Podcasts about his garment

The Hem of His Garment - 03-02-25 - Bro Gilbert Pearson

Episode Summary:  For many, the holiday season is synonymous with joy, family, and celebration. But for others, it brings a heavy reminder of loss and sorrow. Grief can take many forms—the loss of a loved one, a relationship that ended, or even a dream that was never realized. Today, we will navigate this journey together and explore how, even in the midst of grief, we can find glimpses of hope. You are not alone in this, and we'll spend time talking about practical strategies, share stories, and dig into Scripture to see what God says about our pain. Quotables from the episode: I want to start by acknowledging your grief. During the Christmas season, there's often a societal expectation to be cheerful and merry, but if you're dealing with loss, that expectation can feel impossible to meet. Maybe it's the first Christmas without a loved one, or perhaps the memories from past years are bittersweet. Your pain is real, and it's valid. Remember that Jesus was familiar with grief. The shortest verse in the Bible, ‘Jesus wept' (John 11:35), shows us that even the Savior of the world mourned with those He loved. He is not indifferent to your sorrow. The Psalms are filled with the raw, honest emotions of those who suffered, reminding us that we can bring our pain to God, and He meets us there. Grief is not linear, and it doesn't follow a predictable timeline. It's normal for grief to feel sharper around the holidays. Instead of suppressing your emotions or feeling like you need to ‘move on,' give yourself the space to grieve. Remember that Jesus invites us to come to Him with our burdens. Rest doesn't mean the absence of grief, but the presence of God in the midst of it. Traditions can be both comforting and painful. If certain traditions feel like too much to handle, give yourself permission to simplify. This might be the year you skip decorating the tree or decide not to host a large gathering. Consider creating a new tradition that honors your loss while bringing some comfort. Perhaps lighting a candle at the dinner table, donating in your loved one's name, or hanging a special ornament in their memory. Grief and joy can coexist. Even in the midst of sorrow, there can be moments of beauty and joy—if we're open to seeing them. This could be as simple as enjoying a favorite Christmas song, taking a walk in nature, or sitting quietly with a warm drink. Grief can feel incredibly isolating, especially during a season that emphasizes togetherness. It's important to remember that you don't have to walk this journey alone. Christmas, at its core, is about the hope of Jesus. It's easy to get caught up in the decorations, presents, and festivities, but the real meaning of Christmas is that Jesus came to be with us—God with us, Immanuel. He came into a broken world to bring light in the darkness. When grief feels overwhelming, return to this truth: that Jesus came to bind up the brokenhearted and bring hope to the hopeless. Scripture References: John 11:35 ‘Jesus wept.' Matthew 11:28 says, “‘Come to me, all you who are weary and burdened, and I will give you rest.'” Zephaniah 3:17 says, ‘The Lord your God is with you, the Mighty Warrior who saves. He will take great delight in you; in his love he will no longer rebuke you, but will rejoice over you with singing.' Galatians 6:2 reminds us to ‘Carry each other's burdens, and in this way, you will fulfill the law of Christ.' Sometimes, we need others to help carry the weight of our grief.” Isaiah 9:2 says, ‘The people walking in darkness have seen a great light; on those living in the land of deep darkness a light has dawned.' Psalm 34:18 - ‘The Lord is close to the brokenhearted and saves those who are crushed in spirit.' Revelation 21:4 - ‘He will wipe every tear from their eyes. There will be no more death or mourning or crying or pain, for the old order of things has passed away.' Matthew 5:4 - ‘Blessed are those who mourn, for they will be comforted.'     Recommended Resources:    How Do You Overcome Grief after the Death of a Child? – Episode 273 Find Strength in Sorrow: 15 Essential Tips to Survive Grief Healing from Grief: Tips for Coping with Grief and Loss How To Recover from Grief and Embrace Life – Episode 230 How To Navigate Grief and Loss How To Deal with Grief and Maintain our Hope – Episode 153 How To Find Hope in the Midst of Grief – Episode 70 Grief at Christmas: 10 Ways to Help Help for the Grief-Stricken: 3 Anchors that Held Me in Grief 10 Things Grieving Parents Need and Don't Need Grieving with Hope After the Loss of a Loved One Hope in Widowhood: How to Help a Grieving Widow – Episode 8 How To Help a Grieving Friend Hope for the Grieving Parent: How to Help a Grieving Friend – Episode 3 Sacred Scars: Resting in God's Promise That Your Past Is Not Wasted by Dr. Michelle Bengtson  The Hem of His Garment: Reaching Out to God When Pain Overwhelms by Dr. Michelle Bengtson YouVersion 5-Day Devotional Reaching Out To God When Pain Overwhelms   Today is Going to be a Good Day: 90 Promises to Start Your Day Off Right by Dr. Michelle Bengtson, winner of the AWSA 2023 Inspirational Gift Book of the Year Award, the Christian Literary Awards Reader's Choice Award in four categories, and the Christian Literary Awards Henri Award for Devotionals YouVersion 7-Day Devotional, Today is Going to be a Good Day YouVersion 7-Day Devotional, Today is Going to be Another Good Day Breaking Anxiety's Grip: How to Reclaim the Peace God Promises by Dr. Michelle Bengtson Breaking Anxiety's Grip Free Study Guide Free 7-Day YouVersion Bible Reading Plan for Breaking Anxiety's Grip Hope Prevails: Insights from a Doctor's Personal Journey Through Depression by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Hope Prevails Bible Study by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Trusting God Through Cancer 1 Trusting God Through Cancer 2 Revive & Thrive Women's Conference Subdue Stress and Anxiety: Fifteen Experts Offer Comprehensive Tools in Ten Minutes a Day. Use my link plus discount code BENG99 to save $90 on course (course will be $99.) Free Download: How To Fight Fearful/Anxious Thoughts and Win   Social Media Links for Host: For more hope, stay connected with Dr. Bengtson at: Order Book Breaking Anxiety's Grip / Order Book Hope Prevails  /  Website  /  Blog  /  Facebook / Twitter (@DrMBengtson)  /  LinkedIn  /  Instagram / Pinterest / YouTube   Dr. Michelle Bengtson is an international speaker, a national and international media resource on mental health, and the bestselling, award-winning author of Hope Prevails, the Hope Prevails Bible Study, Today Is Going to Be a Good Day, Breaking Anxiety's Grip, The Hem of His Garment, and Sacred Scars. She is also the host of the award-winning podcast Your Hope-Filled Perspective. A board-certified clinical neuropsychologist in private practice for more than twenty years, Dr. Bengtson blogs regularly and offers a wide variety of resources on her website, DrMichelleB.com.   Hosted By: Dr. Michelle Bengtson Audio Technical Support: Bryce Bengtson  

Episode Summary: As the holidays approach and we're inundated with messages about thankfulness, you may wonder: does gratitude actually change anything? Is there science behind the old advice to “count your blessings”? In this episode of Your Hope-Filled Perspective, I'm diving into the connection between Gratitude and Neuroscience, showing how adopting a heart of gratitude impacts not just our spiritual lives but also our mental and physical health. Scripture reminds us that what God commands aligns beautifully with how He created us. I'll share 25+ unique things to be grateful for and why cultivating thankfulness, even during tough times, is so important. Together, we'll look at how gratitude helps us see hidden blessings and keeps our focus on God's faithfulness. Quotables from the episode: God never wastes our pain; even in difficulty, we can find reasons to be grateful. When we will be continually in a prayerful posture, God will open our eyes, our minds, and our hearts to recognize and then be willing to thank him for all those things that we had previously dismissed or not considered. I want to have a constantly grateful heart. So I'm consistently challenging myself to notice little or unusual things in life, those things that maybe I sometimes take for granted, and offer up thanks for them.  When God tells us to be thankful in all situations, He means it, but I believe that as we pray without ceasing, like that verse in First Thessalonians said, that God is the one who creates a thankful heart in us. Start with the small things. Start with the unusual things. And I'm firmly convinced that the more we cultivate an attitude of gratitude, the more we realize we really do have to be blessed and thank God for. Gratitude shifts our perspective, revealing God's hidden blessings in our everyday lives. Scripture References: 1 Thessalonians 5:17-18 “Never stop praying. Be thankful in all circumstances, for this is God's will for you who belong to Christ Jesus.” Proverbs 17:22 “A merry heart does good like medicine.” Psalm 139:16 “Your eyes saw my unformed body; all the days ordained for me were written in your book before one of them came to be.” Romans 12:18 “If it is possible, as far as it depends on you, live at peace with everyone.”   Recommended Resources:    Sacred Scars: Resting in God's Promise That Your Past Is Not Wasted by Dr. Michelle Bengtson  The Hem of His Garment: Reaching Out to God When Pain Overwhelms by Dr. Michelle Bengtson YouVersion 5-Day Devotional Reaching Out To God When Pain Overwhelms   Today is Going to be a Good Day: 90 Promises to Start Your Day Off Right by Dr. Michelle Bengtson, winner of the AWSA 2023 Inspirational Gift Book of the Year Award, the Christian Literary Awards Reader's Choice Award in four categories, and the Christian Literary Awards Henri Award for Devotionals YouVersion 7-Day Devotional, Today is Going to be a Good Day YouVersion 7-Day Devotional, Today is Going to be Another Good Day Breaking Anxiety's Grip: How to Reclaim the Peace God Promises by Dr. Michelle Bengtson Breaking Anxiety's Grip Free Study Guide Free 7-Day YouVersion Bible Reading Plan for Breaking Anxiety's Grip Hope Prevails: Insights from a Doctor's Personal Journey Through Depression by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Hope Prevails Bible Study by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Trusting God Through Cancer 1 Trusting God Through Cancer 2 Revive & Thrive Women's Conference Subdue Stress and Anxiety: Fifteen Experts Offer Comprehensive Tools in Ten Minutes a Day. Use my link plus discount code BENG99 to save $90 on course (course will be $99.) Free Download: How To Fight Fearful/Anxious Thoughts and Win   Social Media Links for Host: For more hope, stay connected with Dr. Bengtson at: Order Book Breaking Anxiety's Grip / Order Book Hope Prevails  /  Website  /  Blog  /  Facebook / Twitter (@DrMBengtson)  /  LinkedIn  /  Instagram / Pinterest / YouTube   Dr. Michelle Bengtson is an international speaker, a national and international media resource on mental health, and the bestselling, award-winning author of Hope Prevails, the Hope Prevails Bible Study, Today Is Going to Be a Good Day, Breaking Anxiety's Grip, The Hem of His Garment, and Sacred Scars. She is also the host of the award-winning podcast Your Hope-Filled Perspective. A board-certified clinical neuropsychologist in private practice for more than twenty years, Dr. Bengtson blogs regularly and offers a wide variety of resources on her website, DrMichelleB.com.   Hosted By: Dr. Michelle Bengtson Audio Technical Support: Bryce Bengtson

Have you ever doubted that the Bible is true? That people could rise from the dead? That Jesus is really God? Today on the Live Like It's True podcast, Dr. Michelle Bengtson and I are talking about a wounded doubter named Thomas, and how Jesus responded. Find out how Jesus offers you both assurance and a challenge as well. Guest: Dr. Michelle BengtsonBible Passage: Jesus Appears to Thomas - John 20:19-29Get your Freebie: 99 Truths from God's Word to Speak Over Your Life to Combat the Lies of the Enemy from Dr. Michelle BengtsonFalse Narrative Watchlist from Shannon PopkinResound Media Network: www.ResoundMedia.ccMentioned ResourcesThe Hem of His Garment by Dr. Michelle BengtsonSacred Scars by Dr. Michelle BengtsonControl Girl by Shannon PopkinYour Hope Filled Perspective Podcast with Dr. MichelleMusic: Cade PopkinDr. Michelle BengtsonDr. Michelle Bengtson is a hope concierge! Her passion is to share hope and encouragement with others, whether as a board-certified clinical neuropsychologist, host of the award-winning podcast Your Hope Filled Perspective, or the author of several award-winning books including Hope Prevails, Breaking Anxiety's Grip, and The Hem of His Garment.Her newest release is Sacred Scars: Resting in God's Promise That Your Past is Not Wasted. She loves all things teal, spending time with friends and family, taking long walks, or sitting by quiet shores, and it's a bonus when any of those are accompanied by sea salt caramel chocolate! You can find her and her hope-filled resources at DrMichelleB.com.Connect with Guest:WebsiteFacebookTwitterLinkedInInstagramPinterestYouTubePodcastLive Like It's True is part of the Resound Podcast Network. For more gospel centered resources visit ResoundMedia.cc . Visit www.shannonpopkin.com/promises/ to learn more about my six-week Bible study with Our Daily Bread, titled, "Shaped by God's Promises: Lessons from Sarah on Fear and Faith." Learn how you too can be shaped by the promises of our faithful God. Learn more at ShannonPopkin.com.

Have you ever tried to hide your scars? And what about your hidden scars on the inside? Do you try to cover over the most painful parts of your life? And have you looked forward to having no scars in heaven? Today on the Live Like It's True podcast, Dr. Michelle Bengtson and I had a conversation that I think might make you rethink any misconceptions you have about your scars. As Jesus reveals his scars after his resurrection, find out why the disciples go from trembling fear to astonished joy in an instant.Guest: Dr. Michelle BengtsonBible Passage: Jesus Appears to His Disciples - John 20:19-29 NLTGet your Freebies: 99 Truths from God's Word to Speak Over Your Life to Combat the Lies of the Enemy from Dr. Michelle BengtsonFalse Narrative Watchlist from Shannon PopkinResound Media Network: www.ResoundMedia.ccMentioned ResourcesThe Hem of His Garment by Dr. Michelle BengtsonHope Prevails by Dr. Michelle BengtsonSacred Scars by Dr. Michelle BengtsonControl Girl by Shannon PopkinYour Hope Filled Perspective Podcast with Dr. Michelle BengtsonMusic: Cade PopkinDr. Michelle BengtsonDr. Michelle Bengtson is a hope concierge! Her passion is to share hope and encouragement with others, whether as a board-certified clinical neuropsychologist, host of the award-winning podcast Your Hope Filled Perspective, or the author of several award-winning books including Hope Prevails, Breaking Anxiety's Grip, and The Hem of His Garment.Her newest release is Sacred Scars: Resting in God's Promise That Your Past is Not Wasted. She loves all things teal, spending time with friends and family, taking long walks, or sitting by quiet shores, and it's a bonus when any of those are accompanied by sea salt caramel chocolate! You can find her and her hope-filled resources at DrMichelleB.com.Connect with Dr. Michelle Bengtson:WebsiteFacebookInstagramPinterestYouTubeLive Like It's True is part of the Resound Podcast Network. For more gospel centered resources visit ResoundMedia.cc . Visit www.shannonpopkin.com/promises/ to learn more about my six-week Bible study with Our Daily Bread, titled, "Shaped by God's Promises: Lessons from Sarah on Fear and Faith." Learn how you too can be shaped by the promises of our faithful God. Learn more at ShannonPopkin.com.

Do you ever struggle with anxiety and thoughts that just spin out of control? Today we're going to hear from someone who is an expert in the field of anxiety and depression. Please welcome my very special guest on the podcast,  Dr. Michelle Bengston. She's a clinical  neuropsychologist, speaker, author,  coach, and she hosts her very own podcast, "Your Hope Filled Perspective." And she understands anxiety and depression from personal experience.  Dr. Michelle - I've been a board certified clinical neuropsychologist for over 30 years now. The field has changed a lot since I got into it. But what I've had the pleasure of doing is walking alongside patients who have had any kind of brain dysfunction, whether we're talking ADHD or learning disabilities, depression, anxiety after they've had a stroke or a head injury, or even in the senior years when  there's a question of, are we dealing with dementia or  are we dealing with depression? So it's been my pleasure to evaluate patients, figure out what's going on with their brain functioning, and then get them on the path to optimal wellness. In terms of their cognitive health.  that's given me the opportunity also to speak into their lives in terms of things like stress management. Where are your thoughts and what are you focusing on and how does that impact for better or for worse your daily functioning?  Anxiety has gotten more pervasive over time. Because 30 years ago, when we didn't have the internet, which could relay the news in a split second or be there live, we had to wait until the six o'clock or 11 o'clock news. And if we missed it, we missed what was going on in the world and we'd have to catch  it the next day in the headlines. Today is  so in our face and it's in our face when we don't get together or go to the event that all of our friends are and then they post online. And then we've got this angst about the fact that we weren't there, but we had other things that we needed to do. So, this has increased the anxiety. Anxiety has not only increased, but it has  across the age span, whereas we didn't used to see it in the elderly, nearly as much or in our young children. Now we're diagnosing it earlier and earlier. Pseudo increased social connectedness because of social media that doesn't really build that innate longing that we have for social interaction and the older our  seniors are living, the less social  interaction they're getting. And I think that's contributing to their anxiety, the fear of loneliness, fear of how I'm going to live out my last days, fear of what diagnoses I'm going to be. Anxiety often does run in families, just like depression does or many other mental health disorders. But it's not all because there's a genetic component. There  is a genetic component. And we can see from the  research that if you have a 1st degree family member, like a parent who has struggled with depression or anxiety, there is an increased likelihood that that you will contend with depression or anxiety, but it's not just because of the genetic link.  There's also the factor of modeling.  Some people are more predisposed, predisposed to anxiety, to worry, to get anxious, to become fearful. But it's not a weakness. God knew that we would struggle with this because his number one command in scripture is do not worry. Do not be afraid. Be anxious for nothing. It's in the Bible over 300 times. And I thank God who created us.  So  he wasn't chastising us, but he was saying, hold on just a second, don't go down that path. Dr. Vickie - I love the beauty of your background in neurobiology and how that has obviously impacted your faith and your faith has impacted. Your professional life with that background in neurobiology and in lifestyle medicine,  the component of gratitude, the power of that is widely recognized in people who are believers in Christianity and people who are members of other faiths. There is no question about the benefit of gratitude.  Dr. Michelle: Anxiety rewires our brain. We can get stuck in a rut, going down a certain  path,  being a complainer, for example,  are always seeing the negative of a situation. But when we will stop in the middle of that, And we will think, no,  can I look at this differently? And we can look at it through a lens of gratitude. It actually does rewire the brain. And the more we do  that, the more that becomes our  lifestyle and the more we reap the benefits from it. That's why scripture tells us to take every thought captive.  can't afford to just think and not pay attention to what we're thinking because scripture says that out of. The heart, the mouth speaks  and scripture also says that our  words have the power of life or death.  That's a lot of power. So we have to be observant and pay attention to what it is that we're thinking  then determine whether or not that aligns with the word of God or someplace else.   Anxiety is really a misappropriation of our attentional resources. Now, what do I mean by that? When we become anxious, we're focusing on what we lack or our perceived lack instead of focusing on God and the fact that he promises his mercies are new every morning. He promises he will be our provider.  And when we fall into the trap of worry,  fear and anxiety, it's usually  because we're forecasting a future that doesn't have God in it. So one of the biggest things that I can recommend  trust,  specifically trusting in God. Now, what does that look like? I developed a trust acronym because it was.  At a time when I was really struggling with anxiety that I needed to get a handle on this. And as I was praying about it, I felt like God really impressed upon my  heart.  Michelle, if you don't trust me in the small things, you  don't trust me at all.  was kind of a wake up call. I'm like, but I do trust you. And he's like,  you?  if you really trusted me, you wouldn't worry. You would know that I've got this handled. So the trust acronym is T to take God at his word. We either trust that the word of God is true, or we don't.  And if we don't, then we've got nothing to stand on  when those situations arise that tempt us to become  worried, fearful, or anxious.  R is rest in God's presence  his promises.  has never gone back on a promise. Yet, and we can rest that his promises are yes and amen and trust that he's going to bring them about  U -understand  that the outcome doesn't depend on  us. Those  of us who tend to be driven and somewhat type A and we like to be in control, we have the misconception that if we do everything in our power, then the outcome that we want is going to happen. When in actuality, God doesn't hold us responsible for the outcome as long as we're obedient to him. So if I will do what I know God has called me to do, then Then I can trust that the ultimate  outcome is his responsibility, and that  takes a huge weight. S is accept that God is sovereign. Either he's in control or he's not.  if he's in control, then we don't need to worry or fear. And then the last T is turn to the testimony of previous experiences. I've gone through a lot of difficult circumstances in my life.   But when I look back, I realize   that I made it through every difficult circumstance a hundred percent of the time. So if God has been faithful through every other difficult circumstance,  would I not trust that he's going to continue to be faithful to get me through what I am or will go through? T is taking God at his word, resting in his presence and his promises. Understanding   that the outcome doesn't depend on us except   that God is sovereign and then remember the testimony of previous experiences.  we will put that into practice,  will do so much towards lessening our worry, fear and anxiety, and we'll be more aware when that starts to crop up. So we can either decide in the moment, yeah, I'm going to go ahead and worry about that, or I'm going to trust that God's going to get me through it.   Dr. Michelle Bengston Website includes links to:  Your Hope Filled Perspective Podcast Sacred Scars Hem of His Garment.  Today is going to be a good day Breaking Anxiety's Grip Hope Prevails Book, Bible Study, and Bible Study Resources        

Can God use our pain for good?‌Dr. Michelle Bengtson shares how stories in the Bible demonstrate God's ability and desire to redeem and restore the difficult parts of our story.‌https://livesteadyon.com/Email Angie at: steadyonpodcast@gmail.com‌Facebook: @‌livesteadyon‌Instagram: @‌angiebaughman421‌Looking for something not listed? It's probably here: https://linktr.ee/livesteadyon‌‌https://drmichellebengtson.com/https://www.facebook.com/DrMichelleBengtson/https://www.pinterest.com/drbhopeprevails/https://www.instagram.com/drmichellebengtson/https://www.youtube.com/channel/UCn92DHzGSZk8psDb2FKazOQhttps://twitter.com/DrMBengtsonhttps://www.linkedin.com/in/drmichellebengtson/https://podcasts.apple.com/us/podcast/your-hope-filled-perspective-with-dr-michelle-bengtson/id1468018011https://www.amazon.com/author/drmichellebengtsonhttps://www.bookbub.com/authors/michelle-bengtson‌Dr. Michelle Bengtson is an international speaker, a national and international media resource on mental health, and the bestselling, award-winning author of Hope Prevails, the Hope Prevails Bible Study, Today Is Going to Be a Good Day, Breaking Anxiety's Grip, and The Hem of His Garment. She is also the host of the award-winning podcast Your Hope-Filled Perspective. A board-certified clinical neuropsychologist in private practice for more than twenty years, Dr. Bengtson blogs regularly and offers a wide variety of resources on her website, http://DrMichelleB.com .‌Theme music:Glimmer by Andy Ellison

More than the Hem of His Garment

We've all experienced pain, and most if not all of us want it to end as quickly as possible. But what do we do when our pain lasts for an extended period of time? What happens when healing doesn't come, or doesn't come according to our time table? What might God be doing in those difficult seasons? Join host Carol McCracken as she talks with author and neuropsychologist Dr. Michelle Bengtson on finding God in our pain. (Scroll down for discussion/reflective questions.) Resources mentioned: Hem of His Garment, Sacred Scars: Resting in God's Promise That Your Past Is Not Wasted Find Michelle Bentson:  On her website Instagram Facebook Amazon Find Carol McCracken: On her website  On Facebook On Instagram Discussion/reflective questions: What most resonated with you in this episode? Think of a time when it felt as if your pain would never end. What made that season most difficult? What did God show you during that time? What might God be saying to you in your current season? Which of God's character traits do you most find comforting when you're in pain? What is your experience with lamenting? In what ways has God healed you, or how might He currently be healing you? What is one action step God might be asking you to take having listened to this episode?    Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Episode Summary:  In this episode, I wanted to share with you what brought me to the place where I knew this book was needed, where I knew God was calling me to share my own sacred scars, why I've written the book Sacred Scars for you, and what I hope you'll get out of it.  Quotables from the episode: Sometimes our wounds come at the hands or wounds of others; sometimes we behave in a way that causes or contributes to our wounds; and sometimes there is no obvious explanation for them. But the hope that we have in Jesus is that when we will take our painful wounds and surrender them to the creator of the universe, the very One who knit us in our mother's womb, we can experience a redemptive scar, a beautiful sacred scar in place of our wounds when we allow God to heal what has hurt us. The Hem of His Garment: Reaching Out to God When Pain Overwhelms is about how we hold onto our faith while we are waiting on God for our healing. Sacred Scars picks up where The Hem of His Garment left off. Sacred Scars is for those who think, I've gone through something so bad that it disqualifies me from living the abundant life that Christ came to give; I've gone through something so bad or I've done something so bad that it disqualifies me from being loved and valued; or I've gone through something so bad that it disqualifies me from service to God. Sacred Scars was written for that reader, to assure them that there is nothing they have gone through that is beyond the hands of a redemptive God. Jesus never gave up, so as a child of God, it's not in my DNA to give up. The thing that drives me the most is that I'm just not going to let the enemy have that much satisfaction. The lies of the enemy is what produces guilt, shame, regret, remorse, isolation, fear. As long as he can take us there because of the wounds that we've gone through, as long as we listen to those lies, we will live a defeated life, but Jesus came so we can have victory. The only way to experience that victory is to recognize the lies of the enemy and to determine that I'm willing enough to feel the pain to get healing.  In over 30 years in private practice, I've had thousands of people come into my private practice ashamed to share their deep, dark secret because they feared I would reject them or abandon them or give them a strange look like, “I can't believe what you just said.” But nothing surprises me anymore. What I found, is that when people will share that secret that they are so embarrassed and ashamed of, it doesn't hold power anymore. Once they bring it out into the light, the enemy loses. Wounds are open assaults either on the body or the mind. They are those things that have been injured, abraded, or infected and leave us in a state of pain. When we are wounded, we need healing. I love what God does: in the physical body, when you get a scratch or a burn, or an infection, your body automatically sends cells to try to produce collagen to produce a scar. This book is focusing on scars, because once we have a scar, that wound, that painful experience (whether it's physical, emotional, relational, spiritual) doesn't hold the same pain that it did when it was an open wound. When we will take our wounds to God and let Him heal the wounds, because He's such a good and redemptive God, He will bring beautiful sacred scars as a reminder not just of the pain we've gone through, but of the healing that's taken place if we're willing to go on that healing journey. God never pries our heart or our hands open. He's always waiting for us to say, “Okay, Lord, I'm ready.” Too often, we're afraid of the pain of the unknown more than we are the pain of the current discomfort of our injured situation. If you will step out and entrust your pain to God, He can bring a beautiful sacred scar. We're all familiar with physical scars but I think it's also important to recognize that we all carry invisible scars from emotional wounds, relational wounds, spiritual wounds, grief or loss. I mistakenly thought that being a doctor would protect me or insulate me from depression or any other mental health disorder, but it doesn't. Neither does being a Christian. The Lord taught me that there was a spiritual root to depression. Previous to that, I had been addressing the physical, the emotional, and the mental, but not the spiritual, because I didn't know there was one. What initially felt like forced rest, I hated, but over time, on bed rest, I came to appreciate that time because it was like my cocooning time alone with God. I didn't want that time to end. She said to me, “Thank you. Thank you for sharing out of your pain, so that I would know that I'm not alone and that if you could make it through your ordeal, I can too.” That is a beautiful sacred scar for a physically and emotionally devastating time in my life. But that is the essence behind the message of Sacred Scars. Having gone through depression, I thought that disqualified me from any future ministry for the Lord but He was the one who prompted me to share with others. Sacred scars are when God takes our most devastating circumstance, that we think discounts us or disqualifies us, primarily because we are listening to the lies of the enemy who is the accuser of the brethren and the father of lies, but if we will bring it into the light, into God's truth, we will realize that what looks impossible to us is not impossible for the God of the universe. I pictured Jesus in his resurrected body as whole without scars, but the Lord showed me the passages where Jesus appeared to his disciples he had his scars in his hands and feet. Jesus kept his scars and they served such a redemptive purpose. His scars prove that he was who he said he was and that he had done what he said he would do. That was such a lightbulb moment for me because I felt like God said, “Just as I have redeemed Jesus's scars, your scars will have a redemptive purpose too.” Now I look at scars differently because scars attest to the healing that has taken place and our scars are an opportunity to share with others the goodness and faithfulness of God. More than anything, what I want you to know is that those things in your past that you are so ashamed of, embarrassed of, feel guilty about or remorseful, that cause you to isolate and hide from other people, those are the very things that God wants to come in and heal and show you that he not only wants to but is capable of bringing beauty for your ashes and sacred scars for your wounds. What you have to recognize is that we have to be willing to feel the pain to heal it, and we have to be willing to step forward and say “I want that healing” because God isn't going to pry it out of our hands or our hearts, but if we will surrender to Him, He will bring a redemptive purpose for your wounds and beautiful sacred scars. Scripture References: John 16:33 NIV “I have told you these things, so that in me you may have peace. In this world you will have trouble. But take heart! I have overcome the world.”   Recommended Resources:  Sacred Scars: Resting in God's Promise That Your Past Is Not Wasted by Dr. Michelle Bengtson  The Hem of His Garment: Reaching Out to God When Pain Overwhelms by Dr. Michelle Bengtson YouVersion 5-Day Devotional Reaching Out To God When Pain Overwhelms   Today is Going to be a Good Day: 90 Promises to Start Your Day Off Right by Dr. Michelle Bengtson, winner of the AWSA 2023 Inspirational Gift Book of the Year Award, the Christian Literary Awards Reader's Choice Award in four categories, and the Christian Literary Awards Henri Award for Devotionals YouVersion 7-Day Devotional, Today is Going to be a Good Day YouVersion 7-Day Devotional, Today is Going to be Another Good Day Breaking Anxiety's Grip: How to Reclaim the Peace God Promises by Dr. Michelle Bengtson Breaking Anxiety's Grip Free Study Guide Free 7-Day YouVersion Bible Reading Plan for Breaking Anxiety's Grip Hope Prevails: Insights from a Doctor's Personal Journey Through Depression by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Hope Prevails Bible Study by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Trusting God Through Cancer 1 Trusting God Through Cancer 2 Revive & Thrive Women's Conference Subdue Stress and Anxiety: Fifteen Experts Offer Comprehensive Tools in Ten Minutes a Day. Use my link plus discount code BENG99 to save $90 on course (course will be $99.) Free Download: How To Fight Fearful/Anxious Thoughts and Win   Social Media Links for Guest and Host: Connect with Carolyn Freeman: Website / Facebook / Podcast   For more hope, stay connected with Dr. Bengtson at: Order Book Breaking Anxiety's Grip / Order Book Hope Prevails  /  Website  /  Blog  /  Facebook / Twitter (@DrMBengtson)  /  LinkedIn  /  Instagram / Pinterest / YouTube Guest: Carolyn Freeman is the Founder and President of Impact Coaching Ministries. She's a Certified Professional Life Coach, author, speaker, former nurse and counselor. Her life verse is Jeremiah 29:11. She calls it a privilege and joy to walk with others into God's healing just as others walked with her into healing, wholeness, and a whole new purpose and passion.    Hosted By: Dr. Michelle Bengtson Audio Technical Support: Bryce Bengtson  

Episode Summary Join me for healing pain and the power of Sacred Scars. Discover how personal hardships and emotional wounds can lead to spiritual and emotional growth. Gain insights on accepting your scars, finding purpose in pain, and realizing that your past struggles are not wasted. Hear inspiring stories that demonstrate resilience and hope, along with practical advice on how to view your scars through a lens of thanksgiving and healing.  Quotables from the Episode Trusting God's promise that your past is not wasted. No matter what wound you've experienced, God can and will create a beautiful sacred scar from it if you offer it up to Him. Once he gave me some healing and once he showed me purpose in the pain, it changed my perspective. If we seek Him with our whole heart, we will find Him. There is healing for your pain and God can take your wounds and create beautiful healing. God shapes your scars and shapes you in the process. Scripture References Psalm 147:3: "He heals the brokenhearted and binds up their wounds." Recommended Resources:  Sacred Scars: Resting in God's Promise That Your Past Is Not Wasted by Dr. Michelle Bengtson  The Hem of His Garment: Reaching Out to God When Pain Overwhelms by Dr. Michelle Bengtson YouVersion 5-Day Devotional Reaching Out To God When Pain Overwhelms   Today is Going to be a Good Day: 90 Promises to Start Your Day Off Right by Dr. Michelle Bengtson, winner of the AWSA 2023 Inspirational Gift Book of the Year Award, the Christian Literary Awards Reader's Choice Award in four categories, and the Christian Literary Awards Henri Award for Devotionals YouVersion 7-Day Devotional, Today is Going to be a Good Day YouVersion 7-Day Devotional, Today is Going to be Another Good Day Breaking Anxiety's Grip: How to Reclaim the Peace God Promises by Dr. Michelle Bengtson Breaking Anxiety's Grip Free Study Guide Free 7-Day YouVersion Bible Reading Plan for Breaking Anxiety's Grip Hope Prevails: Insights from a Doctor's Personal Journey Through Depression by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Hope Prevails Bible Study by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Trusting God Through Cancer 1 Trusting God Through Cancer 2 Revive & Thrive Women's Conference Subdue Stress and Anxiety: Fifteen Experts Offer Comprehensive Tools in Ten Minutes a Day. Use my link plus discount code BENG99 to save $90 on course (course will be $99.) Free Download: How To Fight Fearful/Anxious Thoughts and Win   Social Media Links for Host: For more hope, stay connected with Dr. Bengtson at: Order Book Breaking Anxiety's Grip / Order Book Hope Prevails  /  Website  /  Blog  /  Facebook / Twitter (@DrMBengtson)  /  LinkedIn  /  Instagram / Pinterest / YouTube   Host: Dr. Michelle Bengtson is an international speaker, a national and international media resource on mental health, and the bestselling, award-winning author of Hope Prevails, the Hope Prevails Bible Study, Today Is Going to Be a Good Day, Breaking Anxiety's Grip, and The Hem of His Garment. Her latest book, Sacred Scars, releases on 6-25-2024. She is also the host of the award-winning podcast Your Hope-Filled Perspective. A board-certified clinical neuropsychologist in private practice for more than twenty years, Dr. Bengtson blogs regularly and offers a wide variety of resources on her website, DrMichelleB.com.   Hosted By: Dr. Michelle Bengtson Audio Technical Support: Bryce Bengtson

Episode Summary: Dr. Michelle Bengtson joins David Robison of LifeToday to explore the challenging journey of maintaining faith during periods of waiting for healing. Drawing from her personal struggles and professional insights as a neuropsychologist, Dr. Bengtson shares about the emotional, physical, and spiritual pain that tests our faith. Through her new book, "The Hem of His Garment," she offers hope, encouragement, and practical advice to those navigating the complexities of pain and waiting. Join us as we discuss the importance of pressing into faith, the biblical examples of those who waited on God's timing, and how we can find strength and hope in the midst of suffering. This is a replay of a LifeToday interview. Quotables from the Episode: "In our pain, we have a choice. We can either retreat from God and blame Him, or we can lean in and continue to enact our faith, waiting for His healing in His perfect time and way."  "God never withholds anything good from His children. If my physical healing today was in my best interest, I know He would do it."  "Walking by faith sometimes comes by crawling by faith."  "Getting out of bed or just breathing, sometimes, that is victory." "God can handle our honesty. It's our flesh speaking, but it's honest and it's real."  "The pain of childbirth is so great... But when you get the joy that comes out of it, it makes it all worthwhile."  Scripture References: The story of the woman with the issue of blood who touched the hem of Jesus' garment and was healed, illustrating the journey of faith and waiting for healing. [No specific verse cited, but the story is found in Mark 5:25-34, Luke 8:43-48, and Matthew 9:20-22.]   Recommended Resources:  Sacred Scars: Resting in God's Promise That Your Past Is Not Wasted by Dr. Michelle Bengtson  The Hem of His Garment: Reaching Out to God When Pain Overwhelms by Dr. Michelle Bengtson YouVersion 5-Day Devotional Reaching Out To God When Pain Overwhelms   Today is Going to be a Good Day: 90 Promises to Start Your Day Off Right by Dr. Michelle Bengtson, winner of the AWSA 2023 Inspirational Gift Book of the Year Award, the Christian Literary Awards Reader's Choice Award in four categories, and the Christian Literary Awards Henri Award for Devotionals YouVersion 7-Day Devotional, Today is Going to be a Good Day YouVersion 7-Day Devotional, Today is Going to be Another Good Day Breaking Anxiety's Grip: How to Reclaim the Peace God Promises by Dr. Michelle Bengtson Breaking Anxiety's Grip Free Study Guide Free 7-Day YouVersion Bible Reading Plan for Breaking Anxiety's Grip Hope Prevails: Insights from a Doctor's Personal Journey Through Depression by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Hope Prevails Bible Study by Dr. Michelle Bengtson, winner of the Christian Literary Award Reader's Choice Award Trusting God Through Cancer 1 Trusting God Through Cancer 2 Revive & Thrive Women's Conference Subdue Stress and Anxiety: Fifteen Experts Offer Comprehensive Tools in Ten Minutes a Day. Use my link plus discount code BENG99 to save $90 on course (course will be $99.) Free Download: How To Fight Fearful/Anxious Thoughts and Win   Social Media Links for Guest and Host: Connect with David Robison of LifeToday: Website / Facebook / Instagram For more hope, stay connected with Dr. Bengtson at: Order Book Breaking Anxiety's Grip / Order Book Hope Prevails  /  Website  /  Blog  /  Facebook / Twitter (@DrMBengtson)  /  LinkedIn  /  Instagram / Pinterest / YouTube   Hosted By: Dr. Michelle Bengtson Audio Technical Support: Bryce Bengtson

SummaryDr. Michelle Bengtson shares her personal journey of overcoming physical deformity, chronic pain, and depression. She emphasizes the importance of addressing the spiritual roots of disease and the misconceptions surrounding depression. Dr. Michelle also discusses her book, 'Hem of His Garment,' which offers hope and encouragement to those experiencing pain and suffering. She encourages listeners to look for the simple joys in life and to trust in God's love and plan. Dr. Michelle's legacy is to be remembered for pointing others to Christ and reminding them that hope prevails as long as God is on the throne.TakeawaysAddressing the spiritual roots of disease is essential for healing.Depression is a medical condition and should be treated as such.Pain can come in various forms, including physical, emotional, relational, financial, and spiritual.God understands our suffering and is with us in our pain.Finding hope and joy in the midst of pain is possible by looking for the simple joys in life and trusting in God's love and plan. Support the show

The Hem of His Garment

William Lile (Pro-Life Doc)George Shamblin - The Center for Executive Leadership (Inerrancy)Steve Hines - Salt, Light, and KidsMichelle Bengtson - The Hem of His Garmentmeetinghouseonline.info

William Lile (Pro-Life Doc)George Shamblin - The Center for Executive Leadership (Inerrancy)Steve Hines - Salt, Light, and KidsMichelle Bengtson - The Hem of His Garmentmeetinghouseonline.info

When our bodies are in pain, the pain reaches beyond the physical and is felt emotionally, relationally, financially, and spiritually. How do we make this journey with pain when the pain is not going away? Dr. Michelle Bengston has expertise through years of clinical study and personal experience and offers a holistic understanding of the problem of pain in her new book, The Hem of His Garment. She'll offer strategies for living with pain when there seems to be no end in sight. See omnystudio.com/listener for privacy information.

In this podcast episode, we delve into the world of working from home and explore what it truly means. From the freedom and flexibility it offers to the challenges and misconceptions surrounding this lifestyle, we chat about how working remotely can impact our productivity, well-being, and work-life balance. Join us as we share experiences, insights, and tips on successfully navigating the dynamic landscape of working from home. Bible Verses I Mentioned Luke 8:43-47 Mark 5:25-34 Matthew 9:20-22 Books She Belongs - https://amzn.to/3OGTtIL Hem of His Garment- https://amzn.to/3KKCIeE --- Send in a voice message: https://podcasters.spotify.com/pod/show/chatsfromtheblogcabin/message Support this podcast: https://podcasters.spotify.com/pod/show/chatsfromtheblogcabin/support

Heather talks to Dr. Michelle Bengtson, author and neuropsychologist, about suffering, grief, and pain. Their conversation takes a Gospel-soaked and hope-filled look at these tough topics and Dr. Michelle shares some of her experience and hard things she's walked through. Heather and Michelle talk about why it's so hard for us to believe that pain is a normal part of life, not something that we should shame ourselves about trying to fix (or not being able to fix). Jesus talks about suffering in the Bible, but few of us want to embrace that as part of our theology. Gulp! Heather and Michelle also apply these topics to body image and eating disorder issues, looking at why we want to control food even more when things in our life seem chaotic, stressful, or painful. We talk about fielding the lies that we feed ourselves and cleaning up our thought lives (and slowing down enough to recognize the lies) and the importance of that to being able to handle suffering with the peace of God. Learn more about Dr. Michelle Bengtson's brand new book: The Hem of His Garment, Reaching Out to God When Pain Overwhelms here: https://amzn.to/3Kp9fXr (Amazon affiliate link - a tiny portion of your purchase supports this ministry). Connect with Dr. Michelle Bengtson at: www.drmichelleb.com Listen to other interviews with Dr. B here: Anxiety & Depression: Recognizing it feat. Dr. Michelle Bengtson and this one about mental health and body image issues: OCD, Narcissism, Eating Disorders, & Body Image Ready to learn more about Compared to Who? or start your body image freedom journey? Learn more at: www.improvebodyimage.com Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Today's interview is with Dr. Michelle Bengston. We have been online friends for many years and I was so excited to finally meet her "in person" and to talk about her story. She talks about the pain and struggles her and her family have been through over the years, but at the same time talks about the hope and promises she has in God and in the life He promises. She reminds each of us that "where you are right now is just a chapter in your story." Her story will encourage and challenge you at the same time to take a look at your own faith journey, not to compare, but to be honest with where you are now. Bio: Dr. Michelle Bengtson has been a board-certified clinical neuropsychologist for almost 30 years, whose mission it is to restore hope, renew minds, and empower others to live in their God-given identity. She is a multi-award winning author of Hope Prevails: Insights From a Doctor's Personal Journey Through Depression (https://amzn.to/3BXPqAz), the Hope Prevails Bible Study (https://amzn.to/2K68a7l), Breaking Anxiety's Grip: How to Reclaim the Peace God Promises (https://amzn.to/2Vvipro), Today Is Going to be a Good Day: 90 Promises From God to Start Your Day Off Right (https://amzn.to/3twWnXp) and The Hem of His Garment: Reaching Out to God When Pain Overwhelms. She is an international speaker, national and international media resource on mental health, coach, podcast host (https://bit.ly/3ef2fvs) of the award-winning podcast, Your Hope Filled Perspective Podcast with Dr. Michelle Bengtson that ranks in the top 2% of podcasts globally. Yet her most fulfilling rolls are as wife of 35 years, and mom to two young adult friends. This doctor knows pain and despair firsthand and combines her professional expertise and personal experience with her faith to help others be all God created them to be. Using sound practical tools, she affirms worth and encourages faith. Dr. Bengtson offers hope as a key to unlock joy and relief—even in the middle of the storm. Throughout her career as a clinical neuropsychologist, and now as a speaker, author, podcast host, and coach, she encourages others to focus less on their self-esteem and more on how God esteems them by knowing His truths offered in Scripture. She loves offering practical resources to help you grow in your walk with the Lord at DrMichelleB.com. When she isn't involved in ministry pursuits, you'll likely find her walking in nature, sitting by a body of water (probably trying to capture God's glory displayed in sunrises or sunsets through the camera lens), or enjoying a steamy cup of salted caramel mocha coffee with a friend. She loves all things teal, chocolate, or soft and luxurious, although not usually at the same time. Anchor Verses: James 5:11 Romans 8:28 Jeremiah 29:11 Book We Discuss: Job Connect with Dr. Michelle: Website: DrMichelleB.com  IG: https://www.instagram.com/drmichellebengtson/  FB: https://www.facebook.com/DrMichelleBengtson/ YouTube: https://www.youtube.com/channel/UCn92DHzGSZk8psDb2FKazOQ Order The Hem of His Garment: https://www.amazon.com/Hem-His-Garment-Reaching-Overwhelms/dp/0800742354/ ***This podcast is a proud member of the Spark Network! It is a network of Christian podcasts that cover so many different topics!  Head over to: https://www.sparkmedia.ventures/spark-network#/ to find more amazing podcasts!!***

Wherever Jesus goes in this passage, he seems to be creating controversy...and also community! Peter Walsh, Elizabeth Garnsey, and John Kennedy observe Jesus as healer in Matthew's Gospel, the way he twists what people already know, and how we still find a way to touch the power of the divine.Referenced in this podcast:Tim Keller: https://www.amazon.com/stores/Timothy-Keller/author/B001H6SAQW?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true"Touch the Hem of His Garment" by Sam Cooke: https://www.youtube.com/watch?v=ReUZ0ye-ESELearn more about St. Mark's at https://www.stmarksnewcanaan.org

https://ascensionpc.org/audio/sermons/20230416.mp3 The post Matthew 14:34 – 15:9, “The Fringe of His Garment” appeared first on Ascension Presbyterian Church.

Today Ps Sean continues the series on Family Church values with the title ‘We are Responsive'. Being responsive means we are fast to respond or react appropriately, or sympathetically. The converse of this is being static and showing no interest, concern or emotion. We need to be people who are in the same place physically, emotionally and spiritually. Football fans are often more responsive than many in church! How much more responsive should we be to the supernatural things of God than the natural things of a football match! In Matthew 22:34 onwards, the Pharisees try to test Jesus by asking (NIV) “Teacher, which is the greatest commandment in the Law? Jesus replied ‘Love the Lord your God with all your heart and with all your soul and with all your mind.' This is the first and greatest commandment. And the second is like it: ‘Love your neighbour as yourself.' All the Law and the Prophets hang on these two commandments''. Jesus was immediately responsive with words about loving God and loving people – an active love. We are likewise called to have this active love and responsiveness to God and people around us – both those we love and those we don't!All of this begins with us submitting ourselves to God. Romans 12:1-2 (NIV) says “Therefore, I urge you, brothers and sisters, in view of God's mercy, to offer your bodies as a living sacrifice, holy and pleasing to God—this is your true and proper worship. Do not conform to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God's will is—his good, pleasing and perfect will.” Jesus responded to His disciples by saying ‘follow me and I will make you fishers of men'…. Interestingly, their response recorded in the Gospels was “and immediately they left the boat….”.So we begin our responsiveness by being responsive to God, initially in prayer which develops our spiritual relationship with Him, then we are in a position to be able to be responsive to others as well. An overflow of our internal responsiveness to God will cause an external responsiveness to others around us. This includes situations, the use of our time, money, gifts and talents. The lady with an issue of blood pressed past the crowd and reached out to Jesus by faith. Sometimes we need to press in and press through the crowd and noise. On the other side of this is a miracle - a touch of His Garment and a release of His power. Often when there is lack or need we must press into God with faith and submission to Him. As a church, the body of Christ, let us be responsive to the call of lost people in a lost generation. People may look like they've got it together, but they often haven't. When they go home, they see brokenness within themselves. We are the people Jesus calls the light of the world. Let us be responsive to God and to people. God has responded to us, He gave us life through His Son.

This is the first Go Ask Al episode with some great questions about the song Touch the Hem of His Garment, Best Concerts he ever gave, Favorite Albums, Rock and Rock Hall of Fame, and Al's Health and ability to go out and play.

Episode 122 of A History of Rock Music in Five Hundred Songs is a double-length (over an hour) look at “A Change is Gonna Come” by Sam Cooke, at Cooke's political and artistic growth, and at the circumstances around his death. This one has a long list of content warnings at the beginning of the episode, for good reason... 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 "My Guy" by Mary Wells.   Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. For this episode, he also did the re-edit of the closing theme. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week due to the number of songs by one artist. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick's work, it's an essential book if you're even slightly interested in the subject. Information on Allen Klein comes from Fred Goodman's book on Klein. The Netflix documentary I mention can be found here. This is the best compilation of Sam Cooke's music for the beginner, and the only one to contain recordings from all four labels (Specialty, Keen, RCA, and Tracey) he recorded for. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, a brief acknowledgement --  Lloyd Price plays a minor role in this story, and I heard as I was in the middle of writing it that he had died on May the third, aged eighty-eight. Price was one of the great pioneers of rock and roll -- I first looked at him more than a hundred episodes ago, back in episode twelve -- and he continued performing live right up until the start of the coronavirus outbreak in March last year. He'll be missed. Today we're going to look at one of the great soul protest records of all time, a record that was the high point in the career of its singer and songwriter, and which became a great anthem of the Civil Rights movement. But we're also going to look at the dark side of its creator, and the events that led to his untimely death. More than most episodes of the podcast, this requires a content warning. Indeed, it requires more than just content warnings. Those warnings are necessary -- this episode will deal with not only a murder, but also sexual violence, racialised violence, spousal abuse, child sexual abuse, drug use and the death of a child, as well as being about a song which is in itself about the racism that pervaded American society in the 1960s as it does today. This is a story from which absolutely nobody comes out well, which features very few decent human beings, and which I find truly unpleasant to write about. But there is something else that I want to say, before getting into the episode -- more than any other episode I have done, and I think more than any other episode that I am *going* to do, this is an episode where my position as a white British man born fourteen years after Sam Cooke's death might mean that my perspective is flawed in ways that might actually make it impossible for me to tell the story properly, and in ways that might mean that my telling of the story is doing a grave, racialised, injustice. Were this song and this story not so important to the ongoing narrative, I would simply avoid telling it altogether, but there is simply no way for me to avoid it and tell the rest of the story without doing equally grave injustices. So I will say this upfront. There are two narratives about Sam Cooke's death -- the official one, and a more conspiratorial one. Everything I know about the case tells me that the official account is the one that is actually correct, and *as far as I can tell*, I have good reason for thinking that way. But here's the thing. The other narrative is one that is held by a lot of people who knew Cooke, and they claim that the reason their narrative is not the officially-accepted one is because of racism. I do not think that is the case myself. In fact, all the facts I have seen about the case lead to the conclusion that the official narrative is correct. But I am deeply, deeply, uncomfortable with saying that. Because I have an obligation to be honest, but I also have an obligation not to talk over Black people about their experiences of racism. So what I want to say now, before even starting the episode, is this. Listen to what I have to say, by all means, but then watch the Netflix documentary Remastered: The Two Killings of Sam Cooke, and *listen* to what the people saying otherwise have to say. I can only give my own perspective, and my perspective is far more likely to be flawed here than in any other episode of this podcast. I am truly uncomfortable writing and recording this episode, and were this any other record at all, I would have just skipped it. But that was not an option. Anyway, all that said, let's get on with the episode proper, which is on one of the most important records of the sixties -- "A Change is Gonna Come": [Excerpt: Sam Cooke, "A Change is Gonna Come"] It's been almost eighteen months since we last looked properly at Sam Cooke, way back in episode sixty, and a lot has happened in the story since then, so a brief recap -- Sam Cooke started out as a gospel singer, first with a group called the Highway QCs, and then joining the Soul Stirrers, the most popular gospel group on the circuit, replacing their lead singer.  The Soul Stirrers had signed to Specialty Records, and released records like "Touch the Hem of His Garment", written by Cooke in the studio: [Excerpt: The Soul Stirrers, "Touch the Hem of His Garment"] Cooke had eventually moved away from gospel music to secular, starting with a rewrite of a gospel song he'd written, changing "My God is so wonderful" to "My girl is so lovable", but he'd released that under the name Dale Cook, rather than his own name, in case of a backlash from gospel fans: [Excerpt: Dale Cook, "Lovable"] No-one was fooled, and he started recording under his own name. Shortly after this, Cooke had written his big breakthrough hit, "You Send Me", and when Art Rupe at Specialty Records was unimpressed with it, Cooke and his producer Bumps Blackwell had both moved from Specialty to a new label, Keen Records. Cooke's first appearance on the Ed Sullivan Show was a disaster -- cutting him off half way through the song -- but his second was a triumph, and "You Send Me" went to number one on both the pop and R&B charts, and sold over a million copies, while Specialty put out unreleased earlier recordings and sold over half a million copies of some of those. Sam Cooke was now one of the biggest things in the music business. And he had the potential to become even bigger. He had the looks of a teen idol, and was easily among the two or three best-looking male singing stars of the period. He had a huge amount of personal charm, he was fiercely intelligent, and had an arrogant selfishness that came over as self-confidence -- he believed he deserved everything the world could offer to him, and he was charming enough that everyone he met believed it too. He had an astonishing singing voice, and he was also prodigiously talented as a songwriter -- he'd written "Touch the Hem of His Garment" on the spot in the studio after coming in with no material prepared for the session. Not everything was going entirely smoothly for him, though -- he was in the middle of getting divorced from his first wife, and he was arrested backstage after a gig for non-payment of child support for a child he'd fathered with another woman he'd abandoned. This was a regular occurrence – he was as self-centred in his relationships with women as in other aspects of his life -- though as in those other aspects, the women in question were generally so smitten with him that they forgave him everything. Cooke wanted more than to be a pop star. He had his sights set on being another Harry Belafonte. At this point Belafonte was probably the most popular Black all-round entertainer in the world, with his performances of pop arrangements of calypso and folk songs: [Excerpt: Harry Belafonte, "Jamaica Farewell"] Belafonte had nothing like Cooke's chart success, but he was playing prestigious dates in Las Vegas and at high-class clubs, and Cooke wanted to follow his example. Most notably, at a time when almost all notable Black performers straightened their hair, Belafonte left his hair natural and cut it short. Cooke thought that this was very, very shrewd on Belafonte's part, copying him and saying to his brother L.C. that this would make him less threatening to the white public -- he believed that if a Black man slicked his hair back and processed it, he would come across as slick and dishonest, white people wouldn't trust him around their daughters. But if he just kept his natural hair but cut it short, then he'd come across as more honest and trustworthy, just an all-American boy. Oddly, the biggest effect of this decision wasn't on white audiences, but on Black people watching his appearances on TV. People like Smokey Robinson have often talked about how seeing Cooke perform on TV with his natural hair made a huge impression on them -- showing them that it was possible to be a Black man and not be ashamed of it. It was a move to appeal to the white audience that also had the effect of encouraging Black pride. But Cooke's first attempt at appealing to the mainstream white audience that loved Belafonte didn't go down well. He was booked in for a three-week appearance at the Copacabana, one of the most prestigious nightclubs in the country, and right from the start it was a failure. Bumps Blackwell had written the arrangements for the show on the basis that there would be a small band, and when they discovered Cooke would be backed by a sixteen-piece orchestra he and his assistant Lou Adler had to frantically spend a couple of days copying out sheet music for a bigger group. And Cooke's repertoire for those shows stuck mostly to old standards like "Begin the Beguine", "Ol' Man River", and "I Love You For Sentimental Reasons", with the only new song being "Mary, Mary Lou", a song written by a Catholic priest which had recently been a flop single for Bill Haley: [Excerpt: Bill Haley and the Comets, "Mary, Mary Lou"] Cooke didn't put over those old standards with anything like the passion he had dedicated to his gospel and rock and roll recordings, and audiences were largely unimpressed. Cooke gave up for the moment on trying to win over the supper-club audiences and returned to touring on rock and roll package tours, becoming so close with Clyde McPhatter and LaVern Baker on one tour that they seriously considered trying to get their record labels to agree to allow them to record an album of gospel songs together as a trio, although that never worked out. Cooke looked up immensely to McPhatter in particular, and listened attentively as McPhatter explained his views of the world -- ones that were very different to the ones Cooke had grown up with. McPhatter was an outspoken atheist who saw religion as a con, and who also had been a lifelong member of the NAACP and was a vocal supporter of civil rights. Cooke listened closely to what McPhatter had to say, and thought long and hard about it. Cooke was also dealing with lawsuits from Art Rupe at Specialty Records. When Cooke had left Specialty, he'd agreed that Rupe would own the publishing on any future songs he'd written, but he had got round this by crediting "You Send Me" to his brother, L.C.  Rupe was incensed, and obviously sued, but he had no hard evidence that Cooke had himself written the song. Indeed, Rupe at one point even tried to turn the tables on Cooke, by getting Lloyd Price's brother Leo, a songwriter himself who had written "Send Me Some Lovin'", to claim that *he* had written "You Send Me", but Leo Price quickly backed down from the claim, and Rupe was left unable to prove anything. It didn't hurt Cooke's case that L.C., while not a talent of his brother's stature, was at least a professional singer and songwriter himself, who was releasing records on Checker Records that sounded very like Sam's work: [Excerpt: L.C. Cooke, "Do You Remember?"] For much of the late 1950s, Sam Cooke seemed to be trying to fit into two worlds simultaneously. He was insistent  that he wanted to move into the type of showbusiness that was represented by the Rat Pack -- he cut an album of Billie Holiday songs, and he got rid of Bumps Blackwell as his manager, replacing him with a white man who had previously been Sammy Davis Jr.'s publicist. But on the other hand, he was hanging out with the Central Avenue music scene in LA, with Johnny "Guitar" Watson, Eugene Church, Jesse Belvin, and Alex and Gaynel Hodge. While his aspirations towards Rat Packdom faltered, he carried on having hits -- his own "Only Sixteen" and "Everybody Loves to Cha-Cha-Cha", and he recorded, but didn't release yet, a song that Lou Adler had written with his friend Herb Alpert, and whose lyrics Sam revised, "Wonderful World". Cooke was also starting a relationship with the woman who would become his second wife, Barbara. He'd actually had an affair with her some years earlier, and they'd had a daughter, Linda, who Cooke had initially not acknowledged as his own -- he had many children with other women -- but they got together in 1958, around the time of Cooke's divorce from his first wife. Tragically, that first wife then died in a car crash in 1959 -- Cooke paid her funeral expenses. He was also getting dissatisfied with Keen Records, which had been growing too fast to keep up with its expenses -- Bumps Blackwell, Lou Adler, and Herb Alpert, who had all started at the label with him, all started to move away from it to do other things, and Cooke was sure that Keen weren't paying him the money they owed as fast as they should.  He also wanted to help some of his old friends out -- while Cooke was an incredibly selfish man, he was also someone who believed in not leaving anyone behind, so long as they paid him what he thought was the proper respect, and so he started his own record label, with his friends J.W. Alexander and Roy Crain, called SAR Records (standing for Sam, Alex, and Roy), to put out records by his old group The Soul Stirrers, for whom he wrote "Stand By Me, Father", a song inspired by an old gospel song by Charles Tindley, and with a lead sung by Johnnie Taylor, the Sam Cooke soundalike who had replaced Cooke as the group's lead singer: [Excerpt: The Soul Stirrers, "Stand By Me, Father"] Of course, that became, as we heard a few months back, the basis for Ben E. King's big hit "Stand By Me". Cooke and Alexander had already started up their own publishing company, and were collaborating on songs for other artists, too. They wrote "I Know I'll Always Be In Love With You", which was recorded first by the Hollywood Flames and then by Jackie Wilson: [Excerpt: Jackie Wilson, "I Know I'll Always Be in Love With You"] And "I'm Alright", which Little Anthony and the Imperials released as a single: [Excerpt: Little Anthony and the Imperials, "I'm Alright"] But while he was working on rock and roll and gospel records, he was also learning to tap-dance for his performances at the exclusive white nightclubs he wanted to play -- though when he played Black venues he didn't include those bits in the act. He did, though, perform seated on a stool in imitation of Perry Como, having decided that if he couldn't match the energetic performances of people like Jackie Wilson (who had been his support act at a run of shows where Wilson had gone down better than Cooke) he would go in a more casual direction.  He was also looking to move into the pop market when it came to his records, and he eventually signed up with RCA Records, and specifically with Hugo and Luigi. We've talked about Hugo and Luigi before, a couple of times -- they were the people who had produced Georgia Gibbs' soundalike records that had ripped off Black performers, and we talked about their production of "The Lion Sleeps Tonight", though at this point they hadn't yet made that record. They had occasionally produced records that were more R&B flavoured -- they produced "Shout!" for the Isley Brothers, for example -- but they were in general about as bland and middle-of-the-road a duo as one could imagine working in the music industry. The first record that Hugo and Luigi produced for Cooke was a song that the then-unknown Jeff Barry had written, "Teenage Sonata". That record did nothing, and the label were especially annoyed when a recording Cooke had done while he was still at Keen, "Wonderful World", was released on his old label and made the top twenty: [Excerpt: Sam Cooke, "Wonderful World"] Cooke's collaboration with Hugo and Luigi would soon turn into one that bore a strong resemblance to their collaboration with the Isley Brothers -- they would release great singles, but albums that fundamentally misunderstood Cooke's artistry; though some of that misunderstanding may have come from Cooke himself, who never seemed to be sure which direction to go in. Many of the album tracks they released have Cooke sounding unsure of himself, and hesitant, but that's not something that you can say about the first real success that Cooke came out with on RCA, a song he wrote after driving past a group of prisoners working on a chain gang. He'd originally intended that song to be performed by his brother Charles, but he'd half-heartedly played it for Hugo and Luigi when they'd not seen much potential in any of his other recent originals, and they'd decided that that was the hit: [Excerpt: Sam Cooke, "Chain Gang"] That made number two on the charts, becoming his biggest hit since "You Send Me". Meanwhile Cooke was also still recording other artists for SAR -- though by this point Roy Crain had been eased out and SAR now stood for Sam and Alex Records. He got a group of Central Avenue singers including Alex and Gaynel Hodge to sing backing vocals on a song he gave to a friend of his named Johnny Morisette, who was known professionally as "Johnny Two-Voice" because of the way he could sound totally different in his different ranges, but who was known to his acquaintances as "the singing pimp", because of his other occupation: [Excerpt: Johnny Morisette, "I'll Never Come Running Back to You"] They also thought seriously about signing up a young gospel singer they knew called Aretha Franklin, who was such an admirer of Sam's that she would try to copy him -- she changed her brand of cigarettes to match the ones he smoked, and when she saw him on tour reading William Shirer's The Rise and Fall of the Third Reich -- Cooke was an obsessive reader, especially of history -- she bought her own copy. She never read it, but she thought she should have a copy if Cooke had one.  But they decided that Franklin's father, the civil rights leader Rev. C.L. Franklin, was too intimidating, and so it would probably not be a good idea to get involved. The tour on which Franklin saw Cooke read Shirer's book was also the one on which Cooke made his first public stance in favour of civil rights -- that tour, which was one of the big package tours of the time, was meant to play a segregated venue, but the artists hadn't been informed just how segregated it was. While obviously none of them supported segregation, they would mostly accept playing to segregated crowds, because there was no alternative, if at least Black people were allowed in in roughly equal numbers. But in this case, Black people were confined to a tiny proportion of the seats, in areas with extremely restricted views, and both Cooke and Clyde McPhatter refused to go on stage, though the rest of the acts didn't join in their boycott. Cooke's collaboration with Hugo and Luigi remained hit and miss, and produced a few more flop singles, but then Cooke persuaded them to allow him to work in California, with the musicians he'd worked with at Keen, and with René Hall arranging rather than the arrangers they'd employed previously. While the production on Cooke's California sessions was still credited to Hugo and Luigi, Luigi was the only one actually attending those sessions -- Hugo was afraid of flying and wouldn't come out to the West Coast. The first record that came out under this new arrangement was another big hit, "Cupid", which had vocal sound effects supplied by a gospel act Cooke knew, the Sims twins -- Kenneth Sims made the sound of an arrow flying through the air, and Bobbie Sims made the thwacking noise of it hitting a target: [Excerpt: Sam Cooke, "Cupid"] Cooke became RCA's second-biggest artist, at least in terms of singles sales, and had a string of hits like "Twistin' the Night Away", "Another Saturday Night", and "Bring it On Home to Me", though he was finding it difficult to break the album market. He was frustrated that he wasn't having number one records, but Luigi reassured him that that was actually the best position to be in: “We're getting number four, number six on the Billboard charts, and as long as we get that, nobody's gonna bother you. But if you get two or three number ones in a row, then you got no place to go but down. Then you're competition, and they're just going to do everything they can to knock you off.” But Cooke's personal life had started to unravel. After having two daughters, his wife gave birth to a son. Cooke had desperately wanted a male heir, but he didn't bond with his son, Vincent, who he insisted didn't look like him. He became emotionally and physically abusive towards his wife, beating her up on more than one occasion, and while she had been a regular drug user already, her use increased to try to dull the pain of being married to someone who she loved but who was abusing her so appallingly. Things became much, much worse, when the most tragic thing imaginable happened. Cooke had a swim in his private pool and then went out, leaving the cover off. His wife, Barbara, then let the children play outside, thinking that their three-year-old daughter Tracey would be able to look after the baby for a few minutes. Baby Vincent fell into the pool and drowned. Both parents blamed the other, and Sam was devastated at the death of the child he only truly accepted as his son once the child was dead. You can hear some of that devastation in a recording he made a few months later of an old Appalachian folk song: [Excerpt: Sam Cooke, "The Riddle Song"] Friends worried that Cooke was suicidal, but Cooke held it together, in part because of the intervention of his new manager, Allen Klein. Klein had had a hard life growing up -- his mother had died when he was young, and his father had sent him to an orphanage for a while. Eventually, his father remarried, and young Allen came back to the family home, but his father was still always distant. He grew close to his stepmother, but then she died as well.  Klein turned up at Cooke's house two days after the baby's funeral with his own daughter, and insisted on taking Cooke and his surviving children to Disneyland, telling him "You always had your mother and father, but I lost my mother when I was nine months old. You've got two other children. Those two girls need you even more now. You're their only father, and you've got to take care of them." Klein was very similar to Cooke in many ways. He had decided from a very early age that he couldn't trust anyone but himself, and that he had to make his own way in the world. He became hugely ambitious, and wanted to reach the very top. Klein had become an accountant, and gone to work for Joe Fenton, an accountant who specialised in the entertainment industry.  One of the first jobs Klein did in his role with Fenton was to assist him with an audit of Dot Records in 1957, called for by the Harry Fox Agency. We've not talked about Harry Fox before, but they're one of the most important organisations in the American music industry -- they're a collection agency like ASCAP or BMI, who collect songwriting royalties for publishing companies and songwriters. But while ASCAP and BMI collect performance royalties -- they collect payments for music played on the radio or TV, or in live performance -- Harry Fox collect the money for mechanical reproduction, the use of songs on records. It's a gigantic organisation, and it has the backing of all the major music publishers. To do this audit, Klein and Fenton had to travel from New York to LA, and as they were being paid by a major entertainment industry organisation, they were put up in the Roosevelt Hotel, where at the time the other guests included Elvis, Claude Rains, and Sidney Poitier. Klein, who had grown up in comparative poverty, couldn't help but be impressed at the money that you could make by working in entertainment. The audit of Dot Records found some serious discrepancies -- they were severely underpaying publishers and songwriters. While they were in LA, Klein and Fenton also audited several other labels, like Liberty, and they found the same thing at all of them. The record labels were systematically conning publishing companies out of money they were owed. Klein immediately realised that if they were doing this to the major publishing companies that Harry Fox represented, they must be doing the same kind of thing to small songwriters and artists, the kind of people who didn't have a huge organisation to back them up.  Unfortunately for Klein, soon after he started working for Fenton, he was fired -- he was someone who was chronically unable to get to work on time in the morning, and while he didn't mind working ridiculously long hours, he could not, no matter how hard he tried, get himself into the office for nine in the morning. He was fired after only four months, and Fenton even recommended to the State of New Jersey that they not allow Klein to become a Certified Public Accountant -- a qualification which, as a result, Klein never ended up getting. He set up his own company to perform audits of record companies for performers, and he got lucky by bumping in to someone he'd been at school with -- Don Kirshner. Kirshner agreed to start passing clients Klein's way, and his first client was Ersel Hickey (no relation), the rockabilly singer we briefly discussed in the episode on "Twist and Shout", who had a hit with "Bluebirds Over the Mountain": [Excerpt: Ersel Hickey, "Bluebirds Over the Mountain"] Klein audited Hickey's record label, but was rather surprised to find out that they didn't actually owe Hickey a penny. It turned out that record contracts were written so much in the company's favour that they didn't have to use any dodgy accounting to get out of paying the artists anything.  But sometimes, the companies would rip the artists off anyway, if they were particularly unscrupulous. Kirshner had also referred the rockabilly singer/songwriter duo Buddy Knox and Jimmy Bowen to Klein. Their big hit, "Party Doll", had come out on Roulette Records: [Excerpt: Buddy Knox, "Party Doll"] Klein found out that in the case of Roulette, the label *were* actually not paying the artists what they were contractually owed, largely because Morris Levy didn't like paying people money. After the audit, Levy did actually agree to pay Knox and Bowen what they were owed, but he insisted that he would only pay it over four years, at a rate of seventy dollars a week -- if Klein wanted it any sooner, he'd have to sue, and the money would all be eaten up in lawyers' fees. That was still better than nothing, and Klein made enough from his cut that he was able to buy himself a car.  Klein and Levy actually became friends -- the two men were very similar in many ways -- and Klein learned a big lesson from negotiating with him. That lesson was that you take what you can get, because something is better than nothing. If you discover a company owes your client a hundred thousand dollars that your client didn't know about, and they offer you fifty thousand to settle, you take the fifty thousand. Your client still ends up much better off than they would have been, you've not burned any bridges with the company, and you get your cut. And Klein's cut was substantial -- his standard was to take fifty percent of any extra money he got for the artist. And he prided himself on always finding something -- though rarely as much as he would suggest to his clients before getting together with them. One particularly telling anecdote about Klein's attitude is that when he was at Don Kirshner's wedding he went up to Kirshner's friend Bobby Darin and told him he could get him a hundred thousand dollars. Darin signed, but according to Darin's manager, Klein only actually found one underpayment, for ten thousand copies of Darin's hit "Splish Splash" which Atlantic hadn't paid for: [Excerpt: Bobby Darin, "Splish Splash"] However, at the time singles sold for a dollar, Darin was on a five percent royalty, and he only got paid for ninety percent of the records sold (because of a standard clause in contracts at that time to allow for breakages). The result was that Klein found an underpayment of just four hundred and fifty dollars, a little less than the hundred thousand he'd promised the unimpressed Darin. But Klein used the connection to Darin to get a lot more clients, and he did significantly better for some of them. For Lloyd Price, for example, he managed to get an extra sixty thousand dollars from ABC/Paramount, and Price and Klein became lifelong friends. And Price sang Klein's praises to Sam Cooke, who became eager to meet him.  He got the chance when Klein started up a new business with a DJ named Jocko Henderson. Henderson was one of the most prominent DJs in Philadelphia, and was very involved in all aspects of the music industry. He had much the same kind of relationship with Scepter Records that Alan Freed had with Chess, and was cut in on most of the label's publishing on its big hits -- rights he would later sell to Klein in order to avoid the kind of investigation that destroyed Freed's career. Henderson had also been the DJ who had first promoted "You Send Me" on the radio, and Cooke owed him a favour. Cooke was also at the time being courted by Scepter Records, who had offered him a job as the Shirelles' writer and producer once Florence Greenberg had split up with Luther Dixon. He'd written them one song, which referenced many of their earlier hits: [Excerpt: The Shirelles, "Only Time Will Tell"] However, Cooke didn't stick with Scepter -- he figured out that Greenberg wasn't interested in him as a writer/producer, but as a singer, and he wasn't going to record for an indie like them when he could work with RCA. But when Henderson and Klein started running a theatre together, putting on R&B shows, those shows obviously featured a lot of Scepter acts like the Shirelles and Dionne Warwick, but they also featured Sam Cooke on the top of the bill, and towards the bottom of the bill were the Valentinos, a band featuring Cooke's touring guitarist, Bobby Womack, who were signed to SAR Records: [Excerpt: The Valentinos, "It's All Over Now"] Klein was absolutely overawed with Cooke's talent when he first saw him on stage, realising straight away that this was one of the major artists of his generation. Whereas most of the time, Klein would push himself forward straight away and try to dominate artists, here he didn't even approach Cooke at all, just chatted to Cooke's road manager and found out what Cooke was like as a person. This is something one sees time and again when it comes to Cooke -- otherwise unflappable people just being absolutely blown away by his charisma, talent, and personality, and behaving towards him in ways that they behaved to nobody else. At the end of the residency, Cooke had approached Klein, having heard good things about him from Price, Henderson, and his road manager. The two had several meetings over the next few months, so Klein could get an idea of what it was that was bothering Cooke about his business arrangements. Eventually, after a few months, Cooke asked Klein for his honest opinion. Klein was blunt. "I think they're treating you like a " -- and here he used the single most offensive anti-Black slur there is -- "and you shouldn't let them." Cooke agreed, and said he wanted Klein to take control of his business arrangements. The first thing Klein did was to get Cooke a big advance from BMI against his future royalties as a songwriter and publisher, giving him seventy-nine thousand dollars up front to ease his immediate cash problems. He then started working on getting Cooke a better recording contract. The first thing he did was go to Columbia records, who he thought would be a better fit for Cooke than RCA were, and with whom Cooke already had a relationship, as he was at that time working with his friend, the boxer Muhammad Ali, on an album that Ali was recording for Columbia: [Excerpt: Muhammad Ali, "The Gang's All Here"] Cooke was very friendly with Ali, and also with Ali's spiritual mentor, the activist Malcolm X, and both men tried to get him to convert to the Nation of Islam. Cooke declined -- while he respected both men, he had less respect for Elijah Mohammed, who he saw as a con artist, and he was becoming increasingly suspicious of religion in general. He did, though, share the Nation of Islam's commitment to Black people pulling themselves up by their bootstraps and presenting themselves in a clean-cut way, having the same vision of Black capitalism that many of his contemporaries like James Brown shared. Unfortunately, negotiations with Columbia quickly failed. Klein believed, probably correctly, that record labels didn't have to do anything to sell Sam Cooke's records, and that Cooke was in a unique position as one of the very few artists at that time who could write, perform, and produce hit records without any outside assistance. Klein therefore thought that Cooke deserved a higher royalty rate than the five percent industry standard, and said that Cooke wouldn't sign with anyone for that rate. The problem was that Columbia had most-favoured-nations clauses written into many other artists' contracts. These clauses meant that if any artist signed with Columbia for a higher royalty rate, those other artists would also have to get that royalty rate, so if Cooke got the ten percent that Klein was demanding, a bunch of other performers like Tony Bennett would also have to get the ten percent, and Columbia were simply not willing to do that. So Klein decided that Cooke was going to stay with RCA, but he found a way to make sure that Cooke would get a much better deal from RCA, and in a way which didn't affect any of RCA's own favoured-nations contracts.  Klein had had some involvement in filmmaking, and knew that independent production companies were making films without the studios, and just letting the studios distribute them. He also knew that in the music business plenty of songwriters and producers like Leiber and Stoller and Phil Spector owned their own record labels. But up to that point, no performers did, that Klein was aware of, because it was the producers who generally made the records, and the contracts were set up with the assumption that the performer would just do what the producer said. That didn't apply to Sam Cooke, and so Klein didn't see why Cooke couldn't have his own label. Klein set up a new company, called Tracey Records, which was named after Cooke's daughter, and whose president was Cooke's old friend J.W. Alexander. Tracey Records would, supposedly to reduce Cooke's tax burden, be totally owned by Klein, but it would be Cooke's company, and Cooke would be paid in preferred stock in the company, though Cooke would get the bulk of the money -- it would be a mere formality that the company was owned by Klein. While this did indeed have the effect of limiting the amount of tax Cooke had to pay, it also fulfilled a rule that Klein would later state -- "never take twenty percent of an artist's earnings. Instead give them eighty percent of yours". What mattered wasn't the short-term income, but the long-term ownership. And that's what Klein worked out with RCA. Tracey Records would record and manufacture all Cooke's records from that point on, but RCA would have exclusive distribution rights for thirty years, and would pay Tracey a dollar per album. After thirty years, Tracey records would get all the rights to Cooke's recordings back, and in the meantime, Cooke would effectively be on a much higher royalty rate than he'd received before, in return for taking a much larger share of the risk. There were also changes at SAR. Zelda Sands, who basically ran the company for Sam and J.W., was shocked to receive a phone call from Sam and Barbara, telling her to immediately come to Chicago, where Sam was staying while he was on tour. She went up to their hotel room, where Barbara angrily confronted her, saying that she knew that Sam had always been attracted to Zelda -- despite Zelda apparently being one of the few women Cooke met who he never slept with -- and heavily implied that the best way to sort this would be for them to have a threesome. Zelda left and immediately flew back to LA. A few days later, Barbara turned up at the SAR records offices and marched Zelda out at gunpoint. Through all of this turmoil, though, Cooke managed to somehow keep creating music. And indeed he soon came up with the song that would be his most important legacy. J.W. Alexander had given Cooke a copy of The Freewheelin' Bob Dylan, and Cooke had been amazed at "Blowin' in the Wind": [Excerpt: Bob Dylan, "Blowin' in the Wind"] But more than being amazed at the song, Cooke was feeling challenged. This was a song that should have been written by a Black man. More than that, it was a song that should have been written by *him*. Black performers needed to be making music about their own situation. He added "Blowin' in the Wind" to his own live set, but he also started thinking about how he could write a song like that himself. As is often the case with Cooke's writing, he took inspiration from another song, this time "Ol' Man River", the song from the musical Showboat that had been made famous by the actor, singer, and most importantly civil rights activist Paul Robeson: [Excerpt: Paul Robeson, "Ol' Man River"] Cooke had recorded his own version of that in 1958, but now in early 1964 he took the general pace, some melodic touches, the mention of the river, and particularly the lines "I'm tired of livin' and scared of dyin'", and used them to create something new. Oddly for a song that would inspire a civil rights anthem -- or possibly just appropriately, in the circumstances, "Ol' Man River" in its original form featured several racial slurs included by the white lyricist, Oscar Hammerstein, and indeed Robeson himself in later live performances changed the very lines that Cooke would later appropriate, changing them as he thought they were too defeatist for a Black activist to sing: [Excerpt: Paul Robeson, "Ol' Man River (alternative lyrics)"] Cooke's song would keep the original sense, in his lines "It's been too hard livin' but I'm afraid to die", but the most important thing was the message -- "a change is gonna come". The session at which he recorded it was to be his last with Luigi, whose contract with RCA was coming to an end, and Cooke knew it had to be something special. Rene Hall came up with an arrangement for a full orchestra, which so overawed Cooke's regular musicians that his drummer found himself too nervous to play on the session. Luckily, Earl Palmer was recording next door, and was persuaded to come and fill in for him.  Hall's arrangement starts with an overture played by the whole orchestra: [Excerpt: Sam Cooke, "A Change is Gonna Come"] And then each verse features different instrumentation, with the instruments changing at the last line of each verse -- "a change is gonna come". The first verse is dominated by the rhythm section: [Excerpt: Sam Cooke, "A Change is Gonna Come"] Then for the second verse, the strings come in, for the third the strings back down and are replaced by horns, and then at the end the whole orchestra swells up behind Cooke: [Excerpt: Sam Cooke, "A Change is Gonna Come"] Cooke was surprised when Luigi, at the end of the session, told him how much he liked the song, which Cooke thought wouldn't have been to Luigi's taste, as Luigi made simple pop confections, not protest songs. But as Luigi later explained, "But I did like it. It was a serious piece, but still it was him. Some of the other stuff was throwaway, but this was very deep. He was really digging into himself for this one." Cooke was proud of his new record, but also had something of a bad feeling about it, something that was confirmed when he played the record for Bobby Womack, who told him "it sounds like death". Cooke agreed, there was something premonitory about the record, something ominous. Allen Klein, on the other hand, was absolutely ecstatic. The track was intended to be used only as an album track -- they were going in a more R&B direction with Cooke's singles at this point. His previous single was a cover version of Howlin' Wolf's "Little Red Rooster”: [Excerpt: Sam Cooke, "Little Red Rooster"] And his next two singles were already recorded -- a secularised version of the old spiritual "Ain't That Good News", and a rewrite of an old Louis Jordan song. Cooke was booked on to the Johnny Carson show, where he was meant to perform both sides of his new single, but Allen Klein was so overwhelmed by "A Change is Gonna Come" that he insisted that Cooke drop "Ain't That Good News" and perform his new song instead. Cooke said that he was meant to be on there to promote his new record. Klein insisted that he was meant to be promoting *himself*, and that the best promotion for himself would be this great song. Cooke then said that the Tonight Show band didn't have all the instruments needed to reproduce the orchestration. Klein said that if RCA wouldn't pay for the additional eighteen musicians, he would pay for them out of his own pocket. Cooke eventually agreed. Unfortunately, there seems to exist no recording of that performance, the only time Cooke would ever perform "A Change is Gonna Come" live, but reports from people who watched it at the time suggest that it made as much of an impact on Black people watching as the Beatles' appearance on the Ed Sullivan Show two days later made on white America. "A Change is Gonna Come" became a standard of the soul repertoire, recorded by Aretha Franklin: [Excerpt: Aretha Franklin, "A Change is Gonna Come"] Otis Redding: [Excerpt: Otis Redding, "A Change is Gonna Come"] The Supremes and more. Cooke licensed it to a compilation album released as a fundraiser for Martin Luther King's campaigning, and when King was shot in 1968, Rosa Parks spent the night crying in her mother's arms, and they listened to "A Change is Gonna Come". She said ”Sam's smooth voice was like medicine to the soul. It was as if Dr. King was speaking directly to me.” After his Tonight Show appearance, Cooke was in the perfect position to move into the real big time. Allen Klein had visited Brian Epstein on RCA's behalf to see if Epstein would sign the Beatles to RCA for a million-dollar advance. Epstein wasn't interested, but he did suggest to Klein that possibly Cooke could open for the Beatles when they toured the US in 1965.  And Cooke was genuinely excited about the British Invasion and the possibilities it offered for the younger musicians he was mentoring. When Bobby Womack complained that the Rolling Stones had covered his song "It's All Over Now" and deprived his band of a hit, Cooke explained to Womack first that he'd be making a ton of money from the songwriting royalties, but also that Womack and his brothers were in a perfect position -- they were young men with long hair who played guitars and drums. If the Valentinos jumped on the bandwagon they could make a lot of money from this new style. But Cooke was going to make a lot of money from older styles. He'd been booked into the Copacabana again, and this time he was going to be a smash hit, not the failure he had been the first time. His residency at the club was advertised with a billboard in Times Square, and he came on stage every night to a taped introduction from Sammy Davis Jr.: [Excerpt: Sammy Davis Jr. introducing Sam Cooke] Listening to the live album from that residency and comparing it to the live recordings in front of a Black audience from a year earlier is astonishing proof of Cooke's flexibility as a performer. The live album from the Harlem Square Club in Florida is gritty and gospel-fuelled, while the Copacabana show has Cooke as a smooth crooner in the style of Nat "King" Cole -- still with a soulful edge to his vocals, but completely controlled and relaxed. The repertoire is almost entirely different as well -- other than "Twistin' the Night Away" and a ballad medley that included "You Send Me", the material was a mixture of old standards like "Bill Bailey" and "When I Fall In Love" and new folk protest songs like "If I Had a Hammer" and "Blowin' in the Wind", the song that had inspired "A Change is Gonna Come": [Excerpt: Sam Cooke, "Blowin' in the Wind"] What's astonishing is that both live albums, as different as they are, are equally good performances. Cooke by this point was an artist who could perform in any style, and for any audience, and do it well. In November 1964, Cooke recorded a dance song, “Shake”, and he prepared a shortened edit of “A Change is Gonna Come” to release as its B-side. The single was scheduled for release on December 22nd. Both sides charted, but by the time the single came out, Sam Cooke was dead. And from this point on, the story gets even more depressing and upsetting than it has been. On December the eleventh, 1964, Sam Cooke drove a woman he'd picked up to an out-of the-way motel. According to the woman, he tore off most of her clothes against her will, as well as getting undressed himself, and she was afraid he was going to rape her. When he went to the toilet, she gathered up all of her clothes and ran out, and in her hurry she gathered up his clothes as well. Some of Cooke's friends have suggested that she was in fact known for doing this and stealing men's money, and that Cooke had been carrying a large sum of money which disappeared, but this seems unlikely on the face of it, given that she ran to a phone box and called the police, telling them that she had been kidnapped and didn't know where she was, and could they please help her? Someone else was on the phone at the same time. Bertha Lee Franklin, the motel's manager, was on the phone to the owner of the motel when Sam Cooke found out that his clothes were gone, and the owner heard everything that followed. Cooke turned up at the manager's office naked except for a sports jacket and shoes, drunk, and furious. He demanded to know where the girl was. Franklin told him she didn't know anything about any girl. Cooke broke down the door to the manager's office, believing that she must be hiding in there with his clothes. Franklin grabbed the gun she had to protect herself. Cooke struggled with her, trying to get the gun off her. The gun went off three times. The first bullet went into the ceiling, the next two into Cooke. Cooke's last words were a shocked "Lady, you shot me".  Cooke's death shocked everyone, and immediately many of his family and friends started questioning the accepted version of the story. And it has to be said that they had good reason to question it. Several people stood to benefit from Cooke's death -- he was talking about getting a divorce from his wife, who would inherit his money; he was apparently questioning his relationship with Klein, who gained complete ownership of his catalogue after his death, and Klein after all had mob connections in the person of Morris Levy;  he had remained friendly with Malcolm X after X's split from the Nation of Islam and it was conceivable that Elijah Muhammad saw Cooke as a threat; while both Elvis and James Brown thought that Cooke setting up his own label had been seen as a threat by RCA, and that *they* had had something to do with it. And you have to understand that while false rape accusations basically never happen -- and I have to emphasise that here, women just *do not* make false rape accusations in any real numbers -- false rape accusations *had* historically been weaponised against Black men in large numbers in the early and mid twentieth century. Almost all lynchings followed a pattern -- a Black man owned a bit of land a white man wanted, a white woman connected to the white man accused the Black man of rape, the Black man was lynched, and his property was sold off at far less than cost to the white man who wanted it. The few lynchings that didn't follow that precise pattern still usually involved an element of sexualising the murdered Black men, as when only a few years earlier Emmett Till, a teenager, had been beaten to death, supposedly for whistling at a white woman. So Cooke's death very much followed the pattern of a lynching. Not exactly -- for a start, the woman he attacked was Black, and so was the woman who shot him -- but it was close enough that it rang alarm bells, completely understandably. But I think we have to set against that Cooke's history of arrogant entitlement to women's bodies, and his history of violence, both against his wife and, more rarely, against strangers who caught him in the wrong mood. Fundamentally, if you read enough about his life and behaviour, the official story just rings absolutely true. He seems like someone who would behave exactly in the way described. Or at least, he seems that way to me. But of course, I didn't know him, and I have never had to live with the threat of murder because of my race. And many people who did know him and have had to live with that threat have a different opinion, and that needs to be respected. The story of Cooke's family after his death is not one from which anyone comes out looking very good. His brother, L.C., pretty much immediately recorded a memorial album and went out on a tribute tour, performing his brother's hits: [Excerpt: L.C. Cooke, "Wonderful World"] Cooke's best friend, J.W. Alexander, also recorded a tribute album. Bertha Franklin sued the family of the man she had killed, because her own life had been ruined and she'd had to go into hiding, thanks to threats from his fans. Cooke's widow, Barbara, married Bobby Womack less than three months after Cooke's death -- and the only reason it wasn't sooner was that Womack had not yet turned twenty-one, and so they were not able to get married without Womack's parents' permission. They married the day after Womack's twenty-first birthday, and Womack was wearing one of Sam's suits at the ceremony. Womack was heard regularly talking about how much he looked like Sam. Two of Cooke's brothers were so incensed at the way that they thought Womack was stepping into their brother's life that they broke Womack's jaw -- and Barbara Cooke pulled a gun on them and tried to shoot them. Luckily for them, Womack had guessed that a confrontation was coming, and had removed the bullets from Barbara's gun, so there would be no more deaths in his mentor's family. Within a few months, Barbara was pregnant, and the baby, when he was born, was named Vincent, the same name as Sam and Barbara's dead son.  Five years later, Barbara discovered that Womack had for some time been sexually abusing Linda, her and Sam's oldest child, who was seventeen at the time Barbara discovered this. She kicked Womack out, but Linda sided with Womack and never spoke to her mother again. Linda carried on a consensual relationship with Bobby Womack for some time, and then married Bobby's brother Cecil (or maybe it's pronounced Cee-cil in his case? I've never heard him spoken about), who also became her performing and songwriting partner. They wrote many songs for other artists, as well as having hits themselves as Womack and Womack: [Excerpt: Womack and Womack, "Teardrops"] The duo later changed their names to Zek and Zeriiya Zekkariyas, in recognition of their African heritage. Sam Cooke left behind a complicated legacy. He hurt almost everyone who was ever involved in his life, and yet all of them seem not only to have forgiven him but to have loved him in part because of the things he did that hurt them the most. What effect that has on one's view of his art must in the end be a matter for individual judgement, and I never, ever, want to suggest that great art in any way mitigates appalling personal behaviour. But at the same time, "A Change is Gonna Come" stands as perhaps the most important single record we'll look at in this history, one that marked the entry into the pop mainstream of Black artists making political statements on their own behalf, rather than being spoken for and spoken over by well-meaning white liberals like me. There's no neat conclusion I can come to here,  no great lesson that can be learned and no pat answer that will make everything make sense. There's just some transcendent, inspiring, music, a bunch of horribly hurt people, and a young man dying, almost naked, in the most squalid circumstances imaginable.

We may be at a point where we feel we are done.  we don't know what the next step will be, we don't know what the time holds for us. We tried everything, but the situation is as it was years ago, neither change nor progress. Over the years we have given all our energy to solve the problem and there is no change. Like the bleeding woman in Luke 8. Having the sickness for 12 years, she spent all her livelihood, and she could not be healed by anyone. But the time has come for us to surrender everything and touch the hem of his garment, because the anointing settles at the end of the garment. Psalm 133: 2 “It is like the precious oil upon the head, Running down on the beard, The beard of Aaron, Running down on the edge of his garments” The issue is not with the doctors nor the money in order to try to go to the doctors. The point is to touch the hem of His Garment in faith and touch the hem of the anointing to be changed to be healed.  Our affairs to dissolve, because the bleeding woman tried her abilities for 12 years without a solution. But by touching the hem of His Garment in Faith she was immediately healed. Put down your illness, your condition, your problem and touch the hem of the garment of the Lord Jesus, and make sure that HE is the healer, the one who solves problems and the impossible matters.

Episode 7, “Touch the Hem of His Garment”Hello and welcome to Episode 8, in our series “Empowered.” This series is about being empowered by the Holy Ghost or Holy Spirit as we continue the work that Christ started in the earth. Today’s episode is entitled, “Touch the Hem of His Garment.” We are going to talk about “longsuffering” also defined as “patience,” the next fruit of the Spirit in our study. As always, we hope this episode will leave you empowered through a closer relationship with the Holy Spirit. We will provide contact information at the end of this episode if you would like to send comments or share your experiences with the Holy Spirit. We hope you will listen to Episode 7, from last week, “The Ultimate Sacrifice” if you have not already done so. We learned from that study that even though Jesus was 100% God, He was also 100% man and He needed to be filled with the Holy Spirit, not only for His benefit but to let us know we need to be filled too. Today we will witness how the fruit of the Spirit was fully operational in Jesus when he emerged from his 40-day fast in the desert. My name is Stephanie Wright. Let’s get started.

Holy Spirit inspired ministry from Peninsula Revival. This double header comes from our Zoom meeting of Friday 12 June 2020. Pst Ian Pask gives a great study about the Hem of His Garment, and why the woman with the issue of blood would want to touch it. Hans Vanderstadt reminds us that while we may be in a night season, the morning brings joy! If you want to see the speakers face up close, check out our Peninsula Revival YouTube channel.

On this episode Set Free Trio sings Hem of His Garment. Pastor J preaches Apply the Blood on National Day of Prayer for the Covid-19 Virus. Finishing with Pastor J's song Jesus the Healer. www.DoranWesleyan.WorthyofPraise.org

Episode sixty of A History of Rock Music in Five Hundred Songs looks at “You Send Me” by Sam Cooke 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 “Little Darlin'” by The Gladiolas. Also, an announcement — the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  —-more—- Resources The Mixcloud is slightly delayed this week. I’ll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick’s work, it’s an essential book if you’re even slightly interested in the subject. This is the best compilation of Sam Cooke’s music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the “e” from the release of “You Send Me”, so for almost all the time covered in this episode he was Cook. I didn’t feel the need to mention this in the podcast, as the two names are pronounced identically. I’ve spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there’s a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before about how the music that became known as soul had its roots in gospel music, but today we’re going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it’s doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that’s something that will come up more in future episodes, it’s worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we’ve talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam’s formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the “jubilee” style — the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, “Swing Low, Sweet Chariot”] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first — and best — gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, “In That Awful Hour”] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers — five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can — you never do anything by halves, and if a thing’s worth doing it’s worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don’t worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song “If I Didn’t Care” to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor’s recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, “I Dreamed That Heaven Was Like This”] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group’s members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn’t make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time — he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn’t just because he was the most talented of all the quartet singers — though he was, and that was certainly part of it — but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation — in both black gospel, and in the white gospel music euphemistically called “Southern Gospel”, the term “quartet” is used for groups which might have five, six, or even more people in them. I’ll generally refer to all of these as “groups”, because I’m not from the gospel world, but I’ll use the term “quartet” when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I’m not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation’s leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other’s shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn’t know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs’ point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat — and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him “Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you.” And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, “Come, Let Us Go Back to God”] But towards the end of the session, the Soul Stirrers insisted that they should record “Jesus Gave Me Water”, a song that had always been a highlight of the Highway QCs’ set. Rupe thought that this was ridiculous — the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, “Jesus Gave Me Water”] Rupe lost his misgivings, both about the song and about the singer — that was clearly going to be the group’s next single. The group themselves were still not completely sure about Cooke as their singer — he was younger than the rest of them, and he didn’t have Harris’ assurance and professionalism, yet. But they knew they had something with that song, which was released with “Peace in the Valley” on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. “Jesus Gave Me Water” was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when “Lawdy Miss Clawdy” became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn’t living a very godly life. He got married in 1953, but he’d already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they’ve got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn’t have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it’s easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, “Nearer to Thee”] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke’s laziness. They’d gone into the studio, and it turned out that Cooke hadn’t written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said “I got one”. He told the guitarist to play a couple of chords, and he started singing — and the song that came out, improvised off the top of his head, “Touch the Hem of His Garment”, was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, “Touch the Hem of His Garment”] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands — a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There’s an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word “Baby” to “Jesus”. In the mid-fifties things seemed to be the other way — people were having hits by taking Gospel songs and changing the word “Jesus” to “baby”, or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take “This Little Light of Mine”: [Excerpt: The Louvin Brothers, “This Little Light of Mine”] and turn it into “This Little Girl of Mine: [Excerpt: Ray Charles, “This Little Girl of Mine”] But there were a number of other acts doing things that weren’t that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa’s studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name “Dale Cook”, and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam’s brother, because it was fairly well known that Sam came from a singing family, and indeed Sam’s brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam’s. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, “Wonderful”: [Excerpt: Sam Cooke and the Soul Stirrers, “Wonderful”] One quick rewrite later, and that song became, instead, “Lovable”: [Excerpt: Dale Cook, “Lovable”] Around the time of the Dale Cook recording session, Sam’s brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn’t allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam’s brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by “Dale Cook”, the DJs playing it would often introduce it as being by “Dale Sam Cook”, and the Soul Stirrers started to be asked if they were going to sing “Lovable” in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it’s noticeable that songs like “Mean Old World” could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, “Mean Old World”] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he’d written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he’d treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, “You Send Me”, was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe’s criteria in mind. The songs chosen were “Summertime”, “You Send Me”, another song Sam had written called “You Were Made For Me”, and “Things You Do to Me”, which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn’t playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa’s studio, and Ted Brinson, the only LA native, on bass — Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that “Earth Angel” by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they’d recorded “You Send Me”: [Excerpt: Sam Cooke, “You Send Me”] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke’s vocals. They were, in Rupe’s view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of “Stardust” for the Dominoes: [Excerpt: Billy Ward and the Dominoes, “Stardust”] And the new version of “Summertime” had some of the same feel: [Excerpt: Sam Cooke, “Summertime”] If Sam Cooke was going to record for Specialty, he wasn’t going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white — and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over “Rip it Up” by Little Richard. When they’d agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with — one that was based around piano triplets. But then, when he’d been on the plane to the session, Blackwell had hit upon another idea — to base the song around a particular drum pattern: [Excerpt: Little Richard, “Rip it Up”] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn’t like that kind of greed from his artists — why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement — Blackwell would leave Specialty, and take Sam Cooke, and Cooke’s existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take “You Send Me”, “Summertime”, and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that “Summertime” would be the hit, but “You Send Me” quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, “You Send Me”] Several cover versions came out almost immediately. Sam and Bumps didn’t mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, “You Send Me”] Or Cornell Gunter: [Excerpt: Cornell Gunter, “You Send Me”] They were friends and colleagues, and good luck to them if they had a hit with the song — and anyway, they knew that Sam’s version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, “You Send Me”] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them — she was even copying Sam’s “whoa-oh”s. She was nothing more than a thief, Blackwell argued — and her version was charting, and made the top ten. Fortunately for them, Sam’s version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe’s company as a songwriter, and so he’d put “You Send Me” in the name of his brother L.C., so Rupe wouldn’t get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, “I’ll Come Running Back To You”, and got René Hall and the Lee Gotch singers, the very people whose work on “You Send Me” and “Summertime” he’d despised so much, to record overdubs to make it sound as much like “You Send Me” as possible: [Excerpt: Sam Cooke, “I’ll Come Running Back To You”] And in retaliation for *that* being released, Bumps Blackwell took a song that he’d recorded months earlier with Little Richard, but which still hadn’t been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, “Good Golly Miss Molly”] Specialty had to rush-release Little Richard’s version to make sure it became the hit — a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way — people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father’s maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we’ll see him rising to ever greater artistic heights, but we’ll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

Episode sixty of A History of Rock Music in Five Hundred Songs looks at “You Send Me” by Sam Cooke 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 “Little Darlin'” by The Gladiolas. Also, an announcement — the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  —-more—- Resources The Mixcloud is slightly delayed this week. I’ll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick’s work, it’s an essential book if you’re even slightly interested in the subject. This is the best compilation of Sam Cooke’s music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the “e” from the release of “You Send Me”, so for almost all the time covered in this episode he was Cook. I didn’t feel the need to mention this in the podcast, as the two names are pronounced identically. I’ve spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there’s a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before about how the music that became known as soul had its roots in gospel music, but today we’re going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it’s doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that’s something that will come up more in future episodes, it’s worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we’ve talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam’s formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the “jubilee” style — the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, “Swing Low, Sweet Chariot”] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first — and best — gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, “In That Awful Hour”] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers — five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can — you never do anything by halves, and if a thing’s worth doing it’s worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don’t worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song “If I Didn’t Care” to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor’s recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, “I Dreamed That Heaven Was Like This”] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group’s members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn’t make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time — he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn’t just because he was the most talented of all the quartet singers — though he was, and that was certainly part of it — but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation — in both black gospel, and in the white gospel music euphemistically called “Southern Gospel”, the term “quartet” is used for groups which might have five, six, or even more people in them. I’ll generally refer to all of these as “groups”, because I’m not from the gospel world, but I’ll use the term “quartet” when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I’m not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation’s leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other’s shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn’t know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs’ point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat — and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him “Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you.” And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, “Come, Let Us Go Back to God”] But towards the end of the session, the Soul Stirrers insisted that they should record “Jesus Gave Me Water”, a song that had always been a highlight of the Highway QCs’ set. Rupe thought that this was ridiculous — the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, “Jesus Gave Me Water”] Rupe lost his misgivings, both about the song and about the singer — that was clearly going to be the group’s next single. The group themselves were still not completely sure about Cooke as their singer — he was younger than the rest of them, and he didn’t have Harris’ assurance and professionalism, yet. But they knew they had something with that song, which was released with “Peace in the Valley” on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. “Jesus Gave Me Water” was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when “Lawdy Miss Clawdy” became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn’t living a very godly life. He got married in 1953, but he’d already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they’ve got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn’t have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it’s easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, “Nearer to Thee”] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke’s laziness. They’d gone into the studio, and it turned out that Cooke hadn’t written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said “I got one”. He told the guitarist to play a couple of chords, and he started singing — and the song that came out, improvised off the top of his head, “Touch the Hem of His Garment”, was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, “Touch the Hem of His Garment”] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands — a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There’s an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word “Baby” to “Jesus”. In the mid-fifties things seemed to be the other way — people were having hits by taking Gospel songs and changing the word “Jesus” to “baby”, or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take “This Little Light of Mine”: [Excerpt: The Louvin Brothers, “This Little Light of Mine”] and turn it into “This Little Girl of Mine: [Excerpt: Ray Charles, “This Little Girl of Mine”] But there were a number of other acts doing things that weren’t that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa’s studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name “Dale Cook”, and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam’s brother, because it was fairly well known that Sam came from a singing family, and indeed Sam’s brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam’s. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, “Wonderful”: [Excerpt: Sam Cooke and the Soul Stirrers, “Wonderful”] One quick rewrite later, and that song became, instead, “Lovable”: [Excerpt: Dale Cook, “Lovable”] Around the time of the Dale Cook recording session, Sam’s brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn’t allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam’s brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by “Dale Cook”, the DJs playing it would often introduce it as being by “Dale Sam Cook”, and the Soul Stirrers started to be asked if they were going to sing “Lovable” in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it’s noticeable that songs like “Mean Old World” could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, “Mean Old World”] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he’d written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he’d treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, “You Send Me”, was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe’s criteria in mind. The songs chosen were “Summertime”, “You Send Me”, another song Sam had written called “You Were Made For Me”, and “Things You Do to Me”, which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn’t playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa’s studio, and Ted Brinson, the only LA native, on bass — Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that “Earth Angel” by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they’d recorded “You Send Me”: [Excerpt: Sam Cooke, “You Send Me”] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke’s vocals. They were, in Rupe’s view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of “Stardust” for the Dominoes: [Excerpt: Billy Ward and the Dominoes, “Stardust”] And the new version of “Summertime” had some of the same feel: [Excerpt: Sam Cooke, “Summertime”] If Sam Cooke was going to record for Specialty, he wasn’t going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white — and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over “Rip it Up” by Little Richard. When they’d agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with — one that was based around piano triplets. But then, when he’d been on the plane to the session, Blackwell had hit upon another idea — to base the song around a particular drum pattern: [Excerpt: Little Richard, “Rip it Up”] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn’t like that kind of greed from his artists — why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement — Blackwell would leave Specialty, and take Sam Cooke, and Cooke’s existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take “You Send Me”, “Summertime”, and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that “Summertime” would be the hit, but “You Send Me” quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, “You Send Me”] Several cover versions came out almost immediately. Sam and Bumps didn’t mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, “You Send Me”] Or Cornell Gunter: [Excerpt: Cornell Gunter, “You Send Me”] They were friends and colleagues, and good luck to them if they had a hit with the song — and anyway, they knew that Sam’s version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, “You Send Me”] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them — she was even copying Sam’s “whoa-oh”s. She was nothing more than a thief, Blackwell argued — and her version was charting, and made the top ten. Fortunately for them, Sam’s version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe’s company as a songwriter, and so he’d put “You Send Me” in the name of his brother L.C., so Rupe wouldn’t get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, “I’ll Come Running Back To You”, and got René Hall and the Lee Gotch singers, the very people whose work on “You Send Me” and “Summertime” he’d despised so much, to record overdubs to make it sound as much like “You Send Me” as possible: [Excerpt: Sam Cooke, “I’ll Come Running Back To You”] And in retaliation for *that* being released, Bumps Blackwell took a song that he’d recorded months earlier with Little Richard, but which still hadn’t been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, “Good Golly Miss Molly”] Specialty had to rush-release Little Richard’s version to make sure it became the hit — a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way — people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father’s maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we’ll see him rising to ever greater artistic heights, but we’ll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

Episode sixty of A History of Rock Music in Five Hundred Songs looks at "You Send Me" by Sam Cooke 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 "Little Darlin'" by The Gladiolas. Also, an announcement -- the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  ----more---- Resources The Mixcloud is slightly delayed this week. I'll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick's work, it's an essential book if you're even slightly interested in the subject. This is the best compilation of Sam Cooke's music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the "e" from the release of "You Send Me", so for almost all the time covered in this episode he was Cook. I didn't feel the need to mention this in the podcast, as the two names are pronounced identically. I've spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there's a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've talked before about how the music that became known as soul had its roots in gospel music, but today we're going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it's doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that's something that will come up more in future episodes, it's worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we've talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam's formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the "jubilee" style -- the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, "Swing Low, Sweet Chariot"] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first -- and best -- gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, "In That Awful Hour"] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers -- five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can -- you never do anything by halves, and if a thing's worth doing it's worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don't worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song "If I Didn't Care" to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor's recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, "I Dreamed That Heaven Was Like This"] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group's members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn't make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time -- he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn't just because he was the most talented of all the quartet singers -- though he was, and that was certainly part of it -- but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation -- in both black gospel, and in the white gospel music euphemistically called "Southern Gospel", the term "quartet" is used for groups which might have five, six, or even more people in them. I'll generally refer to all of these as "groups", because I'm not from the gospel world, but I'll use the term "quartet" when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I'm not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation's leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other's shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn't know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs' point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat -- and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him "Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you." And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, "Come, Let Us Go Back to God"] But towards the end of the session, the Soul Stirrers insisted that they should record "Jesus Gave Me Water", a song that had always been a highlight of the Highway QCs' set. Rupe thought that this was ridiculous -- the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, "Jesus Gave Me Water"] Rupe lost his misgivings, both about the song and about the singer -- that was clearly going to be the group's next single. The group themselves were still not completely sure about Cooke as their singer -- he was younger than the rest of them, and he didn't have Harris' assurance and professionalism, yet. But they knew they had something with that song, which was released with "Peace in the Valley" on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. "Jesus Gave Me Water" was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when "Lawdy Miss Clawdy" became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn't living a very godly life. He got married in 1953, but he'd already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they've got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn't have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it's easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, "Nearer to Thee"] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke's laziness. They'd gone into the studio, and it turned out that Cooke hadn't written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said "I got one". He told the guitarist to play a couple of chords, and he started singing -- and the song that came out, improvised off the top of his head, "Touch the Hem of His Garment", was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, "Touch the Hem of His Garment"] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands -- a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There's an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word "Baby" to "Jesus". In the mid-fifties things seemed to be the other way -- people were having hits by taking Gospel songs and changing the word "Jesus" to "baby", or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take "This Little Light of Mine": [Excerpt: The Louvin Brothers, "This Little Light of Mine"] and turn it into "This Little Girl of Mine: [Excerpt: Ray Charles, "This Little Girl of Mine"] But there were a number of other acts doing things that weren't that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa's studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name "Dale Cook", and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam's brother, because it was fairly well known that Sam came from a singing family, and indeed Sam's brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam's. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, "Wonderful": [Excerpt: Sam Cooke and the Soul Stirrers, "Wonderful"] One quick rewrite later, and that song became, instead, "Lovable": [Excerpt: Dale Cook, "Lovable"] Around the time of the Dale Cook recording session, Sam's brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn't allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam's brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by "Dale Cook", the DJs playing it would often introduce it as being by "Dale Sam Cook", and the Soul Stirrers started to be asked if they were going to sing "Lovable" in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it's noticeable that songs like "Mean Old World" could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, "Mean Old World"] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he'd written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he'd treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, "You Send Me", was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe's criteria in mind. The songs chosen were "Summertime", "You Send Me", another song Sam had written called "You Were Made For Me", and "Things You Do to Me", which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn't playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa's studio, and Ted Brinson, the only LA native, on bass -- Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that "Earth Angel" by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they'd recorded "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke's vocals. They were, in Rupe's view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of "Stardust" for the Dominoes: [Excerpt: Billy Ward and the Dominoes, "Stardust"] And the new version of "Summertime" had some of the same feel: [Excerpt: Sam Cooke, "Summertime"] If Sam Cooke was going to record for Specialty, he wasn't going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white -- and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over "Rip it Up" by Little Richard. When they'd agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with -- one that was based around piano triplets. But then, when he'd been on the plane to the session, Blackwell had hit upon another idea -- to base the song around a particular drum pattern: [Excerpt: Little Richard, "Rip it Up"] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn't like that kind of greed from his artists -- why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement -- Blackwell would leave Specialty, and take Sam Cooke, and Cooke's existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take "You Send Me", "Summertime", and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that "Summertime" would be the hit, but "You Send Me" quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, "You Send Me"] Several cover versions came out almost immediately. Sam and Bumps didn't mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, "You Send Me"] Or Cornell Gunter: [Excerpt: Cornell Gunter, "You Send Me"] They were friends and colleagues, and good luck to them if they had a hit with the song -- and anyway, they knew that Sam's version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, "You Send Me"] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them -- she was even copying Sam's "whoa-oh"s. She was nothing more than a thief, Blackwell argued -- and her version was charting, and made the top ten. Fortunately for them, Sam's version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe's company as a songwriter, and so he'd put "You Send Me" in the name of his brother L.C., so Rupe wouldn't get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, "I'll Come Running Back To You", and got René Hall and the Lee Gotch singers, the very people whose work on "You Send Me" and "Summertime" he'd despised so much, to record overdubs to make it sound as much like "You Send Me" as possible: [Excerpt: Sam Cooke, "I'll Come Running Back To You"] And in retaliation for *that* being released, Bumps Blackwell took a song that he'd recorded months earlier with Little Richard, but which still hadn't been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, "Good Golly Miss Molly"] Specialty had to rush-release Little Richard's version to make sure it became the hit -- a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way -- people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father's maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we'll see him rising to ever greater artistic heights, but we'll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

“The Hem of His Garment” from 2019-09-29 by Pastor Dominic Francese. The post The Hem of His Garment appeared first on Solid Rock Church.

B i o g r a p h y T.Y. Martin, playwright, producer, director, and actor, has written and directed over 50 stage plays in sixteen short years. Relentlessly working in the entertainment industry, Martin has the uncanny and tireless ability to write scripts, cast actors, direct, and obtain sponsorship. Martin continues to sell out performances. Recently, he sold out two performances, including an encore performance of his hit production, “Slavery to Freedom.” In addition, he has also sold out the Fox Theatre in Atlanta, GA with his blockbuster plays "The Hem of His Garment" and "The Biblical Principle" multiples times. Originally trained in fashion merchandising in Chicago, Illinois, Martin first took to the stage in 1993. He was on tour in the USA for eight years as a stand-up comedian, opening shows for the O’Jays, the Whispers, Mary J Blige, Kirk Franklin, Steve Harvey, and many others. Martin made the transition from comedy to acting in 1996, when he toured with the professional production company, “Marvelous Entertainment.” This afforded him the opportunity to work with Margaret Avery, of the movie, “The Color Purple,” and led to roles in the plays, “God Don’t Like Ugly,” “Just Be a Man about It,” and others. Martin was featured in the 2005 New York Film Festival, in a documentary called “If You Love Me Why Do You Cheat?” which details the behind the scenes world of staging his play of the same name. In addition to his work on the stage, Martin has easily delved into film and TV, with minor roles in major movies. Martin has taught drama to at-risk children in Cleveland, Ohio, and is currently teaching acting classes in metro Atlanta. The mission of T.Y. Martin Studios is to reach people who might never, otherwise, experience live theatre, and to offer gritty, humorous, and original productions. T.Y. Martin’s theatrical productions present a look at a variety of life’s most challenging situations, and sometimes, even suggest practical solutions. These productions provide an opportunity for actors, in the developmental stages of their careers, to enhance performance skills and to build professional resumes. “Above all,” he notes, “our mission is to bring the gift of laughter and entertainment to the lives and hearts of our audiences.” --- Send in a voice message: https://anchor.fm/matthew-tiger-impersonator/message

03.10.19 - Tony Boyce - Touch the Hem of His Garment by Sermons from the Apostolic Faith Church of Portland, Oregon

The Hem of His Garment by Hancock Assembly of God

In this message, Pastor Dick shares 10 both challenging and encouraging points on healing. Dick's book on healing entitled "Daring to Touch the Hem of His Garment" is available for $10 at a connection centre during any of our weekend services.

Rapp Crook: The Hem of His Garment [1:19:29] Click here for: High quality (888.09 MB) Click here for: Low quality (398.45 MB) 114

The singer and actress Beverley Knight chooses: Touch the Hem of His Garment and A Change Gonna Come by Sam Cooke.

The actress, script-writer and producer Ruth Jones joins Aasmah Mir and Richard Coles. Known for her role as 'Nessa Jenkins' in the BBC's award-winning sitcom Gavin and Stacey, she's now back on our screens in the comedy drama series Stella. Trend forecaster James Wallman describes why we have more stuff than we could ever need. It's cluttering up our homes and making us feel 'stuffocated'. He explains why, rather than a buy a new watch or another pair of shoes, we should invest in shared experiences. Listener Polly Loxton wrote to Saturday Live about the value of a handwritten letter. She explains why they have been central in her own life. Anna Bailey accompanies Julian Lloyd Webber to a football match at Leyton Orient to find out how he spends his Saturday. A visit to his local launderette inspired Luke Jerram to create the 'Play Me, I'm Yours' project - in which he installed pianos in various locations in 46 cities across the world. An estimated six million people have played or listened to the Street Pianos. He describes how the project has led to marriages, a peaceful protest and the film of a homeless man playing which has gone 'viral'. Inheritance Tracks - the singer and actress Beverley Knight chooses: Touch the Hem of His Garment and A Change Gonna Come by Sam Cooke. Ruth Jones stars in Stella, Fridays, 9pm, Sky 1. Stuffocation by James Wallman, is published by Penguin. Beverley Knight stars in Memphis the Musical at the Shaftesbury Theatre in London and has extended her run until July 2015. Julian Lloyd Webber makes his conducting debut with the album 'And The Bridge is Love', which comes out at the end of the month; and he'll also be touring with his wife the cellist Jia Tschin Lloyd Webber, where he'll be talking about his career.

"Transformed by the Hem of His Garment"

A new song just produced by Shiloh Worship MusicThis song has kind of a 70s Country Rock feel to it. Guitars, Fiddle, Electric Bass, Drums, Pedal Steel Guitar, And a Bit of Organ. We hope that the song blesses you and enhances your walk with the Lord.Blessings to you,Shiloh Worship MusicYou Alone Are My Strength, Oh GodMy Soul Is Now ThirstyRevive Me Oh LordOh Living WaterLet It Be PouredYou Alone Are My Strength, Oh GodI Call upon Your Nameoh, Jesus My LordYou Are My Shelter From The StormWhere Can I Run Too?Where Can I Hide?Your Love Is A RiverSo Deep And So WideWith Love like ThatI Know the ProdigalWill Come BackYou Alone Are My Strength, Oh GodI Call upon Your Nameoh, Jesus My LordYou Are My Shelter From The StormMy Soul Is Now ThirstyA Touch of Your LoveThe Hem of His GarmentFrom Heaven aboveWith Love like ThatI Know the ProdigalWill Come BackYou Alone Are My Strength, Oh GodI Call upon Your Nameoh, Jesus My LordYou Are My Shelter From The Storm© 2012 Shiloh Worship Music COPY FREELY;This Music is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted- www.shilohworshipmusic.com