album's polished production, melodic arrangements by Richard Carpenter, and Karen's emotionally resonant voice established The Carpenters as leading figures in the adult contemporary genre.Listen to the album on Apple MusicListen to the album on SpotifyWhat did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press Discord ServerFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.
Note: This episode contains strong language. Easily the hardest part of turning something like our live event celebrating the chemistry between Burt Bacharach and Dionne Warwick (and lyricist Hal David) into a radio show is figuring out what NOT to include. Onstage at Watkinson School in Hartford, we went nearly 80 minutes. The finished radio version runs just 50 minutes. So we thought we’d present to you here separately some of that excised half hour. This podcast extra includes four full song performances that didn’t make it into the radio show plus some odds and ends from rehearsals at soundcheck that we particularly enjoyed. GUESTS: Lou Bocciarelli: Bass Atla DeChamplain: Vocals, Atla & Matt Matt DeChamplain: Piano, Atla & Matt Latanya Farrell: Vocals Steve Metcalf: Piano Molly Sayles: Drums This show was produced, mixed, and edited by Dylan Reyes. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Jonathan McNicol contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
For our 50th episode (
This hour, it’s our show on the relationship and chemistry between Burt Bacharach and Dionne Warwick (and the lyricist Hal David) recorded live onstage at Watkinson School in Hartford. It’s an hour of music, conversation, and demonstrations of how GPS can help you find the way to San Jose. GUESTS: Lou Bocciarelli: Bass Atla DeChamplain: Vocals, Atla & Matt Matt DeChamplain: Piano, Atla & Matt Latanya Farrell: Vocals Steve Metcalf: Piano Molly Sayles: Drums The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe, Maegn Boone, Meg Dalton, Robyn Doyon-Aitken, Megan Fitzgerald, Dylan Reyes, and Lily Tyson contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
Welcome to Season 04 Episode 11 - the "Rainforest" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Mr. Craig Johnson on Present Laughter; Mr. Lars Swanson of the Long Point String Band; and Maestro Glen Cortese on Room 221 - A Sherlock Holmes Opera performed by the WNY Chamber Orchestra Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a $25 gift card from Downtown Brew and 2 tickets to the Cinema Series! Entries must be received by April 12th at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line and include your preferred contact information. Thanks for listening! Time Stamps (Approximate) 03:00 Mr. Craig Johnson/Present Laughter 21:10 Mr. Lars Swanson/Long Point String Band 36:00 Arts Calendar 39:36 Mr. Glen Cortese/Room 221 Media Rhythm of the Rain, John Claude Gummoe, composer; performed by The Cascades, Nov. 1962, Valiant Records Scene from Present Laughter by Nöel Coward, recorded at the National Theatre, London, November 2019. 5 Miles of Ellum Wood, Bruce Green, composer; performed by the Long Point String Band, May 2020. Happy Hollow, Marcus Martin, composer; performed by the Long Point String Band, May 2020. Scene from The Hound of the Baskervilles, from the novel by Sir Arthur Conan Doyle; featuring Basil Rathbone (Sherlock Holmes), Nigel Bruce (Dr. John Watson), Wendy Barrie (Beryl Stapleton); 20th Century Fox, 1939 Raindrops Keep Falling on my Head, composed by Burt Bacharach and Hal David, performed by B.J. Thomas; from the motion picture Butch Cassidy and the Sundance Kid, October 1969, Sceptre Records. Artist Links Craig Johnson Lars Swanson/Long Point String Band Glen Cortese Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website WCVF Fredonia WRFA Jamestown Register Here for the 1891 Run/Walk for the Opera House BECOME AN OPERA HOUSE MEMBER!
Ooo Baby Baby, Phil and David are thrilled to welcome the legendary Smokey Robinson to a very special "Naked Lunch" with Brad Paisley. In Part 1 of this conversation we learn about Smokey and Brad's mutual admiration, discuss Smokey's upcoming album, "What The World Needs Now" due out April 25th, and hear great stories about Muhammad Ali, Marvin Gaye, Burt Bacharach and Hal David, Beethoven, Diana Ross, Bill Withers, Berry Gordy and the culinary skills of the Queen of Soul, Aretha Franklin, the 50th Anniversary of Smokey's "Quiet Storm" album and many more. For more info on Smokey's new album and tour dates, visit https://smokeyrobinson.com. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.
CNN, HBO MaxLegendary US singer Dionne Warwick 2025 Inductee Class in the Rock & Roll Hall of FameThe news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster. In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2025 Building Abundant Success!!2025 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
In 1965 Jackie DeShannon lent her vocals to the popular song, 'What The World Needs Now Is Love,' written by Hal David and Burt Bacharach. Madelene Miller reminds us what was true then is true now. Madelene articulates that as a follower of Christ, you are a recipent of God's perfect love. And as his ambassadors, we have the privilege and the responsibility of sharing that love with the world around us.Donate to Moody Radio: http://moodyradio.org/donateto/morningshow/wmbwSee omnystudio.com/listener for privacy information.
A lo largo de la vida recibimos muchas invitaciones, algunas con alegría, como la boda de un buen amigo, una cena, un concierto, o un café. Otras, sin embargo, uno se pregunta si no hay forma de librarse de ellas. La invitación de Jesús en el séptimo capítulo de la Buena Noticia según Juan (vv. 37-39), no se parece a ninguna otra. La sintonía de Ruta 66, esta vez está a cargo de un pianista, organista y cantante popular en la América de los años 50 y 60, el músico afroamericano Earl Grant. En esa última década comenzó a actuar también Dionne Warwick con un grupo de gospel, The Gospelaires, convertido luego en estudio en The Sweet Inspirations. Su escepticismo ante las falsas promesas (Promises, Promises) con las palabras y la música de Burt Bacharach y Hal David, se convirtió en todo un himno, el mítico año 68. Es la constatación de las "Palabras vacías" (Empty Words) que hace el guitarrista y fundador de Deep Purple, Ritchie Blackmore, junto a su compañera Candice Night en 2008 con el amable sonido renacentista de folk que tanto frecuentaban los grupos que iniciaron el "rock duro" en los años 70. "¿Qué es lo que realmente sabes? (O Que Voce Quer Saber De Verdade) se pregunta la carioca Marisa Monte en 2011, tras su éxito con los Tribalistas. La película "La invitación" (2015) no se debe confundir con el reciente horror del mismo título del año 22. La interesante directora Karyn Kusama, hija de un psiquiatra japonés, cuenta el inquietante reencuentro de un matrimonio divorciado tras la muerte de su hijo. El "hipster" angelino, interpretado por Logan Marshall-Green, es convocado por su ex, junto a un grupo de amigos, para darles testimonio de su conversión en lo que parece un ambiente sectario. Este prodigioso thriller psicológico te muestra la terrible diferencia entre la conversión psicológica y la experiencia liberadora de la que habla Jesús en este texto. José de Segovia comenta algunas escenas con la banda sonora de Theodore Sapiro para esta y otras películas. La canción de Larry Norman, "¡Olvida tu hexagrama!" (Forget Your Hexagram 1969) rechaza el esoterismo de la época en que publicó este disco para Capitol, cuyo eco llega hasta el día de hoy. Hay mucho de "postureo" también en el cristianismo, como muestra la crítica a la alegría superficial de la "música de alabanza contemporánea" en la "Mascarada a la luz de la vidriera de la iglesia" (Stained Glass Masquerade 2005) que revela un grupo de Florida, Casting Crowns, cuyas canciones recuerdan también ese mismo tipo de música que no suele frecuentar nuestro programa. Si Jesús hablaba en este pasaje de la experiencia del Espíritu que viene de Él, la canción de los escoceses Waterboys (Spirit) es bastante más ambigua. Escuchamos la versión en vivo que hizo Mike Scott con su grupo en Dublín en 1986, antes de entrar en la comunidad cristiana esotérica de Findhorn. Audrey Assad es otra buscadora espiritual incansable. Nace en la familia de un refugiado sirio, que llega a una Asamblea de Hermanos. Graba sus primeros discos en el ámbito de la llamada "música cristiana contemporánea", tras su conversión al catolicismo en 2007. Habla en los conciertos de su adicción a la pornografía y la masturbación, cuando tras su divorcio del líder de música de alabanza, Matt Maher, dice en 2021 que ya no es cristiana. Oímos en vivo la maravillosa composición que hizo sobre las Bienaventuranzas (Blessed Are The Ones) en 2012, que hace eco de la invitación de Jesús en este séptimo capítulo del Evangelio según Juan.
Long Description: Listen to an interview with the legendary vocalist Dionne Warwick. She'll be performing in Central Indiana later this month. Warwick rose to prominence in the early 1960s, after catching the attention of the songwriter and producer Burt Bacharach. During the 1960s, Warwick became the primary voice for Bacharach's chart-topping compositions, co-written with lyricist Hal David. Songs like “Don't Make Me Over,” “Walk on By,” “I Say A Little Prayer,” “I'll Never Fall in Love Again” and many others, dominated the charts. That success led Warwick to become one of the most-charted vocalists of all time, with 80 singles hitting the Billboard charts. Warwick has won 6 Grammy awards, among many other notable accolades. Last month, she was inducted into the Rock & Roll Hall of Fame.
Welcome to The Singers Talk Podcast based on my book of the same name. This episode has been filmed and can only be viewed over at Volume.com, where you'll see my conversation with the legendary six-time Grammy Award Winner and recent Rock and Roll Hall of Fame Inductee who has sold over 100 million records…Ms. Dionne Warwick! Volume.com/thesingers In this exclusive filmed episode, Dionne talks to us about her working relationship with songwriters Hal David and Burt Bacharach, singing with Whitney Houston, Barry Gibb, recording "We Are The World," her incredible duet with Stevie Wonder, Elton John, and Gladys Knight on “That's What Friends Are For,” and how it saved lives. All this and much more over at Volume.com. All my writer's royalties from sales of the book benefit the kids and families at St. Jude Children's Research Hospital through our Music Gives to St. Jude Kids campaign. So I'd love for you to grab yourself a copy. And be sure to check out every episode of the podcast, our livestreams, and more at Volume.com/thesingers talk. And if you like the show, please rate, review, and subscribe on your favorite streaming platforms to make sure you hear every new episode. Volume.com is the destination for live music fans, where you can watch live and on-demand performances, see exclusive artist content, listen to music podcasts, and check out live music streams from your favorite artists, venues, and Hosts. Get The Singers Talk book at: Thesingerstalk.com Donate to St. Jude at: Musicgives.org You can find JTG @Kingsizetheband Kingsizetheband.com
durée : 00:57:49 - " Don't make me over " (Burt Bacharach / Hal David) (1963) - par : Laurent Valero - "Un thème qui tient une place particulière dans la carrière de ces auteurs, il s'agit de leur premier succès, un succès qu'ils devront aussi au talent de leur interprète Dionne Warwick, à partir de là elle deviendra leur muse, inaugurant avec cette chanson une longue collaboration…" Laurent Valero
durée : 00:57:49 - " Don't make me over " (Burt Bacharach / Hal David) (1963) - par : Laurent Valero - "Un thème qui tient une place particulière dans la carrière de ces auteurs, il s'agit de leur premier succès, un succès qu'ils devront aussi au talent de leur interprète Dionne Warwick, à partir de là elle deviendra leur muse, inaugurant avec cette chanson une longue collaboration…" Laurent Valero
On the September 1 edition of the Music History Today podcast, there's Hal David, Rush, and Boz Scaggs. Plus, birthday greetings go to Zendaya, Barry Gibb and Gloria Estefan. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
This week on The R&B Money Podcast, Tank and J Valentine are honored to welcome the Legendary Dionne Warwick to the pod. Miss Warwick takes us on a journey through her incredible career, from her early days singing in her family's gospel group to becoming one of the most successful female vocalists of all time. She shares stories behind some of her biggest hits like "Walk On By", "That's What Friends Are For", and "I Say A Little Prayer", and reminisces about her close collaborations with Burt Bacharach and Hal David. Dionne also discusses the importance of music education, her entrepreneurial pursuits, and how she approaches her craft with elegance and authenticity.Join us for an unforgettable conversation with a true icon as Miss Warwick drops gems on artistry, perseverance, and staying true to yourself. Extended Episodes on YouTube: https://www.youtube.com/RnBMoneyPodcast Follow The Podcast: Tank: @therealtank J Valentine: @JValentine Podcast: @RnbMoneyPodcast See omnystudio.com/listener for privacy information.
Dusty Springfield remade her image from shy girl to soulful pop idol in 1960s England. The guys discuss Dusty's repertoire choices, how cover songs worked in the 60s, and the stylings of Burt Bacharach and Hal David.Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/5rb50TVCXne3Vphk7PrCN5?si=c88df6b933094b49Listen to A Girl Called Dusty here (FYI it's a playlist we created because the original album is simply not available on Spotify):https://open.spotify.com/playlist/2jtsNayFCrINQILTIH2jJy?si=9aac0271eb884603Intro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsSupport us on Patreon, now including our new show Song Battle!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: The Doors - The Doors
Besides being among the nicest people in show business, Marty Rifkin is a multi-instrumentalist session musician, producer, and pedal steel guitar virtuoso. Marty has recorded with numerous artists, including Bruce Springsteen, Tom Petty, Jewel, Glen Campbell, Elton John, Weird Al Yankovic, Hans Zimmer, Dwight Yoakam and many more. He's toured with Bruce Springsteen, Glen Campbell, Billy Bob Thornton, Rosie Flores, Chris Shiflett (from Foo Fighters) and John C. Reilly. As the owner of Rifkin Productions in Santa Monica, CA, he has produced music for over 1500 songwriters & artists including Smokey Robinson, Hal David, Rita Coolidge, Creed Bratton.
One of the greatest rock and roll songwriters, Jackie De Shannon has a way of marrying a catchy pop melody with a fresh lyrical insight that is unparalleled. During that shift from Rockabilly into the British Invasion, Jackie (often with partner Sharon Sheeley), kept the pop charts humming - amassing an impressive discography for anyone - let alone little Sharon Lee Myers from Hazel, Kentucky, a pert blonde girl singer with a husky alto, who was being marketed as cheese cake. But Jackie had far too much grit and ambition to have her career begin and end as a Brenda Lee knock-off. She drove through the 60s racking up 2 top ten hits along the way.When You Walk in the Room is an excellent example of that magical melding of a great hook with an original turn of phrase. Starting as a B-Side in 1963, it was re-released a year later as an A side, and included in her album BREAKIN' IT UP ON THE BEATLES TOUR! That's right … She opened for the fucking Beatles. What with all this, It might seem odd to say, but I believe that Jackie was underrated. Of her two biggest hits as a vocalist, one (What the World Needs Now) was written by Burt Bacharach and Hal David, and the other one (Put a Little Love in Your Heart) was a bit of treacle co-written with her brother and two other folks. Neither of these tunes exhibit the wit, the grit, the sexiness, or the spark of her own tunes.
durée : 00:58:34 - "I'll never fall in love again" (Burt Bacharach / Hal David) (1968) - par : Laurent Valero - "Burt Bacharach / Hal David, un des célèbres couples de compositeurs-auteurs qui marquèrent par leurs créations, la musique populaire américaine dans les domaines de la pop, du cinéma, de la comédie musicale. Ils sont au firmament lors de la création de "Promises, Promises" fin 1968" Laurent Valero
durée : 00:58:34 - "I'll never fall in love again" (Burt Bacharach / Hal David) (1968) - par : Laurent Valero - "Burt Bacharach / Hal David, un des célèbres couples de compositeurs-auteurs qui marquèrent par leurs créations, la musique populaire américaine dans les domaines de la pop, du cinéma, de la comédie musicale. Ils sont au firmament lors de la création de "Promises, Promises" fin 1968" Laurent Valero
CNN, HBO MaxLegendary US singer Dionne Warwick has announced she will perform at eight special shows in the UK.The news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster. In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Dot Allison, Andy Bell, Bishi and Charlotte Kemp Muhl discuss AI in music, the importance of music in education and finding your own creative voice.Dot Allison is a singer-songwriter and composer whose work has included film and TV scores such as Black Death, Triangle, The Devil's Double and Henry: Mind of a Tyrant. She began her career in Edinburgh in the early 90s with the band Dove/One Dove, before releasing her debut solo album Afterglow a decade later. She has since worked with artists including Massive Attack, Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. In 2023 she released Consciousology, an album that provides an imagined voice of a conscious universe expressed through music. Andy Bell is a musician, producer and DJ hailing from Cardiff. He started his career in Oxford in 1988 as one of two vocalists and guitarists of the band Ride, helping pioneer the genre of shoegaze. He went to play in Oasis and Hurricane #1. His production work includes projects with The Kynd and the Swedish band Weeping Willows. In 2023, he joined the supergroup Mantra of the Cosmos along with Shaun Ryder, Zak Starkey and Bez. He also worked with Dot Allison on her album Consciousology last year. Bishi is a singer-songwriter, multi-instrumentalist, multimedia performer, producer, composer and DJ. Born in London with Bengali heritage, she has been trained in both Hindustani and Western classical styles and studied the sitar under Gaurav Mazumdar, a senior disciple of Ravi Shankar. She has released three albums independently on her own label Gryphon Records. Her third album, Let My Country Awake, released in 2021, is a musical setting of a work by Bengali poet and social reformer Rabindranath Tagore. She is the artistic director and co-founder of WITCiH (‘The Women in Technology Creative Industries Hub'), a platform increasing the visibility of women at the intersection of music, creative technology and STEM. Charlotte Kemp Muhl is a singer-songwriter, writer, model, actress, director, Chimera label co-founder and multi-instrumentalist. She formed the band The Ghost of a Sabre Tooth Tiger in 2008 with her partner Sean Ono Lennon, best known for their 2014 album Midnight Sun. In 2009 she co-founded the label Chimera with Lennon and Yuka Honda. She later formed the group UNI and The Urchins in 2017 alongside Jack James Busa and David Strange, releasing last year the project Simulations.
“The World Needs Music,” the title track for composer Richard Peshkin's recentlyreleased album, is a fun, beautiful pop song that shares a royal lineage in both itsmusical heritage and message.“It's fairly obvious that the world is in a total state of disunity, chaos and disharmony,”said Richard, “and there's so little that unites people and so much that createsdivisions.”And music, he said, is one of the two things he's seen that unites people. The second issports.“You can go to a football game, and you don't even know the person next to you, nevermet him, but if you root for the same team, by the end of the game you're high-fivingand hugging, and you might have hated the guy under other circumstances.”Then there's music. “When you go to a concert, and you have 40 thousand or 50 thousand people, and some are white and some are brown, some are yellow, some are gay, some are straightand some are everything,” he said, “and they're all there in unity to celebrate the powerand the beauty of music.”And now there's “The World Needs Music”:The world is an angry place to be We've got to sing, not shout We need to figure it outA way to sing away the hurt we feel today Let's put it in a song it's betterThe song, beautifully sung by Kelsey Demsky, who also stars in the video, wasproduced by Mick James, known for his work on Criss Angel's Mindfreak show. Mickwas the producer for the entire album, which features Kelsey as the female vocalist andDan Brenner as the male vocalist.Richard, a retired physician, has been writing songs since he was 10, when hecopyrighted his first song, “Nadine.” He has been composing ever since. In 2019 hewrote the music and lyrics for a musical comedy, Boca Bound,” which was on the ballotfor Grammy nomination.The 10 tracks of “The World Needs Music,” the first recording he has released, haveattracted a wide audience so far. A second album, again featuring Kelsey, Dan andMick, is ready for release around March, and a third is in process.He writes his own music and lyrics.“That's something I pride myself in,” he said. “Some of my musical heroes did, somedidn't, and it's kind of neat to do both, so you don't have to answer to any critics.”Now we come to musical ancestry. His heroes of musical composition include HalDavid, Carole King, Paul Simon, Neil Diamond, the stars of Motown, James Taylor and,the chief idol in his pantheon, Burt Bacharach.“Burt Bacharach has had an enormous effect on me in my life through his music. I'veseen him in concert in various venues throughout my life, and his music has meantmore to me than I could ever put into words. The lyrics written by Hal David, of course,were unbelievable.”Bacharach wrote the music and David the lyrics for 1965's hit “What the World NeedsNow.” Sixty years later, the song still enjoys great popularity. For a couple of decades, itwas an anthem of a movement to unite people in their common humanity.“The World Needs Music” is “kind of an homage to that song but brought up into anothertime period where people can celebrate the unifying value of music.”“We can all sing together and maybe put aside our differences,” he said.He hopes that his song will become an anthem for things that bring people together.“When I wrote it, Mick, my producer-arranger, and I discussed the instrumentation andeverything because we wanted it to sound like something you could sing at a highschool or middle school, a grammar school or college. I could always picture youngchildren singing it together in harmony — there's a lot of harmonies in that song —before they learn how to hate.”The album is a demonstration of what he wants music to do for people.“What I want is for people to do what I do — sing the music, feel better because of themusic, get out of a funk maybe, enhance things. Like, if I'm in love, make me feel lovemore. If you're sad, music can make you happy. If you're happy, music can make youhappier.”He wrote the songs with multiple genres in mind. The second song, coming right after“The World Needs Music,” is “Shut Up,” which almost became the one selected topromote the album. It is a pop version — and a hilarious video — based on a true storyabout a couple's dinner confrontation over cooking.“Right after ‘Shut Up' is a beautiful ballad called ‘I Love You.' I'm constantly aware ofbalancing those things,” he said.Enrich your life by connecting to Richard Peshkin on all platforms for new music, videos,and social posts.Single, “The World Needs Music,” YouTube:https://www.youtube.com/watch?v=RBNOGJInxSYSingle, “The World Needs Music,” Spotify:https://open.spotify.com/track/4fohtm5CmZGYXI2jHRdk1P?si=61dd20d77185484fAmazon Music: https://www.amazon.com/music/player/artists/B0BTKL6L8T/richard-peshkin Apple Music: https://music.apple.com/us/artist/richard-peshkin/1669340892 Spotify: https://open.spotify.com/artist/6ckuIpAbleH8DaGCsHzwOfYouTube: https://www.youtube.com/@RichardPeshkin
The Henrico Theatre Company will pay tribute to American icon Burt Bacharach at The Cultural Arts Center at Glen Allen at 7 p.m. Jan. 26, 3 p.m. and 7 p.m. Jan. 27, and at 3 p.m. Jan. 28. Bacharach was an American composer, songwriter, record producer and pianist. Starting in the 1950s, he composed hundreds of pop songs, many in collaboration with lyricist Hal David. Popular songs will be performed including “This Guy's in Love with You,” “Raindrops Keep Falling on My Head,” “Walk On By,” “Do You Know the Way to San Jose” and many more. Tickets are ....Article LinkSupport the show
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
Songwriters tried very, very hard to bring rock 'n' roll music into the Oscar nominees for Original Song in 1969, but the old guard strongly resisted and left off some now-classic tunes from the final list of five. Burt Bacharach and Hal David tried very hard to fight against the old ways of Hollywood, and managed to get a nomination for a classic movie song with a pop flavor. As you learn more about the five nominees, think about whether they were more worthy of a nomination than the ones host Jeff Commings offers up on this episode.
Guest hosted by Jeff Lunden, this is the first of a three-part program paying tribute to iconic lyricist Ira Gershwin known for his collaborations with his brother George, Jerome Kern and Harold Arlen, to name a few, and his numerous Broadway shows including FUNNY FACE, GIRL CRAZY, PORGY AND BESS and OF THEE I SING. This episode features a tribute to Gershwin as star-studded guests share personal anecdotes and perform his songs including Hal David, Margaret Whiting, Cab Calloway, Jonathan Sprague, Priscilla Baskerville, and Bruton Lane. Featured songs: “MY SHIP,” “SOMEONE TO WATCH OVER ME,” “IT AIN'T NECESSARILY SO,” “BESS, YOU IS MY WOMAN NOW,” “OF THEE I SING,” and “PUT ME TO THE TEST.” Originally produced and broadcast in 1983. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices
With the single “I Only Want to Be with You” (1963), Springfield went solo and made her way into the heart of “Swinging London.” Part cartoon, part unresolvable desire, part bruised despair, she peered through heavy mascara and a stack of peroxided hair while singing with breathy sensuality. Bringing a fragile uncertainty to her cover versions of songs by Burt Bacharach and Hal David that had been hits in the United States for Dionne Warwick, Springfield had a string of British hits. The commercial high point of her career, though, was the ballad “You Don't Have to Say You Love Me” (1966), which topped the British singles chart and reached number four in the United States.In the late 1960s Springfield began to take herself seriously as a soul diva. In 1965 she hosted a television special that promoted Motown artists, including the Supremes and Martha and the Vandellas, to British audiences, and she often performed American rhythm-and-blues songs in her own subsequent TV appearances. She signed with Atlantic Records in 1968 and cut her Dusty in Memphis (1969) album in the famed American Sound Studios with producers Jerry Wexler and Arif Mardin. The album brought her critical acclaim and an international hit with “Son of a Preacher Man.”Springfield continued to record into the 1970s, but her career was derailed by poor management and struggles with drugs and alcohol. By the middle of the decade, she was working as a session singer in Los Angeles. Repeated comeback attempts failed until she teamed up with the Pet Shop Boys on the single “What Have I Done to Deserve This?” (1987); after it became a hit, the duo wrote and produced other songs for her that were included on her album Reputation (1990). By the 1990s Springfield had become a camp icon. After she resettled in England, she battled cancer and in 1998 received the OBE (Officer of the Order of the British Empire). She was posthumously inducted into the Rock and Roll Hall of Fame in 1999.
The Los Angeles-based Love had one of the rock's great first-three-album progressions, culminating in the 1967 masterwork Forever Changes, before leader Arthur Lee started over with an entirely new band. Johnny Echols, Love's lead guitarist for that classic stretch, had known the enigmatic Lee since they were kids in Memphis who relocated to L.A.,, where Echols played with Billy Preston and backed Little Richard. Love, a rare interracial rock band, debuted with an energetic reworking of Burt Bacharach and Hal David's “My Little Red Book." The explosive single “7 and 7 Is,” the brilliant, jazzy second album, Da Capo, and the darkly beautiful, acoustic-orchestral Forever Changes followed. Why did Love wind up in the Doors' shadow? Why didn't Love tour much? Why were session musicians brought in to start Forever Changes? What role did drugs play in the band's troubles? How did Echols reunite with Lee in the early 2000s and continue playing Love songs after Lee died of leukemia in 2006? Echols sets the scene.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
Main and Half take time on the road to sit down with Cross Culture Legend, Curator, Author, Ballplayer, Historian, Filmmaker, and much much more: Robert "Bobbito" Garcia. AKA Kool Bob Love AKA DJ Cucumber Slice, AKA one of the most influential DJs in the history of Hip Hop AKA... A Certified New York Legend. Listen as the guys catch up and talk about the threads that Bobbito has woven through the Multiple Fabrics of Multiple Cultures. Sneakers, Basketball, History, Basketball History, Fashion, Music, Books, The OG Content Creator and Renaissance Man, Bobbito has done it all. The Legends are flowing when these Legends get together.Hosted by: Main Event & Half Man Half AmazingSpecial Guest: BobbitoRecorded at: On The RoadRecorded by: Bobbito and Dooley WattsLead Producer: Ronald BlakeProducer: Dooley WattsExecutive Producer: Ian KellySpecial Thanks to: Bobbito for being an absolute pleasure to work with. We know how hard it can be to manage multiple events and schedules, so we salute you and all the folks that came together to make this interview happen. Extra Thank You to Bobbito for delivering the High Quality Audio Track to make your voice sound great, always the consummate professional, Thank You.© Streetball Legends 2023This Season contains a segment of the song "Know the Ledge" – originally on the soundtrack of the film JuiceThe song is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".The song was written and produced by Eric B. & Rakim.This Season contains a segment of the 1996 single "Back at You" by hip-hop duo Mobb Deep. The song was featured on the soundtrack album for the film Sunset Park.The song was originally released on Eastwest Records America on March 21st, 1996, written by HAVOC, Prodigy, Burt Bacharach, and Hal David.
MDJ Script/ Top Stories for May 30th Tuesday Publish Date: May 26 Friday Commercial: Henssler :15 updated , Bed Music fires From the Henssler Financial Studio, Welcome to the Marietta Daily Journal Podcast Today is Saturday May the 27th and happy 48th birthday to Ceelo Green ***Green*** I'm Dan Radcliffe and here are the top stories Cobb is talking about, presented by Credit Union of Georgia Self-driving shuttle will be tested in Cumberland this summer Georgia Symphony Orchestra announces 73rd season And Credit Union of Georgia awards scholarship to Marietta High School student Plus, PPlus, we'll talk sports with MDJ Sports Editor John Bednarowski, and we'll get some good news about food prices from Gary Crawford of the US department of Agriculture All of this and more is coming up on the Marietta Daily Journal Podcast. Commercial : CU of GA STORY 1 shuttle Starting this summer, self-driving vehicles will be introduced in a pilot program at the Cobb Galleria Centre and the Battery Atlanta. The Cumberland Community Improvement District (CID) plans to implement this autonomous vehicle initiative, with routes including the pedestrian bridge over Interstate 285 and the Galleria campus. The program is scheduled to begin in July and run for eight months until March 2024. The AV shuttle buses will operate Tuesday to Friday and either Saturday or Sunday, providing five hours of service per shift from 10 a.m. to 3 p.m. or 3 p.m. to 9 p.m. This pilot program is part of the Cumberland Sweep, a transit and trail network being developed around the commercial area. The Cobb-Marietta Coliseum & Exhibit Hall Authority has approved the program, and a soft launch is planned for June 26, followed by a community-wide launch in July. Story 2: symphony The Georgia Symphony Orchestra has announced its 2023-2024 season schedule, featuring a diverse range of performances. The season opens on October 28, 2023, with "An Early Grave," showcasing works by composers who met an early death. Classical performances on February 24, 2024, will feature Mozart's Concerto for Clarinet and Brahms' second symphony. On May 18, 2024, "Beethoven's Universe" will celebrate Beethoven's Symphony No. 9 with soloists selected from a national competition. The holiday season will be marked by the Holiday Pops! Chorus performance on December 2, 2023, and a Gospel Mass at a later date. Jazz enthusiasts can enjoy performances dedicated to Burt Bacharach and Hal David, as well as The Thad Jones/Mel Lewis Vanguard Orchestra. The GSO will also host sensory-friendly concerts and youth orchestra performances. Season ticket sales began just a coupler days ago on the 25th. For more details, check out MDJonline.com Story 3: CU of GA Darby Dryden, a recent graduate of Marietta High School, received a surprise scholarship worth $1,200 from the Credit Union of Georgia. The scholarship was awarded based on Dryden's essay titled "Where #DoYouCU Making a Difference," which focused on the credit union's hashtag, #DoYouCU. Dryden's essay highlighted her contribution to the Books for Africa Club at MHS, where she donated over 14,000 books to children in Africa. Scholarship applicants were required to submit letters of recommendation, transcripts, and resumes showcasing their extracurricular activities, community service, and work experience. To find out more about this scholarship program, visit CUofGA.com. STORY 4: sentenced Two individuals involved in an armed robbery that occurred in March 2020 in south Cobb have been sentenced to prison, according to prosecutors. Jada Hill, a 20-year-old from Stone Mountain, was found guilty by a Cobb County jury on charges of armed robbery, hijacking a motor vehicle, and aggravated assault. She received a 10-year prison sentence followed by 10 years of probation. Another defendant, Devante Porter, pleaded guilty to similar charges prior to trial and was sentenced to 5 years in prison followed by 10 years of probation. The incident involved the robbery of a male victim at gunpoint at Kingsley Village Apartments. Hill was found to have coordinated the meeting, ensuring the victim was unarmed and had cash. The third co-defendant remains unidentified….we'll have more in a moment: Break: ESOG– Dayco STORY 5: exhibit With the 22-23 school year now in the books, the high school sports attention will start turning to high school football. Our own Brian Giffin talks with MDJ Sports Editor John Bednarowski about the coming season and the “Kickoff 23” magazine edition the MDJ puts out every year prior to the season ****MDJ**** We'll be back after this: Break Drake – JRM – Ingles 3 Story 6: Food prices As much as inflation overall, and in particular food prices have been headline stories the past several months, Gary Crawford of the US Department of Agriculture offers some actual good news in this report ****USDA**** We'll have some final thoughts after this. Henssler 60 Signoff- use same bed as open Thanks again for hanging out with us on today's Marietta Daily Journal podcast. Read more about all our stories, and get other great content at MDJonline.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about your community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. www.henssler.com www.cuofga.com www.esogrepair.com www.daycosystems.com www.jrmmanagement.com www.drakerealty.com www.ingles-markets.com See omnystudio.com/listener for privacy information.
March 22-28, 1986 This week Ken welcomes legendary songwriter (she's in the Songwriter's Hall of Fame), author (her memoir I Am the Warrior: My Crazy Life Writing the Hits and Rocking the MTV Eighties, is a MUST read/listen), and all around incredibly cool human being Holly Knight to the show. Ken and Holly discuss her book, growing up a big TV watcher, streaming services, the reliability of TV, having things to look forward to, Dark Shadows, The Adams Family, a love of horror, Chiller Theater, Elvira, how great Cassandra Peterson is, The Munsters, Vic Mizzy, weird instruments, Green Acres, Tina Turner, Heart, Pat Benetar, Patty Smythe the Warrior, moving to LA in the early 80s from New York, forever being a New Yorker, running away to Boston, squatting, working at the Boston Phoenix taking personal ads, The Ritz, The Filmore East, Bowie, being at the tail end of punk, the origins of Pop music, Billy Idol, music producers, Love Boat, KISS, Eva Gabor, the sexless days of television, Lucy, how your children rebel, Family Ties, The Outer Limits, Ennio Morricone, Peter Gun, James Bond, Have Gun will Travel, The Twilight Zone, trading cards, Bonanza, The Monkees, Vincent Price, Elvis, Jackie Gleason, belief in Aliens, working for an awful boss, walking on eggshells, teenagers, Miami Vice, Suspiria, Ultra HD, MTV, "MTV Cops", the style of the 1980s, pastels, Rob Zombie's Munsters, licensing music, cover songs, Cocaine Bear, using songs in Commercials, WWF Saturday Night's Main Event, using The Best in the Biden Campaign, Schitt's Creek, the influence on art on life and life on art, Obession, Nip/Tuck, Superbowl ads, Burt Bacharach, Hal David, wanting to work with Trent Reznor, and how a great song is a great song.
EMPEROR OF THE NORTH rides (haha) a thin line between two distinct tracks (lmao): “Mythological self-seriousness with a sort of ironic bent” and “formulaic and cheesy early thriller fare”. Lee Marvin's A No. 1 and Keith Carradine's Cigaret face off against a cartoonishly evil Ernest Borgnine as Shack, the psychotically disgruntled company man with a hatchet (or hammer) for hobos. It's all a bit MAD MAX (1979), but not quite as fantastical or sincerely angry. It's more of a spectacle than a statement, but there's a good bit of value in that, and we try to get that engine going in this episode! Watch EMPEROR OF THE NORTH on the Internet Archive: https://archive.org/details/1973emperorofthenorth Get tickets to BROUGHT TO LIFE BY ERNEST BORGNINE (April 2023): https://www.trylon.org/films/category/brought-to-life-by-ernest-borgnine/ Get tickets to “BLOODY SAM” PECKINPAH (May at the Trylon): https://www.trylon.org/films/category/bloody-sam-peckinpah/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "A Man and A Train" written by Frank DeVol and Hal David and performed by Marty Robbins from the EMPEROR OF THE NORTH soundtrack. Timestamps 0:00 - Episode 223: EMPEROR OF THE NORTH (1973) 5:09 - The episode actually starts (it's all kind of #GamesPod up until this point) 9:06 - What worked and didn't 16:21 - Physicality in EMPEROR OF THE NORTH 23:40 - Finding meaning beyond “survival” 36:05 - The joyful absurdity of EMPEROR OF THE NORTH 38:58 - Ironic mythologizing or cloying preachiness? 45:28 - The Junk Drawer 55:37 - Good Grief, Give Me a GIF! 59:12 - Jason's Hobo Vernacular Game
CNN, HBO Max, Amazon Prime She's BACK!! In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. You can see it now on HBO Max, & Amazon Prime. She is making stops in Hawaii and Vancouver on her One Last Time tour — she won't say whether it's truly her last — tweeting (or “twoting,” as she calls it) to her more than half a million followers,On a Saturday Night LIVE's spoof "The Dionne Warwick Show", with NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
"Raindrops Keep Falling on my Head" Written by Burt Bacharach + Hal David Producer Renee plays her arrangement on Piano & Guitar.Here are the Lyrics: ***** Sing Along !Raindrops keep falling on my head,and just like the guy whose feet are too big for his bed,Nothing seems to fit those raindrops are falling on my head, they keep falling,So I just did me some taking to the sun, and I said I didn't like the way he got things done, he's sleeping on the job, those raindrops keep falling on my head,they keep falling, but there's one thing I know, the blues they send to meet me,Won't defeat me, it won't be long till happiness steps up to greet me, ...........Raindrops keep falling on my head, but that doesn't mean my eyes will soon beturning red, crying's not for me, cause I'm never gonna stop the rain by complaining,Because I'm free, nothing's worrying me.
Pinkie Sings "Raindrops Keep Falling on my Head" Written by Burt Bacharach + Hal David ... Producer Renee plays her arrangement on piano, guitar + trombone.
We lost another great songwriter last week, and we’re play tribute on this episode. The music of Burt Bacharach (and his partner, Hal David) on today’s episode! (xx minutes)
In this episode we welcome the exemplary Fred Goodman and ask him about his journalistic career and highly acclaimed books. Fred talks about his early years as a jazz columnist for Cash Box, as well as his interest in the business side of popular music. He describes how a stint as a Senior Editor at Rolling Stone led to the idea of a book about "the head-on collision of rock and commerce", subsequently published as 1997's The Mansion on the Hill. Avid fans of that classic tome, Mark and Barney ask their guest about legendary figures such as Albert Grossman, David Geffen and Jon Landau, after which Fred explains why – in an effort to champion the late Mexican-American singer in her native USA – he wrote 2019's Why Lhasa de Sela Matters. Moving on to Fred's latest book Rock On Film, conversation turns to some of his favourite music movies from A Hard Day's Night to This is Spinal Tap with a nod to Michael Lindsay-Hogg who wrote the foreword to Rock On Film. Clips from an audio interview with the late D.A. Pennebaker lead in turn to a discussion of 1967's Bob Dylan documentary Dont Look Back. Not long after we've paid tribute to Television's mercurial Tom Verlaine, breaking news comes in that we've also just lost the great Burt Bacharach. Putting ourselves on the spot in real time, we talk about the genius who (with lyricist Hal David) created masterworks from 'Make it Easy on Yourself' to 'Raindrops Keep Fallin' on My Head'. Finally, Mark talks us out with quotes from pieces about folk trio Peter, Paul and Mary, the Rolling Stones' Beggars Banquet and the late David Crosby, while Jasper concludes the episode with remarks about pieces on Keane and pop's relationship with social class. Many thanks to special guest Fred Goodman. Rock on Film is published by Running Press and Why Lhasa De Sela Matters is published by University of Texas Press. Pieces discussed: The Mansion on the Hill, Rock and Roll on Film, Richard Lester audio, 25 Essential Music DVDs, The Harder They Come, Michael Lindsay-Hogg, Spinal Tap, Metallica's Some Kind of Monster, D.A. Pennebaker audio, Television, Tom Verlaine, Burt Bacharach, Peter, Paul and Mary, Beggars Banquet, David Crosby, Keane and Class. Learn more about your ad choices. Visit megaphone.fm/adchoices
We remember composer and arranger Burt Bacharach, who died last week at 94. Bacharach, along with lyricist Hal David, created dozens of pop hits of the '60s and early '70s. He was known for his rhythmically sophisticated and catchy pop songs, like The Look of Love, Do You Know the Way to San Jose, Walk on By, Anyone Who Had a Heart, Don't Make Me Over, Raindrops Keep Falling on My Head, I Say a Little Prayer, and Alfie. We'll listen back to two of our interviews. One with Bacharach and lyricist Hal David. The other with Bacharach and Elvis Costello. They wrote many songs together.
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support
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