Podcasts about help myself

Bessie Watson - "I'm In Your Corner" [0:00:00] Ernie Tucker - "Can She Give You Fever" [0:05:46] Barbara & The Browns - "In My Heart" [0:08:28] The Lollipops - "Busy Signal" [0:11:29] Barbara Mason - "Don't Ever Want to Lose Your Love" [0:14:30] Music behind DJ: Jamo Thomas & His Party Brothers Orchestra - "Snake Hip Mama" [0:15:53] Martha Reeves & the Vandellas - "I'm In Love (And I Know It)" [0:18:24] The Gems - "I Can't Help Myself" [0:22:01] Sandra Phillips - "You Succeeded" [0:23:49] J.J. Barnes - "I Ain't Gonna Do It" [0:26:02] The Lovables - "You Can't Dress Up A Broken Heart" [0:29:11] Jamo Thomas & His Party Brothers Orchestra - "I Spy (For the F.B.I.)" [0:30:54] The Fantaisions - "Unnecessary Tears" [0:36:19] Buddy Lamp - "Next Best Thing" [0:38:48] Barbara Greene - "Lovers Plea" [0:41:28] Patti Jerome - "Baby Let Me Be Your Baby" [0:43:13] Tony Clarke - "Landslide" [0:45:20] Music behind DJ: Dave Hamilton Orchestra - "Who Are You Trying To Fool" [0:47:29] The Magicians - "Keep Your Hands Off (My Baby)" [0:49:49] The Incredibles - "Another Dirty Deal" [0:52:03] The Voice Masters - "If a Woman Catches a Fool" [0:54:47] Music behind DJ: Jamo Thomas & His Party Brothers Orchestra - "Snake Hip Mama" [0:57:26] https://www.wfmu.org/playlists/shows/156344

Entre el emo, el pop punk y el j-rock nos encontramos la música de NOGATO, un cuarteto que a pesar de vivir en Madrid, tiene raíces en Galicia y Andalucía. Hoy nos hemos traído al turbo a sus 4 miembros para que nos enseñen sus 4 canciones esenciales. Como era de esperar, lo molan todo. Además, las novedades de la semana, con las que por supuesto damos el pistoletazo de salida del programa de hoy...The Hives - The Hives Forever Forever The HivesThe Temper Trap - Lucky Dimesgrandson - GOD IS AN ANIMALMayday Parade - Under My SweaterDijon - Another Baby!Nogato - Al otro lado del andénEstirpe - VértigoDía de Furia - Nuevos Puertosキュビノワ - Everyday Is Sundayel momento incómodo - Agonizando agostoCheem - Pivotunderscores - Cops and robbersInternet Girl - TREAT HIM LIKE A BABYtorr - selfdestructPorter Robinson - CheerleaderThe Last Dinner Party - This is the Killer SpeakingAlavedra - No me devuelvas la palabraMala Gestión - Soy famosoAmor Líquido - A ver quién miente másNerve Agent - ESPABILAEZEZEZ - no hay pescauSal del Coche - Ciudad de Polvoel diablo de shanghai - Joven CiudadViuda - QuincalleraBons nois - La sortNiños Bravos - Soy un tardónBiffy Clyro - Hunting SeasonNeck Deep - You Should See Me NowHot Mulligan - Island in the Sun (feat. Cory Castro of Free Throw)Jeff Rosenstock - LIKED U BETTERPUP - Hunger For DeathTurnstile - SLOWDIVESlope - Fury FunkStick To Your Guns - Eats Me UpStray From The Path - Can't Help MyselfDeez Nuts - I Hustle EverydayEscuchar audio

Let's get funky! 01- ProleteR - The Way We Were 02- Rufus - Maybe Your Baby 03- Lettuce - Gold Tooth 04- D/troit - Pick It Up (Lay It Down) 05- Bernard Wright - Bread Sandwiches 06- The James Taylor Quartet - Guiding Light 07- Dj Tubarão SP - Festa Funk (feat. Claudio Zoli) 08- Dazz Band - Paranoid 09- Diamond Ortiz - Some Kind Of Lover 10- Friðrik Dór - Bekkjarmót og jarðarfarir 11- Tony Funku - Coś Wam opowiem 12- The Jade - Being Seen 13- Dynasty - I Don't Want to Be a Freak (But I Can't Help Myself) 14- Roy Ayers - Sugar (Delfonic Rework) (feat. Carla Vaughn)

Five Dollar Shake (Hell Bent); Aki Kumar (A Plea To Be Free); The Damned And Dirty (Send Me Home); Johnny Otis (Round The Clock); Rob Stone (Can't Turn Back The Clock); Koko Taylor (Bad Case Of Loving You); Big Maybelle (Rain Down Rain); Big Mama Thornton (Just Can't Help Myself); Rick Gibson Band (Lay Your Burdens Down); Big George Brock (Burden Down); Marcia Ball (Miracle In Knoxville); Laura Smith (The Mississippi Blues); Trixie Smith (My Daddy Rocks Me); Skylar Rogers (Firebreather); Robert Pete Williams (Somebody Help Poor Me); The Knickerbocker All-Stars (It's Later Than You Think). 

El profesor de inglés, traductor, músico y agitador cultural Philip MacConnell nos invita a sumergirnos en las letras de canciones famosas.En esta ocasión repasa canciones publicadas en el año 1965. Suenan The Beatles (Ticket To Ride), The Rolling Stones (Get Off Of My Cloud), Bob Dylan (Subterranean Homesick Blues) y Four Tops (I Can't Help Myself).  También hablamos de China Chana (Cuando Quieras), Telephunken (La Fuerza Del Amor), Alison Darwin (Guerrera), Matt And The Peabody Ducks (Train Long Gone), Eva McBel (Is This Ever Going To Be Like It Is? DIRECTO RADIO), Judit Neddermann y Pau Figueres (La Respuesta), Pilar Almalé (Me Schunowa FEAT Ara Malikian), Daniel Cros (Si Los Poetas Gobernaran FEAT María José Hernández), Anaut (El Barco FEAT Anni B Sweet) y Rufus T Firefly (Trueno Azul).

“… Let me tell you a story … “ Un 17 de Enero de 1990, en el Waldorf Astoria de la ciudad de New York, se realizaba la ceremonia del Rock 'N' Roll Hall Of Fame para celebra la inducción de unos cuantos genios a la clase del año 1990. Hörns Üp continúa con sus aulas abiertas para dar a conocer a todos aquellos que quieran recordar a las leyendas y los pioneros del Rock ‘N' Roll, un espacio para rendirle homenaje a los clásicos mientras aprendemos y disfrutamos. Bienvenidos a clase, todos a sus puestos … y sean buenos La "teacher", Carolina Rico Todas las clases en: https://www.ivoox.com/hup-classroom_bk_list_11086845_1.html En este programa sonará: Hank Ballard – Work With Me Annie Hank Ballard – The Twist Bobby Darin – Beyond The Sea Bobby Darin – Mack The Knife The Platters – Smoke Get In Your Eyes The Platters – The Great Pretender The Four Tops – I Can´t Help Myself (sugar pie, honey bunch) The Four Tops – Reach Out I´ll Be There The Four Seasons – Oh! Carol The Four Seasons – Can´t Take My Eyes Off You Simon & Garfunkel – Mrs. Robinson Simon & Garfunkel – Bridge Over Troubled Water The Kinks – You Really Got Me The Kinks – A Well Respected Men The Who – I Can´t Explain The Who – Behind Blue Eyes The Who – Love, Reign O'er Me “ … I don´t need to fight to prove I´m Right … “  Enlace Playlist Spotify: https://open.spotify.com/playlist/0IPuvga6pfemljGnDAaCkC?si=1c41dce5dfbc4c37 ❗️❗️ NUEVO - Canal de Whatsapp: https://whatsapp.com/channel/0029VaFJWCQJJhzZzHtuYs0i Únete al canal y compártelo entre los metalheads!!!! #hornsuppodcast https://hornsup.es Instagram: @hornsuppodcast Twitter: @HornsUp2020 YouTube: SUSCRÍBETE !!! https://www.youtube.com/@hornsuppodcastspain Puedes ayudar a Horns Up como nuestros "Fans": Ander, Ricardo, Eric, Charly, Mau, Raspu, Óscar, Pedro, Juankar, Carolina, Moy A.M., Iñaki, Carlos Blasco, Valentín, Baal, José Manuel Ruiz, David García, Rick Bass Baker, Fran, Fonchi, Moy Lora, Carlos Makina, Jesús Jiménez, Esther "Impala" Miguelón, Jorge, Pablo, Pere y Xauxa666. APOYA AL PROGRAMA EN ESTE ENLACE: https://www.ivoox.com/support/835002

“… Let me tell you a story … “ Un 17 de Enero de 1990, en el Waldorf Astoria de la ciudad de New York, se realizaba la ceremonia del Rock 'N' Roll Hall Of Fame para celebra la inducción de unos cuantos genios a la clase del año 1990. Hörns Üp continúa con sus aulas abiertas para dar a conocer a todos aquellos que quieran recordar a las leyendas y los pioneros del Rock ‘N' Roll, un espacio para rendirle homenaje a los clásicos mientras aprendemos y disfrutamos. Bienvenidos a clase, todos a sus puestos … y sean buenos La "teacher", Carolina Rico Todas las clases en: https://www.ivoox.com/hup-classroom_bk_list_11086845_1.html En este programa sonará: Hank Ballard – Work With Me Annie Hank Ballard – The Twist Bobby Darin – Beyond The Sea Bobby Darin – Mack The Knife The Platters – Smoke Get In Your Eyes The Platters – The Great Pretender The Four Tops – I Can´t Help Myself (sugar pie, honey bunch) The Four Tops – Reach Out I´ll Be There The Four Seasons – Oh! Carol The Four Seasons – Can´t Take My Eyes Off You Simon & Garfunkel – Mrs. Robinson Simon & Garfunkel – Bridge Over Troubled Water The Kinks – You Really Got Me The Kinks – A Well Respected Men The Who – I Can´t Explain The Who – Behind Blue Eyes The Who – Love, Reign O'er Me “ … I don´t need to fight to prove I´m Right … “  Enlace Playlist Spotify: https://open.spotify.com/playlist/0IPuvga6pfemljGnDAaCkC?si=1c41dce5dfbc4c37 ❗️❗️ NUEVO - Canal de Whatsapp: https://whatsapp.com/channel/0029VaFJWCQJJhzZzHtuYs0i Únete al canal y compártelo entre los metalheads!!!! #hornsuppodcast https://hornsup.es Instagram: @hornsuppodcast Twitter: @HornsUp2020 YouTube: SUSCRÍBETE !!! https://www.youtube.com/@hornsuppodcastspain Puedes ayudar a Horns Up como nuestros "Fans": Ander, Ricardo, Eric, Charly, Mau, Raspu, Óscar, Pedro, Juankar, Carolina, Moy A.M., Iñaki, Carlos Blasco, Valentín, Baal, José Manuel Ruiz, David García, Rick Bass Baker, Fran, Fonchi, Moy Lora, Carlos Makina, Jesús Jiménez, Esther "Impala" Miguelón, Jorge, Pablo, Pere y Xauxa666. APOYA AL PROGRAMA EN ESTE ENLACE: https://www.ivoox.com/support/835002

Iva Davies was born and raised in regional Australia, where his early exposure to music set the stage for his remarkable career. Trained as a classical musician, he excelled as an oboist. However, the allure of rock music and the emerging punk and new wave scenes in the 70s inspired him to shift gears. Influenced by artists like David Bowie, Roxy Music, and Brian Eno, Iva began exploring electronic and experimental sounds, which would later define Icehouse's unique style. In 1977, Davies formed Flowers with bassist Keith Welsh, marking the beginning of a significant chapter in Australian music. Originally a covers band, Flowers soon began incorporating original material. Their raw energy and Iva's charismatic stage presence quickly made them a favourite in Sydney's pub rock circuit. The release of their debut album, Icehouse, in 1980, was a game-changer. Featuring tracks like "We Can Get Together" and "Can't Help Myself," the album showcased a blend of new wave, punk, and synth-driven rock. Its success led to an international record deal but a legal conflict over the name Flowers prompted the band to rebrand as Icehouse. As Icehouse, the group became a vehicle for Iva's creative vision. Their 1982 album, Primitive Man, marked a major turning point. The album included the upbeat "Great Southern Land," a song that became an unofficial Australian anthem. The next album, Sidewalk (1984), showcased Davies' maturing songwriting and reflected his growing interest in themes of isolation and urban life. Though less commercially successful than its predecessor, it set the stage for the band's magnum opus, Man of Colours (1987). Man of Colours was Icehouse's most commercially successful album, cementing their place as global stars. Tracks like "Electric Blue," co-written with John Oates of Hall & Oates dominated international charts. The album resonated with fans worldwide. In Australia, Man of Colours became the highest-selling album of 1987 and earned multiple ARIA Awards, including Album of the Year. Iva's passion for technology and experimentation was evident throughout Icehouse's career. He embraced cutting-edge digital synthesizers and recording techniques, creating a sound that was both innovative and timeless. In addition to his work with Icehouse, Iva composed scores for films like Razorback (1984) and collaborated with the Sydney Dance Company on Boxes (1985) and Berlin (1995), blending classical and modern musical elements. Despite lineup changes and shifts in the music industry, Icehouse remained a beloved act. In the 1990s, the band released Code Blue (1990) and Big Wheel (1993), which explored deeper and more personal themes. Although these albums didn't match the commercial heights of earlier works, they reinforced Davies' reputation as a versatile and introspective artist. By the 2000s, Icehouse focused on live performances, reconnecting with fans through nostalgia-fueled tours. Davies also reworked classic tracks for the 2011 album Icehouse: White Heat 30 Hits, which celebrated the band's enduring legacy. Iva Davies and Icehouse have left an indelible mark on Australian music and beyond. Great Southern Land is regularly cited as one of Australia's greatest songs, and Icehouse's albums continue to influence generations of musicians. Davies' fusion of classical training, electronic innovation, and rock sensibility has made him one of Australia's most iconic and enduring musical talents. Today Icehouse remains active, with Iva at the helm, performing to loyal audiences and to new fans. The band are celebrated as pioneers of Australian music and continue to bridge the gap between the past and the future of rock and electronic sounds. Catch Icehouse when they headline the RED HOT SUMMER TOUR starting January 2025. Supported by several other notable Australian bands in Noiseworks, Wolfmother, Eskimo Joe, Baby Aniamls, Killing Heidi and Bachelor Girl - this is sure to be an incredible outdoor music festival.

Brian Alexander Morgan - Won't Go Back,House Gospel Choir - Blind Faith (Themba's Herd Remix), Inner Life/Jocelyn Brown - I Like It Like That (Michael Gray Remix),IQ Musique/Wright Will - Still In Love (Classic Vocal Mix),Ralf GUM feat. Monica Blaire - AWA (Atjazz Love Soul Mix Edit),Beatkozina feat. El Mago and Axel Camill - Merhba (Dub Mix), Keller - That Kind Of Girl (The Dukes Original Mix),Seb Skalski/Rona Ray - It's Getting Started (House Mix),Estelle - Oh I (Terry Hunter Remix), Jafunk, Triple H Horns, Adi Oasis - Yellow Daze (Oplolopo Remix),Flight Facilities/Drama - Dancing On My Own, Saucy Lady, U-Key, Omar - I Can't Shake This Feeling,Phil Perry - Amazing Love,Mike Lindup - Atlantia (Dave Lee Remix),Yam Who?, Mr Smith, Suki Soul - Let's Go Together,Greg Henderson - Dreamin' (Young Pulse Edit), Loletta Holloway - I Can't Help Myself,The Ebonys - A Love of Your Own,Blinky and Edwin Starr - Never Gonna Give You Up,Gladys Knight - It's A Better Than Good Time, The Jacksons - That's What You Get (DJ Reverend P Edit),

1) The Pure Conjecture - Jealous Girl (Dom Thompson Remix)2) Lisa Stansfield - All Around The World (Dr Packer Remix Edit)3) Degrees Of Motion Ft Biti - Do You Want It Right Now (Dr Packer Remix Extended)4) Evelyn King - Love Come Down (Dr Packer Remix Edit)5) Imagination - Just An Illusion (Dr Packer Remix Edit)6) Candi Staton - Hallelujah Anyway (Moplen's Classic Vibe)7) Montana Sextet Ft Nadiyah - Who Needs Enemies With A Friend Like You (Club Version)8) Rockers Revenge Ft Donnie Calvin - Dubbing In Sunshine (Original Mix)9) Goldboy - Four Walls & A Roof10) Angelo Ferreri - The Real Ghetto (Extended Mix)11) The Revenge - Times Get Tough (Original Mix)12) Aeroplane & Purple Disco Machine - Sambal (Extended Mix)13) Sharon Redd - Beat The Street (Vocal)14) Dynasty - I Don't Want To Be A Freak (But I Can't Help Myself)15) T-Ski Valley - Catch The Beat (Dimi's & Mousse T's Old School Mix)16) Heatwave - Boogie Nights (Dr Packer Remix Edit)17) Keni Burke - Risin' To The Top (Dr Packer Remix Edit)

We've got Rocky Block with us for this week's new episode of Stories Behind the Songs! I have known Rocky for years because I was close friends with his father and it's been so cool to watch his career take off, from playing bass on a cruise line to having several top 40 hits, all within just a few years. It seems like Rocky has a writing credit on every hit single and #1 album lately. He's collaborated with some of the biggest names in country music and has too many great cuts to list, but a few highlights include: “Can't Help Myself” by Dean Brody, “Man Made a Bar” by Morgan Wallen and Eric Church, “Cowgirls” by Morgan Wallen and Ernest, “Broadway Girls” by Morgan and Lil Durk, “Whiskey Bent” by Cody Johnson and Jelly Roll and other cuts such as “Hammer to the Heart” with Teddy Swims who he says is not only a “generational talent” but also just a super nice guy. In this episode, we also cover his collaborations with Larry Fleet and Ashley Gorley, signing with Big Loud Publishing, writing “Jupiter” with Georgia Webster, being a fan of the artists he's in the writer's rooms with, and finding inspiration with new co-writers. He also gives us a quick performance of “Cowgirls”, and as always, we get to hear the story behind it - the idea for this one came from the TV show, Yellowstone! If you enjoyed this episode, make sure to share it with your friends and give us a follow. We are passionate about sharing the Stories Behind the Songs and getting to know the songwriters behind the stories, and it's because of listeners like YOU that we are able to continue doing it. And thanks to our sponsors for all that you do for us! We appreciate you! More on our sponsors and other links below... Podcast Show Notes: Rocky's Instagram - @RockyBlock Rocky's Apple Music Playlist - click here And follow us, Stories Behind the Songs, here: Listen/Subscribe/Follow - HERE   SBTSongs TikTok - @SBTSongs   SBTSongs Instagram - @SBTSongs   SBTSongs YouTube - @SBTSongs   Chris Blair's Instagram - @ChrisBlairMusic   Chris Blair's Website - ChrisBlair.com   The Listening Room's Website - ListeningRoomCafe.com   TLR's Instagram - @ListeningRoomCafe   TLR's TikTok - @ListeningRoomCafe   Our Sponsors: Sennheiser - https://www.sennheiser.com/en-us Imperfect Aesthetician - https://www.instagram.com/imperfectaesthetician/ Alclair In-Ear Monitors - https://alclair.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/sbtsongs/support

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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 Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

A Daily Dose of The Help Myself

L'épisode d'aujourd'hui est consacré à "I Can't Help Myself" des Four Tops, et constitue la deuxième partie d'une série de trois épisodes consacrés à la Motown de 1965. PLAYLIST FOUR TOPS The Four Tops, "I Can't Help Myself" The Four Aims, "She Gave Me Love" The Four Tops, "Kiss Me Baby" Ray Charles, "Kissa Me Baby" The Classics, "If Only the Sky Was a Mirror" The Four Tops, "This Can't be Love" The Supremes, "Run Run Run" Martha and the Vandellas, "My Baby Loves Me" The Four Tops, "Baby I Need Your Loving" The Four Tops, "I Can't Help Myself" The Supremes, "Where Did Our Love Go ?" The Four Tops, "I Can't Help Myself" The Four Tops, "I Can't Help Myself" The Four Tops, "It's the Same Old Song" The Four Tops, "Loving You is Sweeter Than Ever" The Supremes, "You Keep Me Hanging On" Vanilla Fudge, "You Keep Me Hanging On" The Four Tops, "Reach Out I'll Be There" The Four Tops, "Reach Out I'll Be There" The Temptations, "Ain't Too Proud to Beg" The Four Tops, "Bernadette" The Four Tops, "Walk Away Renee" The Four Tops, "If I Were a Carpenter" The Four Tops, "When She Was My Girl" The Four Tops, "Loco in Acapulco"

1) Dire Straits - Sultans Of Swing (WD2N Deep House Bootleg)2) Dynasty - I Don't Want To Be A Freak (But I Can't Help Myself)3) Yazoo - Situation4) The Thompson Twins - Doctor! Doctor! (Dj Beats)5) Dennis Edwards Vs Dexter Wansel Vs Chic - Don't Look Any Further Vs Life On Mars Vs Le Freak6) Heatwave - Boogie Nights (Dr Packer Remix  Edit)7) J. Boogie's Dubtronic Sience & The Pimps Of Joytime - Go To Work (Hot Toddy Remix)8) Julia And Co - Breaking Down Sugar Samba (Rod Layman Remix)9) Karen Young - Hot Shot (Jet Boot Jack Remix Extended)10) Lady Gaga - Bad Romance11) Lady Gaga Ft Kardinal Offishall - Just Dance12) Nick Curly - Between (Original Mix)13) Sade - Smooth Operator (DMC Refreq Mix)14) Purple Beat - Don't Stop 'Til You Get Enough15) Ffwd - Baby Don't Go16) Stacy Lattisaw - Jump To The Beat (Dr Packer & Robbie Casa Blanco Remix Edit)17) Johnny Cash - Ring Of Fire (DMC Extended Remix)18) Mufasa & Hypeman & Dopamine - Weekend (Radio)19) Hifi Sean Ft Paris Grey - Lost Without U (Extended Mix)20) Calvin Harris vs Sigma - Flashback (HMC 2019 Blend)21) Corona - The Rhythm Of The Night (Jet Boot Jack Remix  Extended)22) Dave Stewart & Candy Dulfer - Lily Was Here (Roger Voka Radio Mix)23) Dimitri From Paris - Music Saved My Life (Marshall Jefferson Extended Remix)24) Gwen Guthrie - It Should Have Been You (Michael Gray & Dr Packer Remix)25) Huey Lewis & The News - The Power Of Love (Jet Boot Jack Remix Extended)26) Katy Perry Ft Nicki Minaj  - Swish Swish (DJ Beats)

This hour, we revisit the classic debate about whether or not we have free will. Plus: Is there anything that makes you feel like you have free will more than a "Choose Your Own Adventure" book? We revisit the series … if you choose to listen, that is. GUESTS:  Kevin J. Mitchell: Associate Professor of Genetics and Neuroscience at Trinity College Dublin. His new book is Free Agents: How Evolution Gave Us Free Will Shannon Gilligan: CEO and Publisher of the “Choose Your Own Adventure” series, which has been in print for more than 40 years  SONGS:  “Can't Help Myself” by Four Tops “You're Made That Way” by Mavis Staples  “Metacognition” by High School for the Recording Arts Los Angeles “Make Your Own Kind of Music” by Cass Elliot  “Choose your own adventure (Kyle Watson Remix)” by GoldFish Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode.  Colin McEnroe and Dylan Reyes contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

2024 is getting funkier by the day! 01- Electro Deluxe - 1979 02- Orgone - Parasols 03- Stephen Day - Gold Mine 04- Ghost Funk Orchestra - To The Moon! 05- Rymdklang Soundtracks - Late Night Jam 06- Ghost-Note - Bad Knees 07- Sam Fribush - People Please 08- Kinga Glyk - Swimming in the Sky 09- Tommy Love - Jump 10- New Amsterdam Rhythm Band - Rambam 11- Ric Wilson - Pay It No Mind 12- The Wooten Brothers - Sweat (Version A) 13- 442 - 70's (feat. Ivan C. Bakmas) 14- Bella Brown & the Jealous Lovers - Living Proof 15- Mestizo Beat - She's A Rose 16- Solascope - Liquid Lunch 17- The Grease Traps - Can't Help Myself

Recorded 2023-09-23 23:05:54 Tracklisting: * 0:00 Southpaw - Radio Show Intro * 0:00 Crissy Criss - Breathe (TC Remix) * 0:03 Gray - Lickshot (ft. Donae'o) * 0:06 Underworld - Born Slippy (Blue Marble Bootleg) * 0:07 Underworld - Born Slippy (Burr Oak Bootleg) * 0:08 Noisia - Stigma (Re-master Edit) * 0:12 Freaks & Geeks - Function * 0:14 Killer Hertz - Signature * 0:16 Bastion - Stuck In Time * 0:18 Pendulum - Colourfast * 0:20 Freaks & Geeks - Down With Your Love * 0:21 Aktive - Close To Me * 0:23 Neonlight - Ultraviolet (Prolix Remix) * 0:25 Hayve & Laminar - Save Myself (ft. Josh Rubin) * 0:27 JJL - Thought It Was U * 0:29 Redpill - Genesis * 0:31 Thread - Work Around * 0:34 Klinical & Trail - Buzzer * 0:36 Exile - Dark Chocolate Chip * 0:38 Teddy Killerz - I'm Doing It * 0:40 Mampi Swift - Predator * 0:43 Sceptre - Guided * 0:44 Syran - Twister * 0:47 Sceptre - Optiflex * 0:48 Drumsound & Bassline Smith - Jungle Tekno * 0:49 Crazy Frog - Axel F (REAPER Bootleg) * 0:50 Ã-wnboss & Sevek - Move Your Body (Jon Void Bootleg) * 0:51 Pendulum - Halo (ft. Bullet For My Valentine) (Urbandawn Remix) * 0:53 Kanine - Warning (ft. Doktor) * 0:56 Oli Lewis - Keep It Real With Me * 0:57 SOLR - Amour * 0:59 Hugh Hardie - Blush (ft. Zara Kershaw) * 1:00 Hybrid - Sky Full Of Diamonds (Metrik Remix) * 1:02 Jon Void - LFG * 1:04 I.C.U - I Like That * 1:05 Netsky x Rusko - Everyday (REAPER Bootleg) * 1:06 Ruebik - Into Your Mind (ft. Christina Harrison) * 1:08 John Summit & Hayla - Where You Are (Changing Faces Bootleg) * 1:09 John Summit & Hayla - Where You Are (Blanke's ÆONEDIT) * 1:10 Artino - Introspection * 1:12 Freakbreak - While We Alive (ft. Florey) * 1:15 RageMode - Resurrection * 1:17 Skrillex & Noisia - Supersonic (Mazare Bootleg) * 1:18 Skrillex & Noisia - Supersonic (Nitepunk Bootleg) * 1:19 Neibex - Lazergun * 1:21 TWO XY & Anthropic - Insomnia * 1:23 Mefjus - Hear Me * 1:24 Audio - Tek Chat * 1:27 Framer & Geostatic - Pulse of Desire * 1:29 Crossy & Diagnostix - Mike Selekta * 1:30 Grinder - Art House * 1:33 Jengi - Bel Mercy (TC Bootleg) * 1:34 Crvtch - In The Light Of Your Eyes * 1:37 Morty & Messe - Feed Dem Marijuana (ft. JAX) * 1:38 Veak - Iration * 1:41 Motiv - Person I Knew * 1:43 Doctor Neiman - Can't Help Myself * 1:45 RAYE & 070 Shake - Escapism (Pola & Bryson Radio 1 Remix) * 1:46 Grinder - Shinobi * 1:48 Fred again.. & Skrillex - Jungle (Teddy Killerz Bootleg) * 1:50 Noisia - Pleasure Model (Rohaan Remix) * 1:52 Kanine - The Shadows (Pirapus Bootleg) * 1:54 Chase & Status & Hedex - Liquor & Cigarettes (ft. ArrDee) * 1:56 DJ Hybrid - It's A 90's Ting (Halflight Remix) * 1:58 enta - Homesick * 2:00 Skrimor - Dangerous Woman * 2:02 Prolix & Black Sun Empire - Savages (ft. Virus Syndicate) (Mr. Frenkie Remix) * Download, Distribute, and Donate!

01/ Betty Boo - Doin' The Do (1990) 02/ Robin S - Luv 4 Luv (1993) 03/ Robin S - Show Me Love (1992) 04/ Black Box - Ride On Time (1989) 05/ Daft Punk - Around The World (1997) 06/ Ce Ce Peniston - Finally (1991) 07/ Crystal Waters - Gypsy Woman [She's Homeless] (1991) 08/ C+C Music Factory - Gonna Make You Sweat [Everybody Dance Now] (1990) 09/ Deee-Lite - Groove Is In The Heart (1990) 10/ Nightcrawlers - Push The Feeling On (1992) 11/ Reel 2 Real Feat. The Mad Stuntman - I Like To Move It (1993) 12/ Twenty 4 Seven Feat. Capt. Hollywood - I Can't Stand It! (1990) 13/ Tom Jones & Mousse T. - Sex Bomb (1999) 14/ Everything But The Girl - Missing (1994) 15/ Stardust - Music Sounds Better With You (1998) 16/ Cartouche - Feel The Groove (1991) 17/ Haddaway - What Is Love (1992) 18/ Snap - Rhythm Is A Dancer (1992) 19/ Technotronic Feat. Felly - Pump Up The Jam (1989) 20/ Dr. Alban - Sing Hallelujah! (1993) 21/ Wamdue Project - King Of My Castle (1998) 22/ Ultra Naté - Free (1997) 23/ 2 Unlimited - Get Ready For This (1991) 24/ The Tamperer Feat. Maya - Feel It (1998) 25/ Not Real Presence - Chiki Chika (1993) 26/ M People - Moving On Up (1993) 27/ The Bucketheads - The Bomb! [These Sounds Fall Into My Mind] (1995) 28/ 20 Fingers Feat. Gillette - Short Dick Man (1994) 29/ Paul Johnson - Get Get Down (1999) 30/ Bacon Popper - Free (1998) 31/ Corona - The Rhythm Of The Night (1993) 32/ Black & White Brothers - Put Your Hands Up (1998) 33/ Sweet Drop - Human Nature (1996) 34/ Felix - Don't You Want Me (1992) 35/ Neja - Restless [I Know You Know] (1998) 36/ Eiffel 65 - Blue [Da Ba Dee] (1998) 37/ Gala - Freed From Desire (1996) 38/ 2 Brothers On The 4th Floor - Can't Help Myself (1990) 39/ La Bouche - Be My Lover (1995) 40/ Ann Lee - 2 Times (1999) 41/ French Affair - My Heart Goes Boom [La Di Da Da] (1999) 42/ Whigfield - Saturday Night (1994) 43/ Aqua - Barbie Girl (1997) 44/ Armand Van Helden Feat. Duane Harden - You Don't Know Me (1999) 45/ The Outhere Brothers - Boom Boom Boom (1995) 46/ 740 Boyz - Shimmy Shake (1995) 47/ ATB - 9PM [Till I Come] (1999) 48/ Egma - Never Gonna Loose Your Love (1993) 49/ Da Hool - Meet Her At The Love Parade (1997) 50/ Culture Beat - Mr. Vain (1993) 51/ Paradisio - Bailando(1997) 52/ Floorfilla - Anthem #2 (1999) 53/ Gigi D'Agostino - Bla Bla Bla (1999) 54/ Rednex - Cotton Eye Joe (1994) 55/ Ice Mc - It's A Rainy Day (1994) 56/ John Scatman - Scatman [Ski Ba Bop Ba Dop Bop] (1994) 57/ Alice Deejay Feat. DJ Jurgen - Better Off Alone (1999) 58/ Robert Miles - Children (1995) 59/ Masterboy - Feel The Heat Of The Night (1994) 60/ Bellini - Samba De Janeiro (1997)

Die Vita des 1981 im spanischen Pamplona geborenen Angelo Kelly ist abenteuerlich. Er ist das zwölfte Kind des amerikanischen Lehrers Daniel Kelly und das achte der amerikanischen Tänzerin Barbara Ann. Noch vor Angelos erstem Geburtstag stirbt seine Mutter an Brustkrebs. Bereits 1974 gründet sein Vater die Band The Kelly Family mit bis dato sieben seiner insgesamt 13 Kinder. Die Großfamilie reist in den 80ern als Straßenmusiker durch Europa und die USA. Manchmal spielen sie mehrere Konzerte an einem Tag. Zum ersten Mal erklingt Angelos Stimme auf der Vinyl-Single „Hiroshima – I'm Sorry“. Da ist er vier Jahre alt. Seinen ersten Song „Pee-Pee“ komponiert er mit sieben. Anfang der 90er, als die Kelly Family mit ihrem Album „Over The Hump“ ihren kommerziellen Durchbruch feiert, geraten der 12-jährige Angelo und sein 16-jähriger Bruder Michael Patrick alias Paddy in den Fokus der Medien und in die Herzen zahlloser Teens. Mit 13 schreibt Angelo den Song „I Can't Help Myself“, der im Sommer 1996 in zehn Ländern die Spitze der Charts erreicht. Es ist der erste Song, den er nach dem Stimmbruch als Leadsänger interpretiert. Angelo spielt zunächst Gitarre und Percussion-Instrumente. Für letztere bekommt er noch als Kind Unterricht vom indonesischen Percussion-Superhelden Nippy Noya. Mit 14 wird er am Schlagzeug Meisterschüler des Jazzschlagzeugers Billy Cobham. Ab 2004 unterrichtet Angelo sogar selbst als Gastdozent an einer Schlagzeugfachschule in Düsseldorf. Die Kelly Family hat mittlerweile über 60 Gold- und Platin-Award verliehen bekommen und gut 20 Millionen Tonträger und noch mal zwei Millionen Videos und DVDs weltweit abgesetzt. Hosted on Acast. See acast.com/privacy for more information.

#reverse_bass #hardstyle #euphoric_hardstyle #euphorichardstyle #rawhardstyle #raw_hardstyle #darkhardstyle #dark_hardstyleYouTube https://www.youtube.com/@officialdjtimonTwitch https://www.twitch.tv/officialdjtimonFacebook https://www.facebook.com/officialdjtimonVK https://vk.com/officialdjtimonTrackList:1 GLDY LX - Outer Space2 NRGYZER - Moshpit Attack3 Firelite, ReDHot - Burn The Place Up    4 Devin Wild - Hold That Sucker Down    5 M.A.S.H. - Tender Love    6 Phantom - Enter The Dome    7 Indvstry - Murda Sound    8 MBW - Don't Stop    9 Ionyx - Toxic Friend    10 Brennan Heart, Mingue - Rising Up    11 CategorieN - Right From The Start    12 Volture, Anklebreaker - Can't Help Myself    13 Coone - Dance With My Demons    14 PRDX, GMAXX - Overload    15 E-Force, Luna - Kicks Like This    16 DJ TEEJAY - R U READY    17 Matduke - Addicted    18 Clockartz, Maria Mathea - Not The Ordinary    19 Crude Intentions, NLCK - The Universe    20 Kokwak - Leave, The Edit    21 SubControllZ - Final Hour    22 Hard Driver - Living In A Rave    23 Genesiz - The Temple of Sins    24 D-Fuse - By Your Side    25 Art Moon - End This Game    26 Da Tweekaz, Frontliner - Never Far    27 Relentless - Affectionate    28 Revizion - Oblivion    29 Untold Stories - Listen To My Words    30 Qulex - Silence    31 Revolve - The New Shit    32 Svane - Virus    33 DJ MAZZA, Stratisphere, Teal - NIGHT WOLF    34 Eternate, Outlined - Intense Violation    35 Robin Clark, Examind - Perfect Storm    36 Vazooka - Strong    37 Headhunterz, Malukah - Reignite (D-Block & S-te-Fan Remix)    38 Noizephere, Skully - Want To Be 39 Sylenth, Kroxy, LUX3L - Runaway    40 KRB - Closer    41  RiraN - Reaching High    42 TRIIIPL3 INC. - Hunter's Moon    43 Zero Days, RAMO - Run Away    44 Sash_S, René Groose - Climax    45 HVDRA - Monster    46 Vindicate - Switch    47 Sanctuary - DEJA VU    48 Luner, Vexxed - Losing Control    49 Toxoblast - My Heart    50 Upflex - OMG    51 Daniel Joseph - Vivace!    52 Neroz, Disarray - E.M.P.    53 Mutilator, Thyron - Break Your Neck    54 Dead X - Something Real    55 Invector - Overdrive    56 Jenny Anaya, Yuuja - Find The Light57 Killshot - Animal58 NothingButNoize - Noize Pollution59 Suspect - Underground60 The Straikerz - Do It Better61 Suffocate - Do It!62 Sparkz - Bounce (Party Harder)

Patterns Week Five - I Can't Help Myself by Pastor Troy Powell

The Fighting Side returns!! I joined The Fighting Side at band practice the other night to talk about their brand new singles "Fires" & "Can't Help Myself" that our now available TODAY! We get into some of the stories behind these songs, life on the road, gas station eggs, new partnership with Low Road Merch Co and so much more.  On this episode you'll hear: Fires Can't Help Myself Find more from The Fighting Side on your favorite streaming platform. Follow along with them on Facebook & Instagram. Subscribe on YouTube! TheFightingSide.com Listen to Rock Paper Podcast on Spotify, Stitcher, Apple & Google Podcast apps or ROCKPAPERPODCAST.com Thank you to Friendship Brewing Company in Wentzville, MO for their continued support! Be sure to come visit them for all your craft beer needs. Over 25 rotating taps, all sorts of tasty eats and a big ol patio to enjoy some Summer with friends! Live music every weekend: 7/27 Singo Bingo 7/28 Corey Clapper (7-10p) 7/29 Michael Scott (7-10p) 7/30 Josh Littig (1-4p). FLI-HI Music: 7/29 Steve Kyle (7-10p) FriendshipBrewingCo.com Brand new Flint Hill location is set for GRAND OPENING on July 29th and it is a must see!. Swing by and get an early sneak peek during their soft opening weekends all throughout July. Test out the new Fli Hi kitchen!   

*!REPLAY ALERT!* Marc Collins Morning After Solar Radio show with his trusty assistant "Ravishing Russ Warnes the Receptionist” a 2 hour Soul, Jazz, Funk and Boogaloo selection. On #podcastapp #mixcoud or ask Alexa to “Play Marc Collins Morning After Podcast, latest episode” “The Morning After Show Starter!”

| Miss Independent  | TK Soul feat. Willie Clayton  | 2023 | I'm Going To Treat You Good  | The Donations  | 1973 | Ain't No Love In The Heart Of The City  | Bobby Bland  | 1974 | You Need Love (feat. Ali Woodson)  | Bostick  | 2003 | It's Got To Be Tonight  | Willie Johnson  | 1972 | Nowhere To Go  | Heart To Heart  | 1982 | Just Be Yourself  | Topazz feat. Lonnie Hill  | 1976 | Love To Make Love To You  | Energy MC2  | 2023 | You And Only You  | Energy MC2  | 2023 | Feeling You Feeling Me  | Curtis  | 2020 | Happy Being Lonely  | The Chi-Lites  | 1976 | Don't Let Me Down  | The Velvet Touch  | 1989 | After You Love Me, Why Do You Leave Me  | Harold Melvin & The Blue Notes  | 1976 | Tell Me Why (Can't We Be Friends)  | Four Below Zero  | 1974 | The Recipe (This Heart) (feat. Ruben Moreno)  | Baby Bash & The BashTones  | 2022 | Only You (feat. Bobby Ross Avila)  | Baby Bash & The BashTones  | 2022 | Love Can Be  | The Saints  | 1973 | Rockin' You Tonite  | Gary  | 1995 | I Can't Help Myself  | Rodney Stith  | 2022 | For The Love Of You  | Wade C. Long  | 2023 | One Of Many Nights  | The S.O.S. Band  | 1991 | Facts Of Life  | Ripple  | 1977 | Black Pearl  | Parkes Stewart  | 2022 | Calling Out Your Name  | The Temptations  | 2022 | Destination  | The Mad Lads  | 1973 | Stay In My Corner  | The Dells  | 1968 | I'll Show You With Love  | The Young Divines  | 1977 | I Thank God  | The Coalitions  | 2013

The Soulful House & Dance Hour:Joyce Sims - Come Into My Life,Angela Johnson - In The Thick of It (Accapella),Dawn Tallman - Get Here (DJ Spen, Gary Hudgins, David Harness Vocal Mix),DJ Spen - Soulful Storm (Jovonn Remix),Kerri Chandler - Back To Earth (from 'Spaces & Places'),Tasha LaRae - I Wish I Didn't Miss You,Bonetti - Love My Baby,Randy Roberts & Richard Burton - I Miss You,Louie Vega - Free To Love,Doug Gomez - Sabor a Soul,The Soul & Boogie Hour:Yolanda Wyns - I Know You, I Live You (Dr Packer Remix),Dennis Taylor - Here I Am (Nigel Lowis Remix),Marchio Bossa - Somtimes (feat. Ryu Zee Su),Anita Baker - Good Love (Alex Di Ciò Rework),Rob Hardt & Ferry Ultra, Sharon Phillips - If These Walls Could Speak,Tyra Levone - The Chronicles of Life,Victor Haynes - Back To Love,Rose Belk - Free To Be Me,Qwestlife (feat. Teni Tinks) - Hit it Off,Lynn Davis - Can I Come Over,Shirley Nanette - Sometimes (from 'Never Coming Back'),Loletta Holloway - I Can't Help Myself (forthcoming 45 on Kent Select),Mary Wells - Love Letters (Soul4Real 45),www.starpointradio.com

Everything She Ain't by Hailey Whitters Glory Daze by Rachel McIntyre Smith I Can't Help Myself by Kelsea Ballerini Bob Ross Cool Runnings Psalm 77 Follow Grady on Youtube, Instagram! Sincerely, Sarah "Every Beauty" by Matthew Clark

日常被一种平静的“无状态”所填满，喜欢的音乐也越来越静态。但是偶尔，遇到晴好的天气，和对的人一起，吃到了喜欢的午餐，逛了有趣的书店，还是会忍不住想找点有能量的音乐充充电，鼓舞一下自己。 Here's to a good autumn afternoon. 曲目单： (00:36) Sea Power - Please Stand Up (04:23) The Beths - Expert In A Dying Field (09:23) Diels-Alder - 超级法兹男孩 (13:00) Green Day - Warning (17:09) Buzzcocks - Lipstick (19:44) The Lounge Society - Upheaval (24:21) Fazerdaze - Come Apart (27:23) Orange Juice - I Can't Help Myself (33:13) Hallie - Do It (36:59) Yumi And The Weather - Can You Tell (41:05) The Black Angels - Hunt Me Down (44:55) The Cardigans - My Favourite Game (49:05) Gemma Rogers - My Idea Of Fun (53:06) hue - 夕阳 (59:48) Longpigs - She Said → 选曲/撰稿/配音/制作/包装：方舟 → 主题音乐：Yu Su → 题图作者：Federico Beccari, 来自 Unsplash → 题图版式：六花 → 私信/合作联络： 微博/网易云/小宇宙/汽水儿 @线性方舟 → Key Change 随便听歌的分号《KC Jukebox》 → 《周末变奏》WX听友群敲门群主：aharddaysnight

Morphosis 'Beating The Crates' in a Hong Kong Ping Pong Styleeeeee in association with Ghetto Funk https://www.twitch.tv/h0ngk0ngpingp0ng http://www.facebook.com/hongkongpingpong http://hongkongpingpong.co.uk/ https://www.instagram.com/hongkongpingpong/ For all booking enquiries please contact: info@hongkongpingpong.co.uk Tracklist: 01 Jstar - Escape From Baltimore (Fanfare Ciocarlia)-(Jstar remix) 02 Hamdi - Havana 03 TVBOO, bawldy, Boogie T - MaryWana 04 Mr Benn ft Misdee - Leave (dub version) 05 The Hempolics - One Law Fi Riddim 06 UNKLE - The Way Back Home (Rōnin / Original) 07 L'Entourloop - Mumbai 808 (ft. Manudigital) 08 GRiZ, LSDREAM - Funkonaut (Original Mix) 09 Emapea - Let Me Breath 10 Cody G - Happy Hour 11 Smoke and Mirrors Sound System - 25 Miles 12 GRiZ - Mystik Dub 13 Tom Booze X Nick Thayer - Chirp 14 DJ Katch - Ends Up 15 Tom Booze - Ghetto Rave 16 opiuo - Quiver (feat. Eric Benny Bloom) 17 Voodoocuts - Achili 18 A.Skillz Nick Thayer - Jam This (Tom Booze Remix) 19 opiuo - Humphrey Dumpling 20 Sonale - It's My Thing 21 Double A - Same Ol'- Same Ol' (Double A Breaks Rework) 22 The Niceguys - Travel 23 The Allergies - Hypnotise 24 Westwood Recordings - Can't Help Myself feat. Clara Jo 25 GRiZ & The Sponges - Volume 26 Royksopp/Alison Goldfrapp - The Night 27 Diesler - In Love With The Weather Girl ft Double Yellow (Wrangle remix) 28 The Niceguys - Dont Let Go ft. Justina Lee Brown (The Niceguys Remix) 29 Nicky Genesis/RUMPUS - You Better (Cazztek extended remix) 30 Diesler - Birds & Bees ft Gloria Adereti (Renegades Of Jazz 'Honey-Pot Riot' remix) 31 Neon Steve - 4 The Love (extended mix) 32 Herve - Blow Your Mind 33 Basement Jaxx - Express Yourself (Shermanology Remix) 34 Fort Knox Five & Lazy Syrup Orchestra - Start The Ride (TWOGOOD Remix) 35 Addison Groove - Dancer (GP Mix) 36 Herve - Papua New Guinea (Herve Remix) 37 Doc Zee - Foolishness 38 Shade K - Do It (Dub Edit) 39 The Sponges - Funked Up (VIP) 40 Gold Dubs, Joe Burn, Rider Shafique - Murder On The Dancefloor 41 Soulecta - Jheez Louise (extended mix) 42 Confidence Man & X-COAST - Relieve The Pressure (X-COAST Remix) 43 Doctor Jeep - Dissociate (Hardcore Mix) 44 WBBL - Eat Yo Salad 45 Thys & Two Fingers - Puma Rhythm 46 Doc Zee - Fantazia

Long time scene stalwart, producer of Can't Help Myself, and founder of Gopal Metro Studios, the magnificent metro man himself materializes Sunday at 3pm EDT 9/04/22 on Space Couch!

Lamont Dozier was one third of the Motown songwriting team Holland Dozier Holland. He died Monday at the age of 81. Along with brothers Brian and Eddie Holland, he helped define the Motown sound, writing 10 Number One top hits for The Supremes, The Four Tops, Martha and the Vandellas, and Marvin Gaye — songs like "You Can't Hurry Love," "Baby Love," "Reach Out I'll Be There," "Can't Help Myself," "Heatwave," and "Sugar Pie, Honey Bunch." They spoke with Terry Gross in 2003.Justin Chang reviews The British romantic drama Ali & Ava.

Lamont Dozier was one third of the Motown songwriting team Holland Dozier Holland. He died Monday at the age of 81. Along with brothers Brian and Eddie Holland, he helped define the Motown sound, writing 10 Number One top hits for The Supremes, The Four Tops, Martha and the Vandellas, and Marvin Gaye — songs like "You Can't Hurry Love," "Baby Love," "Reach Out I'll Be There," "Can't Help Myself," "Heatwave," and "Sugar Pie, Honey Bunch." They spoke with Terry Gross in 2003.Justin Chang reviews The British romantic drama Ali & Ava.

Tracklist:Vangelis - Tears in RainIt's Who We Are! Mozaick Ferrari - Deep Blue, Green EyesMogwaa - Where the Wave BeginsQuinn Christopherson - EveleneSpace Ghost - Heaven SentBright & Findlay - Leave It All BehindNu Genea - RireJolly Mare - L'Età dell'OroPeter Croce - Stanley DancerNu Genea - VesuvioSpandau Ballet - Chant No.1Orange Juice - I Can't Help Myself

Robot e musei sono apparentemente due realtà molto distinte tra loro. Eppure possono avere dei punti di contatto. Durante questi difficili anni per esempio sono stati fondamentali per permetterci di “passeggiare” per le sale dei musei del mondo grazie ai tour virtuali. Ma è notizia recente di come i robot intervengano anche nella sorveglianza e nella tutela del patrimonio artistico: a Pompei infatti è stato introdotto Spot, un cagnolino robotico in grado di svolgere numerose funzioni importanti. I robot sono diventati anche delle opere d'arte e sono entrati in tendenza su TikTok con l'opera degli artisti cinesi Sun Yuan & Peng Yu, “Can't Help Myself”.

Every month, our A&R Team makes a list of 10 of their favorite TAXI Member songs and/or instrumentals that they've heard lately. We call them the "Top 10," but don't let that mislead you into thinking they're THE 10 best songs or instrumentals out of ALL the music our members make. Really, it's more like a list of, "Hey, these are really cool and you should check them out." And you should! 0:00 - Intro 2:55 - "Focus" by Halle Abadi 7:55 - "Help Myself" by Ani 16:25 - "Stomp Rock Anthem" by Anthony Kneeshaw 24:22 - "Back Down" by As The Structure Fails 29:39 - "New You" by Basic Elements 38:33 - "Rise and Fall" by Derek Handy 48:09 - "Heartbreak Machine" by Erinn Alissa 53:29 - "The Devil's in the Whiskey" by John Weber 1:01:41 - "All in Favor" by Rasmus Boegelund 1:07:56 - "Girls!" by Luiza Lale

Chapter 37 was recorded in the Ancient Language of magic, but don't worry, we translated it for you. Join Sophie, Sam, and Hannah as they discuss magical linguistics, the difference between sorcerers, magicians, and dragon riders (oh my), and Eragon's possible astrological sign.   Additional reading: 1) The 21 gram soul: https://en.wikipedia.org/wiki/21_grams_experiment  2) "Can't Help Myself" at the Guggenheim: https://www.guggenheim.org/artwork/34812   

Minha indecisão para escolher um tema me fez falar sobre a minha indecisão para escolher um tema. E aí, eu escolhi outro. E acho que foi uma ótima decisão. Vídeo Can't Help Myself & The Death of the Author do canal We're in Hell: https://www.youtube.com/watch?v=nJp-pOazCAg ACESSE: www.meusmangas.com.br e faça sua conta! Cadastre sua coleção de mangás! COMENTE EM: www.geekhere.com.br Contato: leo.kitsune@geekhere.com.br https://twitter.com/LeoKitsune https://twitch.tv/leo_kitsune Abertura: Corrupter - Sadvillain

Check out the "Can't Help Myself" robot Abigail mentioned. Also the article from Abigail's Deep Dive. Support us on Patreon. Follow us on Instagram, Tumblr, Twitter and check out or website. Merch available on Teepublic! We are not in any way associated with the show Criminal Minds, but sure would love to be. Email us at unsubspodcast@gmail.com.WTRN: The Radio Network. Want more from WTRN? Check out Genre Blind and BSAS! Mac's podcast is YNA: The Podcast.Support the show (https://www.patreon.com/unsubspodcast)

On today's episode, Brett finds his way back to the show to spread the word about a supremely haunting and incredibly poignant robot art piece that was slowly "dying" despite its best efforts to survive by continually shoveling hydraulic fluid back into its leaky reservoir.  Then Josh takes on a similarly challenging task to convince the world of one thing: Andrew Garfield is the BEST live-action Spider-Man in a world filled by both Spidered-Men (new and old) and fans filled with Spider-Mania. The ultimate source for this potentially Spider-Earth shattering revelation? The Marc WEBB (ha) directed film, The Amazing Spider-Man... or as Josh calls it: TASM. (The first one not the second one, the second one sucked Spider-Balls.)   Off-top Links and References: Can't Help Myself by Sun Yuan & Peng Yu Why the Internet Is Feeling Sorry for a Robot 'industrial robot continusouly sweeps blood-like fluid'   Content: The Amazing Spider-Man Trailer Why was Spider-Man rebooted so often? How Spider-Man Conquered the World   Follow Us: All of our links! Facebook Instagram Discord Sponsor: Best Maps Ever   Other Podcast Appearances: Josh on Have Not Seen This: Ep. 66 - Devil's Rejects Josh on The Don't Assume Podcast: Ep. 24 - Skydiving

Eric Nam is an accidental K-pop star. Growing up in Atlanta, and graduating from college in Boston, he did not expect that in his twenties he's sign to a K-pop label, be named 2016 Man of the year by GQ Korea, and become a go-to television personality in South Korea. His music, imbued with his charisma and charm has charted globally. As fun as it is, the K-pop machine can be a real grind — it churns through young people not unlike the NFL draft. Nam is unusually candid about this experience, likely because he decided to quit the system, and take his blossoming music career independent. On his second all English full length album There And Back Again Nam has full creative control, and all the burdens of sustaining a solo music career. Nam spoke with Switched On Pop co-host Charlie Harding about what it is like to go from K-pop star to indie musician. SONGS DISCUSSED Eric Nam - Ooh Ooh, Heavens Door, Good For You, Honestly, Can't Help Myself (feat. LOCO), Lost On Me, I Don't Know You Anymore, Wildfire, Love Die Young Lee Hyori - 10 Minutes MOMOLAND - BBoom BBoom Learn more about your ad choices. Visit podcastchoices.com/adchoices

John 1:1-5, 10-14, 16-18In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things came into being through him, and without him not one thing came into being. What has come into being in him was life, and the life was the light of all people. The light shines in the darkness, and the darkness did not overcome it.He was in the world, and the world came into being through him; yet the world did not know him. He came to what was his own, and his own people did not accept him. But to all who received him, who believed in his name, he gave power to become children of God, who were born, not of blood or of the will of the flesh or of the will of man, but of God.And the Word became flesh and lived among us, and we have seen his glory, the glory as of a father's only son, full of grace and truth. From his fullness we have all received, grace upon grace. The law indeed was given through Moses; grace and truth came through Jesus Christ. No one has ever seen God. It is God the only Son, who is close to the Father's heart, who has made him known.I want to tell you about and show you a piece of art I learned of recently. It was created by two Chinese artists named Sun Yuan and Peng Yu, who first had this particular work installed at the Guggenheim and later at another museum in Venice. This work of art is an “installation,” really, that includes a robotic arm, confined behind glass walls, like a cage, some say, and programmed to contain and clean up a constant flow of fluid that spills out from – and all around – the machine itself. Here. It's better if you just see it for yourselves…This robotic arm is “artificially intelligent” enough so that when it senses there are enough spectators around watching, it will take a moment or two to dance for those on-lookers. Like, it knows how to “shake its booty,” “scratch an itch,” and “bow and shake.” (Those are the actual names of the dance moves the artists taught the robot.) And it does all of this in ways that look surprisingly human – for a robotic arm anyway. If I understand correctly, I believe it will also stop and dance – celebrating, perhaps – at times when it senses that the fluid is appropriately under control. But then it has to get back to work, of course. It never stops for long.Of course, there are many ways to interpret all of this. And like so many artists it's hard to know exactly what Sun Yuan and Peng Yu are getting at with this particular work. Some have suggested it's a commentary on authoritarian political rule, managing borders and controlling people. Others have seen it as a comment on the nature of work in some cultures – that there is always more to be done, that we don't rest, and that when we do take a breath – to dance, for instance – we just find ourselves pressured to catch up, which is impossible to do.One interpretation that got my attention was the idea that the fluid leaking from and leaving the robot is also its life-source – that it was no mistake that the hydraulic fluid looks like blood – and that the robot needs to keep shoveling it toward itself in order to survive and that, because it stopped too much or too often to rest, or dance, or show-off for the spectators who came to watch, it was slowly dying as more and more of its life-source was lost.So I wondered about it in light of Blue Christmas and the grief or hardship or struggle – or whatever it is – that draws us together for a service like this one. That the world, at times like Christmas, especially – but most days, really – doesn't leave much room or give much permission for grieving, hardship, or struggle. And that leaves so many of us behaving like some kind of robotic arm – our emotions and our fear and our sadness and our grief looking to leak and leave and escape from our very selves, while we work so hard – so fast and furiously – so endlessly and tirelessly – to keep it all so close to the vest.And on top of it, much like the robotic arm, we do our best to dance, to perform, and to pretend for whoever's watching, that everything is okay, that we're fine, that all is well – or at least better than it really feels, deep down. And we never let too much of what we're really thinking, really feeling, really fearing or grieving or whatever, get too far away from us, too close to anyone else, so as not to make too much of a mess for them to worry about.Does any of that feel familiar or is it just me?If so, I wonder what all of that fluid represents for any one of us here, or for anyone watching from home. If that fluid was clear and a little salty, like so many tears, perhaps, what would be its source? What are we trying to keep to ourselves? To keep from escaping? To keep from our family and friends? To protect ourselves from having to share too much of with the world?I imagine that liquid stands for “fear” or “addiction” or “abuse” for some. I wonder if it means “overwhelmed,” or “secrets” or “doubt” about all of this for others. Does it represent an illness or an injustice? Is it a sadness that's brand new or one that won't go away? Is it an anger you can't quench or a forgiveness you can't extend or a concern for someone else you don't know how to address? What is it these days that we may not even have words for – so that we just keep keeping it to ourselves, shoveling it in, pulling it back, never letting it get far enough away so that we might actually let it go?See, what also got my attention about this unsettling work of art – what really connected it to Christmas for me – is its name. The artists call it “Can't Help Myself.” And I don't think it was inspired by The Four Tops. (“I can't help myself…” “Sugar Pie, Honey Bunch…”) No. “Can't Help Myself,” strikes me as something much more meaningfully connected to what God is up to at Christmas.Because God knows we're only fooling ourselves. When we stay locked up and locked away in our grief or our fear or our struggle or whatever it may be… when we keep it to ourselves… when we just keep pulling it in, never letting it get too far out of reach. When we keep dancing and performing as though all is well, we are denying the reality – and missing the chance to see – that God showed up, in Jesus, knowing that we can't help ourselves.One of the greatest gifts of God, in Jesus, in the flesh, in the end, is that God reminds us God is not some kind of artificial intelligence and that we are more than robots. And not only are we free to be just who and how God created us to be, but we are free and encouraged to feel just exactly how we are feeling at any given moment – afraid and faithful; lonely and well-loved; angry and forgiving; sinful and forgiven; grieving and hopeful. And that we were never meant to help or to save or to redeem ourselves. Because we can't.God shows up, in Jesus, to live this life we live with all of its struggle.God shows up, in Jesus, to teach us that light comes in the morning; that forgiveness is offered for sins; that what is lost can be found; that life follows death, even.God shows up, in Jesus, so that we can stop pretending and performing; so that we can stop scrambling for what seems elusive and futile; so we can see in ourselves and each other the face of this Jesus: the common ground of our humanity, the forgiveness of our sins, the light in our darkness, our life everlasting.So I hope tonight is nothing more and nothing less than a chance for us to stop dancing – to remember that our life's blood isn't escaping it is on the way, in fact.God shows up in Jesus, not to end all of our suffering and struggle, but to show us that we can share it… let it go… expose it to the light of God's love, and to help us to bear it and to forgive it and to have hope in spite of it, that it will all be redeemed – not by our efforts – but always and only by God's grace, in the end.Amen. Come, Lord Jesus.

Head Line Mission Daily Report Dec 2, 2021 1. อัปเดตตัวเลขผู้ที่ได้รับการฉีดวัคซีน Covid-19 ในประเทศไทย 2. ราคาดัชนีตลาดหลักทรัพย์ / ราคาหุ้นต่างประเทศ / ราคาน้ำมันดิบ / ราคาทองคำ / ราคา Cryptocurrency 3. ธปท. ไม่สนับสนุนให้ใช้คริปโตเคอร์เรนซี 4. สถานการณ์ในเมียนมาเศรษฐกิจตกต่ำ 5. นาโต้เตือนรัสเซียอย่าทำผิดพลาดในยูเครน 6. เอกสารลับรั่ว “ซินเจียง เปเปอร์” แฉรัฐบาลจีน 7. H1-KEY วงเกิร์ลกรุ๊ปน้องใหม่ เปิดตัว 4 สมาชิกเตรียมเดบิวต์ในปี 2022 8. งานเซลใหญ่ที่สุดส่งท้ายปี “SC FINAL SALE” #อยากได้บ้านใหม่ต้องไปงานเซล 9. หุ้นไอพีโอของอินเดียพุ่ง สตาร์ทอัพให้ความสนใจนักลงทุนจากจีน 10. ทำไม Apple เป็นหุ้นเทคโนโลยีเดียวที่ยังพุ่งสูง 11. Metaverse Group ทุบสถิติดีลซื้อที่ดินแพงที่สุดในโลก 12. Mission to Pluto ผลงานสะท้อนสังคม "Can't Help Myself" 13. เปิดโลก Metaverse กับ 5 ภาพยนตร์

Head Line Mission Daily Report Dec 2, 2021 1. อัปเดตตัวเลขผู้ที่ได้รับการฉีดวัคซีน Covid-19 ในประเทศไทย 2. ราคาดัชนีตลาดหลักทรัพย์ / ราคาหุ้นต่างประเทศ / ราคาน้ำมันดิบ / ราคาทองคำ / ราคา Cryptocurrency 3. ธปท. ไม่สนับสนุนให้ใช้คริปโตเคอร์เรนซี 4. สถานการณ์ในเมียนมาเศรษฐกิจตกต่ำ 5. นาโต้เตือนรัสเซียอย่าทำผิดพลาดในยูเครน 6. เอกสารลับรั่ว “ซินเจียง เปเปอร์” แฉรัฐบาลจีน 7. H1-KEY วงเกิร์ลกรุ๊ปน้องใหม่ เปิดตัว 4 สมาชิกเตรียมเดบิวต์ในปี 2022 8. งานเซลใหญ่ที่สุดส่งท้ายปี “SC FINAL SALE” #อยากได้บ้านใหม่ต้องไปงานเซล 9. หุ้นไอพีโอของอินเดียพุ่ง สตาร์ทอัพให้ความสนใจนักลงทุนจากจีน 10. ทำไม Apple เป็นหุ้นเทคโนโลยีเดียวที่ยังพุ่งสูง 11. Metaverse Group ทุบสถิติดีลซื้อที่ดินแพงที่สุดในโลก 12. Mission to Pluto ผลงานสะท้อนสังคม "Can't Help Myself" 13. เปิดโลก Metaverse กับ 5 ภาพยนตร์

Head Line Mission Daily Report Dec 2, 2021 1.       อัปเดตตัวเลขผู้ที่ได้รับการฉีดวัคซีน Covid-19 ในประเทศไทย 2.       ราคาดัชนีตลาดหลักทรัพย์ / ราคาหุ้นต่างประเทศ / ราคาน้ำมันดิบ / ราคาทองคำ / ราคา Cryptocurrency 3.       ธปท. ไม่สนับสนุนให้ใช้คริปโตเคอร์เรนซี 4.       สถานการณ์ในเมียนมาเศรษฐกิจตกต่ำ 5.       นาโต้เตือนรัสเซียอย่าทำผิดพลาดในยูเครน 6.       เอกสารลับรั่ว “ซินเจียง เปเปอร์” แฉรัฐบาลจีน 7.       H1-KEY วงเกิร์ลกรุ๊ปน้องใหม่ เปิดตัว 4 สมาชิกเตรียมเดบิวต์ในปี 2022 8.       งานเซลใหญ่ที่สุดส่งท้ายปี “SC FINAL SALE” #อยากได้บ้านใหม่ต้องไปงานเซล 9.       หุ้นไอพีโอของอินเดียพุ่ง สตาร์ทอัพให้ความสนใจนักลงทุนจากจีน 10.   ทำไม Apple เป็นหุ้นเทคโนโลยีเดียวที่ยังพุ่งสูง 11.   Metaverse Group ทุบสถิติดีลซื้อที่ดินแพงที่สุดในโลก 12.     Mission to Pluto ผลงานสะท้อนสังคม  "Can't Help Myself" 13.   เปิดโลก Metaverse กับ 5 ภาพยนตร์

For this week's episode, Julia goes into depth on a piece called “Can't Help Myself” by Sun Yuan & Peng Yu. She analyzed the piece's background context, artistic techniques and processes as well as the multiple interpretations of the piece from varying perspectives. She also presents her personal and subjective take on this work as well. This week's contemporary art piece touches on deeper conceptual ideas and darker imagery than the previous "Comedian" by Cattelan.

Canary Cry News Talk #410 - 11.12.2021  GEN NARRATIVE: Winter Waxxine Wonderland, Klaus' Great Narrative, Ecopreneur - CCNT 410 WEBSITE/SHOW NOTES: CanaryCryNewsTalk.com LINKTREE: CanaryCry.Party SUPPORT: CanaryCryRadio.com/Support MEET UPS: CanaryCryMeetUps.com ravel Podcast (Basil's other podcast) Facelikethesun Resurrection (Gonz' new YouTube channel) Truther Dating experiment   INTRO 3:09 Clip: Amal update Clip: Biden on when his knee grows    FLIPPY 15:45 “Can't Help Myself” robot arm art is bloody (Truth or Fiction)   GREAT RESET…NARRATIVE 24:35 Klaus Schwab announces the GREAT NARRATIVE (RT)   Note: WEF says we need “Ecopreneur Revolution” (WEF) Robots already taking over in Great Resignation (ZDNet)   COVID19/I AM WACCINE 45:20 Clip: Pfizer CEO Bourla confusing answer from question about communication Virginia pharmacy incorrectly administers covid waccines to 112 children (CNBC) Why are cases surging in highly waxxed areas? (Yahoo News) [CDC - MMWR, MedRxiv Israel]   Party Pitch BREAK 1: Executive Producers, Paypal, Patrons 1:20:28   IT WILL KILL 1:45:43 Man who traveled to space with Bill Shatner dies in plane crash…Medidata sus (KRQE)   CYBERPANDEMIC [Results] Cyber Polygon Results from WEF (Sociable)   CHINA 2:03:19 China military documents reveal why they invested in AI (Breaking Defense) China's new military toy might dominate pacific (RT)   BREAK 2: Art, Reviews, Jingles, Meet Ups 2:17:42   GEOENGINEERING 2:44:58 Clips: Climate prophetess of the NWO from 1800's (NBC, Storyteller)   SPACE POPE REPTILIAN 3:00:47 Francis says if we don't fight climate change, we will face God's judgment (Jesuit Review)   ADDITIONAL STORIES: Miso Robotics Native Ad (Newsweek…the took it down…haha) Robot that paints wall with one million spots (Interesting Engineering) Answering FOIA, CDC has no record of unwaxxed spreading virus after testing positive Miami, first city to give Bitcoin dividends to residents (CoinDesk) Inflation rose 6.2% in October, largest in 30 years (Wapo) COP26 draft for final deal towards 2030 (Aljazeera)  Corporate Execs call for White House to fight inflation (Politico) 10 states sue Biden over mandates (Reuters) Human trials for ebola waccine set to begin (Guardian) Why the Green New Deal should be scrapped (Guardian Opinion) Softbank raises $188 million for robot arm (Deal Street Asia) Exorcist and Demonologist breaks down Astroworld satanism (DailyCaller)   PRODUCER'S ep410: Executive Producer Brett H**   Ass. Executive Producer EmiBob* Amanda P*   Producers Kathleen C, LittleWinged1, Spearsdesert, Denise W, Scott K, Gail M, Heatheruss , 57 Chevy Girl, Sir Sammons Knight of the Fishes, Morv, Sigrah the Beast, A Unique Jewelery Boutique, Sir Casey the Shield Knight, Doughty the Coyote, JC, Jackie U, Andy K, Green Mountaineer, Veronica D, Shagen, Child of God, DrWhoDunDat, Runksmash, Ciara   Patreon Kay B ebonie F   ART: Dame Allie of the Skillet Nation Sir Dove, Knight of Rustbeltia Ryan N   MICROFICTION Runksmash - Basil, Gonz and NFG watch as the MEGA BASILs battle. The city is in ruins as finally one is victorious limping he goes to his maker, the original B. A. S. I. L. leaves the collective “Did I… save you…” he asks falling at Gonz's feet, battery exhausted   Epilogue: At some point in the past a familiar robotic father pats the shoulder of a young man “Now son, if you ever time travel it's inevitable you're going to have to go back and kill your past self, so just be grateful for the seconds you have. ”

Episode one hundred and thirty-two of A History of Rock Music in Five Hundred Songs looks at “I Can't Help Myself” by the Four Tops, and is part two of a three-episode look at Motown in 1965. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Colours" by Donovan. 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 too many of the songs were by the Four Tops. Amazingly, there are no books on the Four Tops, so I've had to rely on the information in the general Motown sources I use, plus the liner notes for the Four Tops 50th Anniversary singles collection, a collection of the A and B sides of all their Motown singles. That collection is the best collection of the Four Tops' work available, but is pricey -- for a cheaper option this single-disc set is much better value. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This is the second part of a two-part look at the work of Holland, Dozier, and Holland, and part of a three-part look at Motown Records in the mid-sixties. If you've not listened to the last episode, on the Supremes, you might want to listen to that one before this. There's a clip of an old radio comedy show that always makes me irrationally irritated when I hear it, even though I like the programme it's from: [Excerpt of The Mark Steel Lectures, “Aristotle” episode. Transcript: "Which led him back to the problem, what is it that makes something what it is? Is an apple still an apple when it's decomposing? I went to see the Four Tops once and none of the original members were in the band, they were just session musicians. So have i seen the Four Tops or not? I don't know" ] That's the kind of joke that would work with many vocal groups -- you could make the joke about the Drifters or the Ink Spots, of course, and it would even work for, for example, the Temptations, though they do have one original member still touring with them. Everyone knows that that kind of group has a constantly rotating membership, and that people come and go from groups like that all the time. Except that that wasn't true for the Four Tops at the time Mark Steel made that joke, in the late 1990s. The current version of the Four Tops does only have one original member -- but that's because the other three all died. At the time Steel made the joke, his only opportunity to see the Four Tops would have been seeing all four original members -- the same four people who had been performing under that name since the 1950s. Other groups have had longer careers than that without changing members -- mostly duos, like Simon & Garfunkel or the Everly Brothers -- but I can't think of another one that lasted as long while performing together continuously, without taking a break at any point. So today, we're going to look at the career of a group who performed together for forty-four years without a lineup change, a group who were recording together before Motown even started, but who became indelibly associated with Motown and with Holland-Dozier-Holland. We're going to look at the Four Tops, and at "I Can't Help Myself": [Excerpt: The Four Tops, "I Can't Help Myself"] The Four Tops have turned up in the background in several episodes already, even though we're only now getting to their big hits. By the time they became huge, they had already been performing together for more than a decade, and had had a big influence on the burgeoning Detroit music scene even before Berry Gordy had got involved with the scene. The group had started out after Abdul "Duke" Fakir, a teenager in Detroit, had gone to see Lucky Millinder and his band perform, and had been surprised to see his friend Levi Stubbs turn up, get on stage, and start singing with the band in a guest spot. Fakir had never realised before that his friend sang at all, let alone that he had an astonishing baritone voice. Stubbs was, in fact, a regular on the Detroit amateur singing circuit, and had connections with several other performers on that circuit -- most notably his cousin Jackie Wilson, but also Hank Ballard and Little Willie John. Those few singers would make deals with each other about who would get to win at a particular show, and carved things up between them. Stubbs and Fakir quickly started singing together, and by 1953 they had teamed up with two other kids, Obie Benson and Lawrence Payton. The four of them sang together at a party, and decided that they sounded good enough together that they should become a group. They named themselves the Four Aims, and started playing local shows. They got a one-off record deal with a small label called Grady Records, and released their only single under the name "The Four Aims" in 1956: [Excerpt: The Four Aims, "She Gave Me Love"] After that single, they tried teaming up with Jackie Wilson, who had just quit Billy Ward and the Dominoes, but they found that Wilson and Stubbs' voices clashed -- Wilson's then-wife said their voices were too similar, though they sound very different to me. Wilson would, of course, go on to his own massive success, and that success would be in part thanks to Roquel Davis, who was Lawrence Payton's cousin. As we saw in the episode on "Reet Petite", Davis would co-write most of Wilson's hits with Berry Gordy, and he was also writing songs for the Four Aims -- who he renamed the Four Tops, because he thought the Four Aims sounded too much like the Ames Brothers, a white vocal quartet who were popular at the time.  They explained to Davis that they were called the Four Aims because they were *aiming* for the top, and Davis said that in that case they should be the Four Tops, and that was the name under which they would perform for the rest of their career. In the early fifties, before Wilson's success, Davis was the person in the group's circle with the most music industry connections, and he got them a deal with Chess Records. I already talked about this back in the episode on Jackie Wilson, but the group's first record on Chess, with Davis as the credited songwriter: [Excerpt: The Four Tops, "Kiss Me Baby"] Sounds more than a little like a Ray Charles record from a couple of years earlier, which Davis definitely didn't write: [Excerpt: Ray Charles, "Kissa Me Baby"] But that wasn't a success, and it would be another four years before they released their next single -- a one-off single on Columbia Records. It turned out that Chess had mostly signed the Four Tops not for the group, but to get Davis as a songwriter, and songs he'd originally written for the Tops ended up being recorded by other acts on Chess, like the Moonglows and the Flamingoes. The group's single on Columbia would also be a flop, they'd wait another two years before another one-off single on Riverside, and then yet another two years before they were signed by Motown. Their signing to Motown was largely the work of Mickey Stevenson, Motown's head of A&R. Of course, Stevenson was responsible, directly or otherwise, for every signing to the label at this point in time, but he had a special interest in the Four Tops. Stevenson had been in the Air Force in the 1950s, when he'd wandered into one of the Detroit amateur shows at which the Four Aims had been performing. He'd been so impressed with them that he immediately decided to quit the air force and go into music himself. He'd joined the Hamptones, the vocal group who toured with Lionel Hampton's band, and he'd also become a member of a doo-wop group called The Classics, who'd had a minor hit with "If Only the Sky Was a Mirror": [Excerpt: The Classics, "If Only the Sky Was a Mirror"] Stevenson had moved into a backroom position with Motown, but it was arguably the most important position in the company other than Gordy's. He was responsible for putting together the Funk Brothers, for signing many of the label's biggest acts, and for co-writing a number of the label's biggest hits, including "Stubborn Kind of Fellow" and "Dancing in the Street". Stevenson had wanted to sign the group from the start -- given that they were the group who were directly responsible for everything that had happened in his career, they were important to him. And Berry Gordy was also a fan of the group, and had known them since his time working with Jackie Wilson, but it had taken several years for everything to fall into place so that the group were able to sign to Motown. When they did, they naturally became a priority. When they were signed to the label, it was initially with the intention of recording them as a jazz group rather than doing the soul pop that Motown was best known for. Their first recordings for Motown were for their subsidiary Workshop Jazz. They recorded an entire album of old standards for the label, titled "Breaking Through": [Excerpt: The Four Tops, "This Can't be Love"] Unfortunately for the group, that album wouldn't be released for thirty-five years -- Workshop Jazz had been founded because Berry Gordy was still a jazz fanatic, but none of the records on it had been very successful (or, frankly, very good -- the Four Tops album was pretty good, but most of the music put out on the label was third rate at best), and so the label closed down before they released the Four Tops album. So the group were at a loose end, and for a while they were put to work as session vocalists on other people's records, adding backing to records by the Supremes: [Excerpt: The Supremes, "Run Run Run"] And even after they started having hits of their own they would appear on records by other people, like "My Baby Loves Me" by Martha and the Vandellas: [Excerpt: Martha and the Vandellas, "My Baby Loves Me"] You'll notice that both of these records were ones where the Four Tops were added to a female group -- and that would also be the case on their own records, once Holland, Dozier, and Holland took over producing them. The sound on the Four Tops' records is a distinctive one, and is actually made up of seven voices. Levi Stubbs, of course, took the lead on the singles, but the combination of backing vocalists was as important as the lead. Unlike several other vocal groups, the Four Tops were never replaced on their records -- Stubbs was always resistant to the idea that he was more important than the rest of his group. Instead, they were augmented -- Motown's normal session singers, the Andantes, joining in with Fakir, Payton, and Benson. The idea was to give the group a distinctive sound, and in particular to set them apart from the Temptations, whose recordings all featured only male vocals. The group's first hit single, "Baby I Need Your Loving", was a song that Holland, Dozier, and Holland had written but weren't too impressed with. Indeed, they'd cut the backing track two years earlier, but been too uninspired by it to do anything with the completed track. But then, two years after cutting the backing, Dozier was hit with inspiration -- the lines "Baby, I need your loving/Got to have all your loving" fit the backing track perfectly. Eddie Holland was particularly excited to work with the Four Tops. Even though he'd somehow managed never to hear the group, despite both moving in the same musical circles in the same town for several years, he'd been hearing for all that time that Levi Stubbs was as good as his rivals Little Willie John and Jackie Wilson -- and anyone that good must be worth working with. When they took the song into the studio, though, Levi Stubbs didn't want to sing it, insisting that the key was wrong for his voice, and that it should be Payton who sang the song. The producers, though, insisted that Stubbs had the perfect voice for the song, and that they wanted the strained tone that came from Stubbs' baritone going into a higher register than he was comfortable with. Eddie Holland, who always coached the lead vocalists while his brother and Lamont Dozier worked with the musicians, would later say that the problem was that Stubbs was unprepared and embarrassed -- they eventually persuaded Stubbs to take the song home and rehearse it over the weekend, and to come in to have a second go at the track the next Monday. On the Monday, Stubbs came in and sang the song perfectly, and Stubbs' baritone leads became the most distinctive sound to come out of Motown in this period: [Excerpt: The Four Tops, "Baby I Need Your Loving"] According to at least one source, Stubbs was still unhappy with his vocal, and wanted to come in again the next day and record it again. Holland, Dozier, and Holland humoured him, but that wasn't going to happen. "Baby I Need Your Loving" became a hit, making number eleven, and so of course the next record was a soundalike. "Without the One You Love (Life's Not Worthwhile)" even started with the line "Baby, I need your good loving". Unfortunately, this time Holland, Dozier, and Holland copied their previous hit a little *too* closely, and people weren't interested. Dozier has later said that they were simply so busy with the Supremes at the time that they didn't give the single the attention it deserved, and thought that cranking out a soundalike would be good enough. Because of this, they weren't given the group's next single -- the way Motown worked at the time, if you came up with a hit for an act, you automatically got the chance to do the follow-up, but if you didn't have a hit, someone else got a chance. Instead, Mickey Stevenson and Ivy Joe Hunter came up with a ballad called "Ask the Lonely", which became a minor hit -- not as big as "Baby I Need Your Loving", but enough that the group could continue to have a career. It would be the next single that would make the Four Tops into the other great Holland-Dozier-Holland act, the one on which their reputation rests as much as it does on the Supremes: [Excerpt: The Four Tops, "I Can't Help Myself"] "I Can't Help Myself" was inspired by Dozier's grandfather, who would catcall women as they passed him on the street -- "Hey, sugar pie! Hi there honey bunch!" Dozier married those words to a chord progression that's almost identical to the one from "Where Did Our Love Go?".  Both songs go C-G-Dm-F-G, with the same number of beats between changes: [demonstrates] There's only one tiny change in the progression -- in the last beat of the last bar, there's a passing chord in "I Can't Help Myself", a move to A minor, that isn't there in "Where Did Our Love Go?" Even the melody lines, the syllabics of the words, and their general meanings are very similar. "Where Did Our Love Go?" starts with "Baby baby", "I Can't Help Myself" starts with "Sugar pie, honey bunch". "Baby don't leave me" is syllabically similar to "You know that I love you". The two songs diverge lyrically and melodically after that, but what's astonishing is how a different vocalist and arrangement can utterly transform two such similar basic songs. Compare the opening of "Where Did Our Love Go?": [Excerpt: The Supremes, "Where Did Our Love Go?"] With the opening of "I Can't Help Myself": [Excerpt: The Four Tops, "I Can't Help Myself"] It's a perfect example of how Holland, Dozier, and Holland would reuse musical ideas, but would put a different spin on them and make the records sound very different. Of course, some of the credit for this should go to the Funk Brothers, the session musicians who played on every Motown hit in this period, but there's some question as to exactly how much credit they deserved. Depending on who you believe, either the musicians all came up with their own instrumental lines, and the arrangement was a group effort by the session musicians with minimal interference from the nominal producers, or it was all written by Brian Holland and Lamont Dozier, and the musicians just did what they were told with no creative input at all. The arguments about who did what tend to get quite vicious, with each side pointing out, accurately, that the other needed them. It's true that Holland, Dozier, and Holland didn't do anything like as well as writers and producers after they left Motown. It's also true that the Funk Brothers didn't write or produce any hits themselves, but were reliant on the Motown staff writers and producers for material. I suspect, and it is only a suspicion, that the truth lies between the two, and that it was a collaborative process where Holland and Dozier would go into the studio with a good idea of what they wanted, but that there was scope for interpretation and the musicians were able to make suggestions, which the producers might take up if they were good ones. If Brian Holland sketched out or hummed a rough bassline to James Jamerson, saying something like "play bum-bum-bum-bum", and then Jamerson embellished and improvised around that rough bassline, it would be easy to see how both men could come out of the session thinking they had written the bassline, and having good reason to think so. It's also easy to see how the balance could differ in different sessions -- how sometimes Holland or Dozier could come in with a fully worked out part, and other times they might come in saying "you know the kind of thing I want",  and how that could easily become remembered as "I came up with all the parts and the musicians did nothing" or "Us musicians came up with all the parts and the producers just trusted us". Luckily, there's more than enough credit to go around, and we can say that the Four Tops, Holland, Dozier, and Holland, the Funk Brothers, and the Andantes all played an important part in making these classic singles: [Excerpt: The Four Tops, "I Can't Help Myself"] "I Can't Help Myself" knocked the Supremes' "Back in My Arms Again" off the number one spot, but was itself knocked off the top by "Mr. Tambourine Man" -- but then a week later, "I Can't Help Myself" was at number one again, before being knocked off again by "(I Can't Get No) Satisfaction". The success of "I Can't Help Myself" meant that the group's singles on their old labels suddenly had some value. Columbia Records reissued "Ain't That Love", a single the group had originally released four years earlier, in the hope of having some success because of the group's new-found fame. As we saw last time when the Supremes rushed out "Come See About Me" to prevent someone else having the hit with it, there was nothing that Berry Gordy hated more than the idea that someone else could have a hit based on the success of a Motown act. The Four Tops needed a new single *now* to kill the record on Columbia, and it didn't matter that there were no recordings or even songs available to put out. Holland, Dozier, and Holland went into the studio to record a new backing track with the Funk Brothers, essentially just a remake of the backing from "I Can't Help Myself", only very slightly changed. By three o'clock in the afternoon on the day they found out that the Columbia record was being released, they were in the studio, Dozier fine-tuning the melody while Brian Holland rehearsed the musicians and Eddie Holland scribbled lyrics in another corner. By five PM the track had been recorded and mixed. By six PM the master stamper was being driven the ninety miles to the pressing plant so they could start pressing up copies. The next day, DJs started getting copies of the record, and it was in the shops a couple of days later. Of course, the record being made in such a rush meant that it was essentially a remake of their previous hit -- something that was acknowledged in the tongue-in-cheek title: [Excerpt: The Four Tops, "It's the Same Old Song"] "It's the Same Old Song" wasn't as big a hit as "I Can't Help Myself", but it made number five on the charts, a more than respectable follow-up, and quite astonishing given the pressure under which the record was made. The next few singles that Holland, Dozier, and Holland wrote for the group weren't quite as successful -- this was early 1966, and Holland, Dozier, and Holland were in a mini slump -- they'd had a number one with "I Hear a Symphony", as we heard in the last episode, but then they produced two singles for the Supremes that made the top ten, but not number one -- "My World is Empty Without You" and "Love is Like an Itching in My Heart".  And as the Four Tops weren't quite as big as the Supremes, so their next two singles, "Something About You" and "Shake Me, Wake Me (When It's Over)", only just scraped into the bottom of the top twenty. Still hits, but not up to Holland, Dozier, and Holland's 1965 standards. And so as was the common practice at Motown, someone else was given a chance to come up with a song for the group. "Loving You is Sweeter Than Ever" was written by Ivy Jo Hunter, a songwriter and producer whose biggest contribution to this point had been co-writing "Dancing in the Street", and Stevie Wonder, a child star who'd had a hit a couple of years earlier but never really followed up on it, and who also played drums on the track: [Excerpt: The Four Tops, "Loving You is Sweeter Than Ever"] Within a few months, Wonder would begin a run of hit singles that would continue for more than a decade, and would become arguably the most important artist on Motown. But that golden period hadn't quite started yet, and "Loving You is Sweeter Than Ever" didn't make the top forty. At this point, it would have been easy for the Four Tops to have been relegated to the same pile as artists like the Contours -- people who'd had a couple of hits on Motown, but had then failed to follow up with a decent career. Motown was becoming ever more willing to drop artists as dead weight, as Gordy was increasingly concentrating on a few huge stars -- Marvin Gaye, Smokey Robinson and especially the Supremes – to the exclusion of everyone else. But then Holland, Dozier, and Holland got back up on top. They came up with two more number ones for the Supremes in quick succession. "You Can't Hurry Love" was recorded around the same time that "Loving You is Sweeter Than Ever" was failing to chart, and quickly became one of the Supremes' biggest ever hits. They followed that with a song inspired by the sound of the breaking news alert on the radio, replicating that sound with the staccato guitars on what was their most inventive production to date: [Excerpt: The Supremes, "You Keep Me Hanging On"] Not only was that a number one record, it was soon followed by a top ten cover version by the heavy rock band Vanilla Fudge: [Excerpt: Vanilla Fudge, "You Keep Me Hanging On"] Holland, Dozier, and Holland were back on top, and they brought the Four Tops back to the top with them. The next single they recorded with the group, "Reach Out, I'll Be There", started with an instrumental introduction that Brian Holland was noodling with on the piano: [Excerpt: The Four Tops, "Reach Out I'll Be There"] Holland was playing that part, over and over, and then suddenly Lamont Dozier was hit with inspiration -- so much so that he literally pushed Holland to one side without saying anything and started playing what would become the verse: [Excerpt: The Four Tops, "Reach Out I'll Be There"] The interesting thing about that track is that it shows how the different genres that were charting at the time would have more influence on each other than it might appear from this distance, where we put them all into neat little boxes named "folk-rock" or "Motown". Because Lamont Dozier was very specifically being influenced by Bob Dylan and "Like a Rolling Stone", when it came to how the song was phrased. Now, this is not something that I would ever in a million years have thought of, but once you know it, the influence is absolutely plain -- the way the melody stresses and elongates the last syllable of each line is pure Dylan. To show this, I am afraid I'm going to have to do something that I hoped I'd never, ever, have to do, which is do a bad Bob Dylan impression. Everyone thinks they can impersonate Dylan, everyone's imitations of Dylan are cringeworthy, and mine is worse than most. This will sound awful, but it *will* show you how Dozier was thinking when he came up with that bit of melody: [demonstrates] Let us never speak of that again. I think we'd better hear how Levi Stubbs sang it again, hadn't we, to take that unpleasant sound away: [Excerpt: The Four Tops, "Reach Out I'll Be There"] That became the group's second and last number one single, and also their only UK number one. Unfortunately, Holland, Dozier, and Holland were so hot at this point that they ended up competing with themselves. Norman Whitfield, one of the other Motown songwriter-producers, had wanted for a while to produce the Temptations, whose records were at this point mostly written and produced by Smokey Robinson. He called on Eddie Holland to help him write the hit that let him take over from Robinson as the Temptations' producer, "Ain't Too Proud to Beg": [Excerpt: The Temptations, "Ain't Too Proud to Beg"] Dozier and Brian Holland were fine with Eddie working with another writer -- they all did that kind of thing on occasion -- until the date of the BMI Awards. The previous two years, the trio had been jointly given BMI's award for most successful songwriter of the year. But that year, Eddie Holland got the award on his own, for having written more hits than anyone else (he'd written eight, Dozier and Brian Holland had written six. According to a contemporary issue of Billboard, John Sebastian was next with five, then Lennon/McCartney and Jagger/Richards with four each.) Holland felt bad that he'd inadvertently prevented his collaborators from winning the award for a third year in a row, and from this point on he'd be much more careful about outside collaborations. Holland, Dozier, and Holland wrote two more classic singles for the Four Tops, "Standing in the Shadows of Love", and "Bernadette". That latter had been inspired by a coincidence that all three of Holland, Dozier, and Holland had at one time or another dated or felt unrequited love for different girls called Bernadette, but it proved extremely difficult to record. When the trio wrote together, Eddie Holland would always sing the songs, and the melodies were constructed around his tenor vocal range. Stubbs was a baritone, and sometimes couldn't hit some of the higher notes in the melodies, and he was having that problem with "Bernadette". Eddie Holland eventually solved the problem by inviting in a few fans who had been hanging around outside hoping for autographs. Stubbs being a performer wasn't going to make himself look bad in front of an audience, and sang it perfectly: [Excerpt: The Four Tops, "Bernadette"] "Bernadette" made the top five, and it was followed by a couple more top twenty hits with lesser Holland/Dozier/Holland songs, but then the writer-producers quit Motown, for reasons we'll look at in a few months when we take our last look at the Supremes. This left the Four Tops stranded -- they were so associated with their producers that nobody else could get hits with them. For a while, Motown turned to an interesting strategy with them. It had been normal Motown practice to fill albums up with cover versions of hits of the day, and so the label put out some of this album filler as singles, and surprisingly had some chart success with cover versions of the Left Banke's baroque pop hit "Walk Away Renee": [Excerpt: The Four Tops, "Walk Away Renee"] and of Tim Hardin's folk ballad "If I Were a Carpenter": [Excerpt: The Four Tops, "If I Were a Carpenter"] And so for a while many of the singles the group released, both in the US and elsewhere, were covers of songs that were very far from the normal Motown style -- the Jimmy Webb ballad "Do What You Gotta Do" made the UK top twenty, their cover of another Jimmy Webb song, "MacArthur Park", made the lower reaches of the US top forty, their version of the old standard "It's All in the Game" made number twenty-four, and they released a version of "River Deep, Mountain High", teaming up with the Supremes, that became more successful in the US than the original, though still only just made the top forty. But they were flailing. Motown had no idea what to do with them other than release cover versions, and any time any of Motown's writing and production teams tried to come up with something new for the group it failed catastrophically. In 1972 they signed to ABC/Dunhill, and there they had a few hits, including a couple that made the top ten, but soon the same pattern emerged -- no-one could reliably get hits with the group, and they spent much of the seventies chasing trends and failing to catch them. They had one more big US hit in 1981, with "When She Was My Girl", which made number eleven, and which went to number one on the R&B charts: [Excerpt: The Four Tops, "When She Was My Girl"] But from that point on they were essentially a nostalgia act, though they carried on releasing records through the eighties. The group's career nearly came to a premature end in 1988. They were in the UK to promote their single "Loco in Acapulco", co-written by Lamont Dozier and Phil Collins, from the soundtrack of Collins' film Buster: [Excerpt: The Four Tops, "Loco in Acapulco"] That was a UK top ten hit, but it nearly led to the group's death -- they were scheduled to fly out of the UK on Pan Am flight 103 to Detroit on the twenty-first of December 1988. But the group were tired after recording an appearance on Top of the Pops the night before, slept in, and missed the flight. The flight fell victim to a terrorist bombing -- the Lockerbie bombing -- and everyone on it died. The group carried on performing together after that, but their last new single was released in 1989, and they only recorded one more album, a Christmas album in 1995. They performed together, still in their original lineup, until 1997 when Lawrence Payton died from cancer. At first the group continued as a trio, retiring the Four Tops name and just performing as The Tops, but eventually they got in a replacement. By the turn of the century, Levi Stubbs had become too ill to perform as well -- he retired in 2000, though he came back for a one-off performance for the group's fiftieth anniversary in 2004, and he died in 2008. Obie Benson continued performing with the group until three months before his death in 2005. A version of the Four Tops continues to perform, led by Abdul Fakir, and also featuring Lawrence Payton's son Roquel, named after Roquel Davis, who performs under the name Lawrence Payton Jr. The Four Tops were one of those groups that never quite lived up to their commercial potential, thanks in large part to Holland, Dozier, and Holland leaving Motown at precisely the wrong moment, and one has to wonder how many more hits they could have had under other circumstances. But the hits they did have included some of the greatest records of the sixties, and they managed to continue working together, without any public animosity, until their deaths. Given the way the careers of more successful groups have tended to end, perhaps it's better this way.

We sit down with Jay Wile the writer, producer and performer of “Help Myself” the adopted theme song of the show. Part one of going down memory lane and where he is headed with his artistry, career and life

We Talk About: Feeling how you feel Using this moment as a reset Holly's background realizing she was addicted to social media Getting started on her spiritual path Avoiding the truth Taking responsibility for yourself How to integrate learning into your life What happens when you can't help yourself Learning to trust yourself Changing the model to helping people help themselves Creating from your heart versus your ego Seeing yourself clearly Holly's meditation practice Social Media Audits Screentime, App Limits, Downtime, Taking Breaks, What are your goals?   Quotes:   “There's a place beyond the right and wrong and I'll meet you there” - Punnu   “participate joyfully in the sorrows of the world we can not cure the world of sorrows but we can choose to live in joy” -Joseph Campbell   Books & Resources: Can't Help Myself -  Meredith Goldstein   PUNNU SINGH WASU https://www.punnuwasu.com   The Book I read from is Jospeh Campbell: https://www.amazon.com/Reflections-Art-Living-Campbell-Companion/dp/0060926171   Work with Holly EVENTBRITE for the ACTIVATE YOUR INNER COMPASS workshop: https://www.eventbrite.com/e/activate-your-inner-compass-tickets-100587495908   Connect with Holly Online: https://nantucketblackbook.com/ Instagram: https://www.instagram.com/hollyruthfinigan/ email: Holly@NantucketblACKbook.com   Listen to the Gal Pals Podcast podcast: https://podcasts.apple.com/us/podcast/gal-pals/id1465664059 Gal Pals instagram: https://www.instagram.com/galpalspodcast/   Connect with Me Online: The Joy Squad Facebook Group: facebook.com/groups/thejoysquad/ Instagram: https://www.instagram.com/georgiemorley/ Chasing Joy Instagram: https://www.instagram.com/chasingjoypodcast/ Blog: https://georgiemorley.com   Episode Sponsor - Pyknic My favorite Pyknic picks: “Death Before Decaf” Crew Neck https://pyknic.com/collections/women/products/death-before-decaf-coffee-crewneck “Glazed and Confused” Crew Neck https://pyknic.com/collections/women/products/glazed-confused-crew “Morning Glory” Button Down https://pyknic.com/collections/women/products/morning-glory-womens-button-up-top “Morning Ritual” Tank https://pyknic.com/collections/women/products/morning-ritual-coffee-womens-muscle-tee use code chasingjoy for 20% off your entire order!