Podcast appearances and mentions of holland dozier holland

It's friend-of-the-show Chris's birthday, and there's nothing he'd rather do on his special day than share his girlfriend Vicki with his lightning-licking comrades. Vicki rules. She shares stories recalling her DJ past in the Detroit scene of yesteryear while adding female-powered cuts to this bonus episode's mixtape. Deon and Jay tackle old and new cuts spanning 7 decades of musical deliciousness, everything from 60's Brazilian bossa nova to 80's pop to 90's hip-hop to a fresh release from an alternative indie heavyweight.Sonic contributors to this very special 26th bonus episode of Lightnin' Licks Radio podcast include: Dave Matthews Band, Jurassic 5, DJ Nu-Mark, Zach Braff, Natalie Portman, Prince Paul, National Public Radio, Beastie Boys, Unknown Mortal Orchestra, Eddie Murphy, Olivia Newton John, John Waters' film Pink Flamingos featuring Divine, David Lochery & Mink Stole, Richard Rodgers, Deborah Kerr & Marni Nixon, Blake Mills, The Rivingtons, Black Thought & El Michaels Affair, Faith No More, MC Breed, Bootleg of the Dayton Family, Pat Finnerty's stink horn, Michelle Zauner,  Ethan Klein, Stevie Wonder, Jimmy Webb, Glen Campbell, The Meters, Lani Hall, The Beatles, The Pretenders, YES, Paul Revere & the Raiders, Guitar Wizards of the Future, Daffy Duck, Squeeze, more Beatles, The Vapors, SRC, John Frusciante, System 7 & Derrick May, Brian Austin Green, Negative Approach, Laughing Hyenas, Mule, Insane Clown Posse, Stone Temple Pilots, Galaxy to Galaxy, Beck, Skinny Puppy, Millie Jackson, Bob Seger System, The Jesus and Mary Chain, James Brown, Betty Jean Newsome, Bob Vylan & Amy Taylor, Greet Death, Ol' Burger Beats, Muddy Waters, Against Me! Operation Ivy,  Neon Trees, No Doubt, Bush, Gwen Stefani, English Beat, The Specials, Bad Manners, Cat Stevens, Steve Winwood, Jimmy Miller, more Pretenders, Sublime, Prince, The Avalaches featuring Camp Lo, Holland-Dozier-Holland, De La Soul, A Tribe Called Quest, William McLean, The S.O.S. Band, Parliament Funkadelic, ZAP, Tamia, LCD Soundsystem, David Bowie, James Murphy, Tom Scharpling, The Turtles, Bob James, The Alkoholiks, Justin Avdek, The Roots, Tori Spelling, and Dipshit Don, accepter of bribes. Jay loves – Missing Persons, Sergio Mendes, Honey Cone, and Newcleus. Deon likes – Japanese Breakfast, Laura Marling, Black Sheep, and The Pool.Vicki digs – Cat Bite, Sincere Engineer, P.P. Arnold, and Robyn.The 26th Bonus Mixtape:LISTEN TO THE MIX ON SOUNDCLOUD OR ON SPOTIFY[SIDE ONE] (1) Cat Bite - Call Your Bluff (2) Black Sheep - Strobelite Honey (3) Sergio Mendes & Brasil '66 - Wichita Lineman (4) Robyn - Dancing on my Own (5) The Pool - Jamaica Resting (6) Honey Cone - Sunday Morning People[SIDE TWO] (1) Japanese Breakfast - Mega Circuit (2) Sincere Engineer - Fireplace (3) Newcleus - No More Runnin' (4) Laura Marling - Don't Let Me Bring You Down (5) P.P. Arnold - The First Cut is the Deepest (6) Missing Persons - Surrender Your HeartA.I. David Silver appears courtesy of the fact that it's 2025 and we can deep fake whoever the flip we want to.Drink Blue Chair Bay. Shop at Electric Kitsch. Be kind to neighbors and strangers alike.

Le podcast Jams Of The Year consacre à l'année 1967Janvier : Lowell Fulson – TrampLe vétéran du west coast blues revient avec ce classique aux accents proto-funk, qui inspirera Otis & Carla et bien d'autres.Février : The Four Tops – BernadetteUn sommet de soul dramatique signé Holland-Dozier-Holland, porté par la voix déchirante de Levi Stubbs.Mars : James & Bobby Purify – Shake A Tail FeatherReprise survitaminée de doo-wop funk, emblématique de la soul sudiste et de l'énergie des années 60.Avril : The Parliaments – (I Wanna) TestifyPremier vrai succès pour George Clinton, annonçant la révolution funk à venir avec Parliament-Funkadelic.Mai : Linda Jones – HypnotizedBallade bouleversante magnifiée par une des plus belles voix féminines de la soul, disparue trop tôt.Juin : James Brown & The Famous Flames – Cold SweatActe fondateur du funk moderne, entre pulsation rythmique brute et minimalisme harmonique.Juillet : Wilson Pickett – Funky BroadwayReprise musclée du groove de Dyke & The Blazers, enregistrée à Muscle Shoals, qui devient le hit de référence.Août : Jackie Wilson – (Your Love Keeps Lifting Me) Higher and HigherDernier grand succès de Mr. Excitement, porté par l'énergie de la soul de Chicago et la production de Carl Davis.Septembre : Otis Redding & Carla Thomas – Knock On WoodDuo iconique sur une reprise d'Eddie Floyd, extrait du dernier album studio d'Otis avant sa disparition.Octobre : Joe Tex – Skinny Legs And AllSoul rurale et prêche humoristique sur fond de groove sudiste : du Joe Tex pur jus.Novembre : Sly & The Family Stone – Dance To The MusicExplosion de couleurs sonores, manifeste de la psychedelic soul et tremplin vers la liberté artistique.Décembre : The Impressions – We're A WinnerCurtis Mayfield donne le ton de la soul militante avec cet hymne à la fierté noire et à l'émancipation.1967 est une année charnière, où le groove devient plus libre, les paroles plus politisées, et les expérimentations sonores plus audacieuses. Les tensions raciales, la guerre du Vietnam, le mouvement pour les droits civiques influencent les textes, pendant que le rythme s'affirme comme langage universel de résistance.À propos de Jams Of The YearCréé par Raphael Melki et Belkacem Meziane, Jams Of The Year est un podcast dédié aux amateurs de musique funk, soul, rap et r&b. Chaque épisode met en lumière une année spécifique, avec une sélection soignée de 12 morceaux qui illustrent l'évolution des genres. Aidez nous, en soutenant gratuitement ce podcast !Comment ? C'est très simple :1)

The “I”s have it! And Lightnin' Licks Radio has the “I”s. Ten of them to be exact. Jay and Deon discuss their favorite vinyl records filed under the letter I. It's intimate and intense. It's immersive and inspiring though, ironically, they're idiots.--In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-fifth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru H, so naturally, they went with I.The “I” mixtape:[SIDE I-1] (1) INTHEWHALE – Animals (2) The Ice Man's Band – People Make the World Go ‘Round (3) Icehouse – Walls (4) Ice Cube – Down for Whatever (5) Instant Funk – Never Let It Go Away [SIDE I-2] (1) Donnie Iris – Joking (2) The Impressions – I'm Loving Nothing (3) The Icicle Works – Starry Blue Eyed Wonder (4) Weldon Irvine – Morning Sunshine (5) Iron & Wine – Upward Over the Mountain [END]Sonic Contributors to the thirty-fifth episode of Lightnin' Licks Radio podcast include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, James Todd Smith. Grand Puba, Piere Cavalli, Azymuth, Star Wars and Gremlins read-along story books and Sesame Street, Cowboy Junkies, Weldon Irvine, Nina Simone, Donny Hathaway, A Tribe Called Quest, Yasiin Bey, Just Blaze, Memphis Bleek, Jay-Z, Earl Sweatshirt, Icehouse, Ivy Davies, Ice Cude, Leaders of the New School, Fred Gwynne, Joe Pecsi, The Bomb Squad, Da Lench Mob, N.W.A., Grand Master Flash & the Furious Five, Quincy Jones, Instant Funk, Day La Soul, Prince Paul. T-Connection, The Postal Service, Sam Beam, Iron & Wine, Another Nashville Coma. Big Country, The Icicle Works. INTHEWHALE, Sunny Day Real Estate, The Ice Man's Band, The Beatles, The Impressions, Curtis Mayfield, The Funk Brothers, Donnie Iris, The Jaggers, The Cruisers, Steve Miller Band, Ozzy Osbourne. Dres and Black Sheep, Menehan Street Band, The Stylistics, and the Clockers.*Review Magazine Readers' Choice 2023 (someone nominate us for this year please)Drink Blue Chair Bay flavored rums. Buy vinyl, tapes or CDs at Lightnin' Licks Radio's record store of choice Electric Kitsch in Bay City, Michigan, USA.

Super-Special-not-so-Secret Friend Don returns to the diningroom table for another thrilling bonus episode. Deon and Jay welcome his ass with arms wide open, as Lightnin' Lickers are want to do. Twelve crackin' tracks are lifted from wax and stitched back onto a mixtape after an in-depth discussion of the artists who created said cuts takes place. It's good to be back. Happy (Merry) St. Patrick's Day (Bay City Christmas)!Sonic contributors to the latest bonus episode of Lightnin'Licks Radio podcast include: Max Heath, Prince and the Revolution, Alan Silvestri, Nitty Gritty Dirt Band, Arc of All, Junkyard Band, Roberta Flack, Donald Trump, Jimmy Webb, The Beatles, Tim Hardin, Holland Dozier Holland, Paul Simon, Art Garfunkel, Chris Whitley, Bonnie Tyler, Jim Steinman, Missing Persons, Mitchell Froom, Guns N' Roses, Stephen Malkmus, the Jicks, KMFDM, MC 900 Ft. Jesus, Beck, Revolting Cocks, Led Zepplin, Greta Van Fleet, Grace Slick, Bjork, Black Flag, Grateful Dead, Henry Rollins Band, Mike Judge's Beavis & Butthead, A Tribe Called Quest, Ubiquity, Digible Planets, Abe Jefferson, Billy Woods, ELUCID, Raekwon the Chef, Outkast, Ms. Judy, Quelle Chris, Don Messick as Zorac, Sade, Mr. K and Boyd Jarvis.Jay noted he was snacking on the sonic deliciousness of theSound Symposium, Noel and the Red Wedge, Wartime, and Fazerdaze.Deon is with Sarah Shook and the Disarmers, Pavement, Roy Ayers, Cavalier and Child Actor. Don suggested checking out the Hard Lessons, Balthazar, S.G. Goodman, and MaidaVale. In a world full of and Stephen Millers and Ted Cruzes, be aMr. Studinger or a Tom Cedarberg. Share joy and buy music from your local record store. We suggest Electric Kitsch in beautiful Bay City, Michigan.  BONUS #25 mixtape:[SIDE 1] (1) S.G. Goodman - If You Were Someone I Loved {edit} (2) Pavement - Grounded (3) Noel & the Red Wedge - Special to You (4) Balthazar - Bunker (5) Roy Ayers - Slow Motion (6) Wartime - The Whole Truth [SIDE 2] (1) The Sound Symposium - America (2) The Hard Lessons - Milk & Sugar (3) Cavalier & Child Actor - Judy is Forever (4) Fazerdaze - A Thousand Years (5) MaidaVale - Daybreak (6) Sarah Shook & the Disarmers - Backsliders

(S4-Ep13) The Four Tops - Reach Out (Motown)Released July 1967 and Recorded between 1966-1967Reach Out is the Four Tops' best-selling studio album and a landmark Motown release. The album features their signature hit, “Reach Out I'll Be There,” It showcases Levi Stubbs' passionate vocals, dramatic orchestration, and the Funk Brothers' impeccable musicianship. Other standout tracks include “Standing in the Shadows of Love,” “Bernadette,” and “7-Rooms of Gloom,” all highlighting the group's dynamic intensity and James Jamerson's masterful bass playing. This was the last album the Four Tops recorded with the legendary Holland–Dozier–Holland team before they departed from Motown, marking the end of an era. To broaden the group's crossover appeal, Motown's Berry Gordy had them cover several contemporary pop hits, including The Left Banke's “Walk Away Renée,” Tim Hardin's “If I Were a Carpenter,” and two Monkees songs, “I'm a Believer” and “Last Train to Clarksville.” Though some of these covers felt somewhat forced, the album remains a defining moment in their career. Reach Out was a commercial success, reaching #11 on the Billboard Top LPs chart and #4 in the UK. Its legacy endures, earning a spot on Rolling Stone's 500 Greatest Albums of All Time and solidifying the Four Tops' place in Motown history.Signature Tracks: "Reach Out I'll Be There,"  "Standing In The Shadows Of Love,""Bernadette"Full Album: YouTube  Spotify Playlists: YouTube  Spotify

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our milestone 100th episode with the legendary Lamont Dozier! ABOUT LAMONT DOZIERLamont Dozier, along with brothers Eddie and Brian Holland, wrote and produced more than 20 consecutive singles recorded by the Supremes, including ten #1 pop hits: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can't Hurry Love,” “You Keep Me Hangin' On,” “Love is Here and Now You're Gone,” and “The Happening.” Other Top 5 singles they wrote for the Supremes include “My World is Empty Without You” and “Reflections.” In addition to their hits with the Supremes, Holland, Dozier, and Holland helped further define the Motown sound by writing major pop and R&B hits such as “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack” for Martha and the Vandellas, “Mickey's Monkey” for the Miracles, “Can I Get a Witness” and “You're a Wonderful One” for Marvin Gaye, and “(I'm A) Road Runner” for Junior Walker and the All Stars. The trio found particular success with The Four Tops, who scored hits with their songs “Baby I Need Your Loving,” “I Can't Help Myself (Sugar Pie Honey Bunch),” “It's the Same Old Song,” “Reach Out I'll Be There,” “Standing in the Shadows of Love,” and “Bernadette.” Additional hits include “Crumbs Off the Table” for Glass House, “Give Me Just a Little More Time” for Chairmen of the Board, “Band of Gold” for Freda Payne, and Dozier's own recording of “Why Can't We Be Lovers.” Hit cover versions of his songs by rock artists include “Don't Do It” by the Band, “Take Me in Your Arms (Rock Me a Little While)” by the Doobie Brothers, “How Sweet It Is (To Be Loved By You)” by James Taylor, and “This Old Heart of Mine” by Rod Stewart. With hits spanning multiple decades, Dozier also co-wrote “Two Hearts” with Phil Collins, earning a #1 pop hit, a Grammy award, a Golden Globe, and an Oscar nomination. Dozier is in the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He is the recipient of the prestigious Johnny Mercer Award for songwriting, as well as the BMI Icon award. Lamont Dozier was additionally named among Rolling Stone magazine's 100 Greatest Songwriters of All Time.

Leslie Uggams' long-standing place in American pop culture matches that of any pop diva of similar longevity, going back all the way to her days as a child star on 1950s television variety and game shows. She won a Tony in 1967 for her performance in the musical Hallelujah, Baby, and she was the first African American woman to host her own variety show, the short-lived Leslie Uggams Show, which I, as a little homo-in-training, soaked up like a sponge! These days she's also celebrated for her participation in the Deadpool franchise and other high-profile projects. Today I've decided to shed some light on her status as a pop icon in the late 1960s, focusing on her three albums for Atlantic Records and subsequent releases in the 1970s on Dionne Warwick's Sonday Records label and Motown Records, in other words, the period from just before Hallelujah, Baby leading up to just before her starring role in the earth-shattering 1977 miniseries Roots. Uggams reveals herself to be a versatile entertainer of the first order, performing songs by everyone from Holland-Dozier-Holland to Burt Bacharach, from Jimmy Webb to Waylon Jennings, from Jon Hendricks to Jackie DeShannon, including the very first official commercial release of the Leiber and Stoller song “Is That All There Is,” a year before it became a massive hit for Peggy Lee. The episode ends with a pair of protest songs recorded in 1968. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

S4-Ep.3 The Supremes Sing Holland–Dozier–Holland (Motown) Release Jan 23, 1967, and Recorded 1964-1966 The Supremes Sing Holland–Dozier–Holland is a standout album that showcases the magic between The Supremes and the iconic Motown songwriting and production team Holland-Dozier-Holland (HDH). Released at the peak of their popularity, the album features classic hits like "You Keep Me Hangin' On" and "Love Is Here and Now You're Gone," reaching No. 1 on the Billboard Hot 100. These tracks highlight Diana Ross's powerful vocals, backed by the impeccable musicianship of Motown's Funk Brothers. The album blends sophisticated pop with emotional storytelling, driven by HDH's signature sound—tight harmonies, lush orchestrations, and an infectious rhythm. While the album is more a collection of singles than a cohesive concept, its polished sound and universal appeal helped solidify The Supremes as pop and R&B icons. Despite internal group tensions, including Florence Ballard's eventual departure, their collaboration with HDH remains a cornerstone of Motown's legacy. Signature Track "You Keep Me Hangin' On,"  "Love is Here and Now You're Gone," "It's The Same Old Song" Playlist YouTube Playlist, Spotify Playlist  Full Album Full Album on YouTube,   Full Album on Spotify

Clearly, vinyl records play a significant role in Jay and Deon's lives. But how did this all start? Well, episode 40 examines their origin stories. Ten classic artists who helped shape the Lickers' sonic identities are discussed and another crackin' mixtape is curated, created, and (hopefully) cranked. God gave rock and roll to us, Goddamn it. Put it in your soul already. Sonic contributors to the fortieth episode of Lightnin' Licks Radio podcast includes (in order of appearance): Brothers Johnson, Holland-Dozier-Holland, Derrick Harriott, Townes Van Zandt, James Todd Smith, Boy Meets Girl, Berlin, Super Lover Cee & Casanova Rud, The Treacherous Three, T La Rock, Rick Rubin, Beastie Boys , NPR's A. Martinez - Kye Ryssdal - Leilah Fadel, Dolly Parton, Whitney Houston, Dr. Pascal Wallisch, Aretha Franklin, Otis Redding, Queen, Elvis, Tommy Durden, Wings, James Horner & Will Jennings, Celine Dion, Right Said Fred, Greta Van Fleet, Dave Brubeck, Mac Demarco, Moose Charlap & Jule Styne, Jerry Goldsmith, M.M. Knapps, library “space” music and read-along storybook dialogue, Arc of All, Jim Kirk, Casey Kasem, Van Halen, Dion DiMucci, Leif Garrett, Jeff Barry & Ellie Greenwich, Shawn Cassidy, Gregg Diamond, Andrea True Connection, Elton John, Stevie Wonder, Bernie Taupin, Norman Whitfield & Barrett Strong, The Undisputed Truth, Perry-Perkins-Johnson, Honey Cone, TV adverts from Firestone Tires and Post cereal's Pink Panther Flakes, The Jackson Five, the Motown Players & the Funk Brothers, Michael Jackson, Cameron Crowe & Nancy Wilson, Still Water, Temple of the Dog, Sweet Water, The Dust Brothers, Afrika Bambaataa, Dudley Taft (brandishing his axe and ripping a bong), Black Sabbath, Dancefloor Destruction Crew, The Wrecking Crew, The Partridge Family, Wally Gold, Idris Muhammad, Led Zeppelin, Beastie Boys (again), Alice Cooper (band), Digable Planets with Wah Wah Watson, Michael Franti and Spearhead, Jimmy Buffett, Disposable Heroes of Hypocrisy, Three Dog Night, Hoyt Axton, Randy Newman, Paul Williams, Russ Ballard, America, Rainbow, Cheap Trick, Freda, Argent, Wilson Pickett, Wu-Tang's RZA, Pinback, Three Mile Pilot, Lou Reed, Goblin Cock, Fruer, Black Sabbath (again), Bachman-Turner Overdrive, Jethro fucking Tull, the Source of Light and Power, DJT, Eric B., Soul Coughing, The Clockers. Love at First Listen mixtape [SIDE 1] (1) Sweet Water – King of '79 (2) Michael Jackson – Got to be There (3) Spearhead – Positive (4) The Partridge Family – Lay it on the Line (5) Pinback – Loro [SIDE 2] (1) Alice Cooper – You Drive Me Nervous (2) Elton John – I Guess That's Why They Call it the Blues (3) Jethro Tull – Two Fingers (4) Beastie Boys – Live at P.J.'s (5) Three Dog Night - Liar Thanks for Listening. Autumn has fallen. Do your best to not jump into a ravine. Please shop for your music locally. We suggest Electric Kitsch. Drink Blue Chair Bay flavored rums. Feeling like jumping into a ravine? There's help available.

Label: EMI 8132Year: 1982Condition: M-Last Price: $14.00. Not currently available for sale.This record comes in a Near Mint copy of the release's cool picture sleeve. Supplies of this particular sleeve ran out quickly, as I recall, when the 45 became a hit, so they don't turn up unless you bought the record pretty quickly on its release. And when you a find a used copy with the sleeve, invariably the sleeve has not been well cared for. By the way, the B side is a terrific non-LP cut: A Rockabilly cover of the Holland-Dozier-Holland hit for the Supremes. They're pointing out, of course, how similar the Supremes tune's rhythm is to Rockabilly. :-) Note: This 45 has Near Mint labels and vinyl, and pristine Mint audio.

Kindred know-it-alls Deon and Jay kick knowledge…f#@% it, you know where this is going. In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, kooky, knuckleheaded yet somehow still award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential theme of their upcoming thirty-ninth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru J, so naturally, they went with K. Our favorite selections from the K section in outr collections mixtape: [SIDE ONE] (1) Al Gromer Khan – Konya (2) John Krautner – I Need Sugar (3) Rahsaan Roland Kirk – Freaks for the Festival Part One (4) Kitchens of Distinction – Railwayed (5) Khruangbin featuring Nina Simone – Black is the Color of my True Love's Hair [SIDE TWO] (1) The Kingbees – Man Made for Love (2) Key-Matic – Breakin' in Space (3) Klark Kent – Away From Home (4) Kris Kristofferson – Please Don't Tell Me How the Story Goes (5) The Korgis – Perfect Hostess Sonic contributors to LLR podcast episode 39 include: Holland-Dozier-Holland, Brothers Johnson, Head Hunters, Sault, Blues Brothers, Donald Trump, The Alkoholiks, Dave Matthews Band, Pearl Jam, Dreamville, J. Cole, Dr. Dre, Kermit, Grover, Thief, Rahsaan Roland Kirk, Lionel Richie, Billie Holiday, the Kingbees, Trouble Boys, Pendletons, DJ Shadow, Pace Salsa, Pete Seeger, Raleigh Symphony Orchestra, Herbie Hancock, Newcleus, Key-Matic, L.A. Dream Team, Freestyle, Egyptian Lover, Midnight Star, The Korgis, Beck, Liverpool Express, Sad Café, Khruangbin, Nina Simone, MN8, The Beatles, Joji, Kitchens of Distinction, Bronski Beat, Kriss Kristofferson, Paul Reubens, Danny Elfman, The Champs, John Krautner, The Go, Ohio Express, Vernal Equinox, Chasman, Al Groper Kahn, Yanni, the Police, Stuart Copeland, Klark Kent, Al Pacino, Third Company Syndicate, and The Clockers.   *REVIEW Magazine Readers' Choice 2022

TOM JOHNSTON THE DOOBIE BROTHERS ‘THE LOST INTERVIEWS' with RAY SHASHO EPISODE 15 INTERVIEWED FEBRUARY 17TH 2013   The Doobie Brothers are one of those bands that we've depended on, year after year, and expect to see performing invariably at outdoor music festivals, pavilions, arenas, casinos and bike week events across the nation. The group has been exhilarating audiences for decades yet appear timeless onstage. One of the principal reasons for the longevity and success of the Doobie Brothers has a lot to do with an unmitigated affection shared between the band and its audience. It's been an amazing love affair that has persevered for over forty-two years. When the Doobie Brothers finally call it quits … rock ‘n' roll will probably call it quits too.  Tom Johnston is the voice, lyricist and guitarist on numerous classic hit recordings by the Doobie Brothers. Inspired by listening to R&B music on the radio, California native Johnston started his first band at 14, eventually broadening his musical horizons by singing with soul and blues groups. After moving to San Jose to finish college, Tom met Skip Spence, original drummer for the Jefferson Airplane. Spence introduced Johnston to drummer John Hartman. Spence was also a founding member of Moby Grape which had a major influence on the Doobie Brothers. Tom Johnston, John Hartman and bassist Greg Murphy formed the power trio “Pud.” When “Pud” unraveled, the evolution of the Doobie Brothers began to take shape. While living in a home dubbed as their “musical headquarters,” guitarist Patrick Simmons and bassist Dave Shogren joined the group. The band quickly generated a huge following in California. In 1971, the Doobie Brothers launched their self- titled debut album, The Doobie Brothers on the Warner Brothers label with legendary producers Ted Templeman and Lenny Waronker. The first track on the album, “Nobody” penned by Tom Johnston, would later resurface in 2010 on their latest release, World Gone Crazy. Their second studio album Toulouse Street (named for a street in the French Quarter of New Orleans) introduced new bassist Tiran Porter and second drummer Michael Hossack (Navy Veteran). The album spawned the Tom Johnston penned classic hits, “Listen to the Music” (#11 Top 100 Billboard Hit -1972), “Rockin' Down the Highway” and “Jesus Is Just Alright,” (#35 Billboard Top 100 Hit -1973) written by Arthur Reynolds (1965) and performed by The Byrds (1969). In 1973, the Doobie Brothers released, The Captain and Me spotlighting some of the bands most memorable classic rock tunes penned by Tom Johnston … “Long Train Runnin'”(#8 Billboard Hot 100 Hit) and perhaps the bands anthem song, “China Grove” (#15 Billboard Hot 100 Hit). The Captain and Me also featured a guest performance by future Doobie Brothers and Steely Dan guitarist Jeff “Skunk” Baxter. The Doobie Brothers fourth studio album, What Were Once Vices Are Now Habits released in 1974 spawned the Tom Johnston penned songs, “Another Park, Another Sunday” (#32 Billboard Hot 100 Hit) and “Eyes of Silver” (#52 Billboard Hot 100 Hit). The album also featured Pat Simmons penned tribute to “The Big Easy,” “Black Water” (#1 Billboard Hot 100 Hit -1975). Stampede released in 1975 was the final album before Michael McDonald took over lead vocalist duties from an ailing Tom Johnston. The album featured the cover version, “Take Me in Your Arms (Rock Me A Little While)” (#11 Billboard Hot 100 Hit -1975) written by the Motown team of Holland-Dozier-Holland. Subsequent albums …Takin' It to the Streets (1976), Livin' on the Fault Line (1977), Minute by Minute (1978) and One Step Closer (1980) featured a successful second incarnation of the band, which primarily consisted of Michael McDonald(vocals, keyboards) Patrick Simmons (guitars/vocals) Jeff “Skunk” Baxter (guitars, steel guitars), Tiran Porter(bass, vocals), John Hartman (drums) and Keith Knudsen (drums). *Tom Johnston played and sang “Turn It Loose” and “Wheels of Fortune” on the album Takin' It to the Streets. John McFee was added to the Doobie Brothers lineup in 1979 replacing Jeff “Skunk” Baxter and was featured on One Step Closer. After a successful run, the band's signature sound and direction became disillusioned. While working on his solo project, Tom Johnston rejoined the band for a Farewell Tour, and then the Doobie Brothers would call it quits as a band for the next five years. The reformation of the Doobie Brothers was contrived when the band's alumni were asked by drummer Keith Knudsen to perform at a concert to benefit veterans' causes. The band discovered that tickets were in great demand and soon embarked on a twelve-city tour.   In 1989, Cycles, the tenth studio recording by the Doobie Brothers, now on Capitol Records, witnessed the return of Tom Johnston and drummer Michael Hossack to the studio as a band. Tom Johnston's distinctive vocals returned, and the band re-established their musical roots. Subsequent releases … Brotherhood (1991), Sibling Rivalry (2000) and World Gone Crazy (2010). World Gone Crazy was the Doobie Brothers highest charting album since 1989 receiving rave reviews and featuring the longtime core lineup of Tom Johnston and Pat Simmons. The Doobie Brothers band functions like a well-oiled machine, touring consistently year after year and enchanting music enthusiasts worldwide. The current lineup of Tom Johnston (vocals/guitar), Pat Simmons (vocals/guitars), John McFee (guitar/strings/vocals), John Cowan (bass), Guy Allison (keyboards/vocals), Marc Russo (saxophones), Ed Toth (drums) and Tony Pia (drums)… represent a musical legacy that defines the quintessence of rock ‘n' roll and a band that we've always depended on throughout the years. The Doobie Brothers have sold more than 40-million albums worldwide. …So why aren't they in the Rock and Roll Hall of Fame?   Tom Johnston and the Doobie Brothers will be performing live as part of the Bands, Brew & BBQ concert series at Busch Gardens in Tampa on Sunday, February 24th. For tickets visit … http://seaworldparks.com/buschgardens-tampa/Events/Bands-Brew-and-BBQ or call 1-888-800-5447 for further information. Eagle Rock Entertainment recently released ‘Let The Music Play' –The Story of The Doobie Brothers on DVD, Blue-ray and Digital Video. -Available to purchase at amazon.com. I had the great pleasure of speaking with Tom Johnston recently about the band's current and future projects, family, and the future of rock ‘n' roll. Here's my interview with singer/songwriter/guitarist/and founding member of classic rock legends the Doobie Brothers … TOM JOHNSTON.   Support us on PayPal!

In episode #38 of LLR, we explore and celebrate the deep discographies of some of our favorite artists. We'll revisit surprisingly solid solo efforts, sensational side projects, and often overlooked, audacious LP releases from way-back-when, which gave listeners a taste of the sonic greatness to come. Plug your noses and blow it out your ears, Podcast America…we're about to dive deep! Sonic contributors to episode thirty-eight of Lightnin' Licks Radio podcast include:  Derrick Harriott, Brothers Johnson, Holland-Dozier-Holland, Townes Van Zandt, James Todd Smith, George Gershwin & Michael Sweeney, Johnny Marr, The Smiths, Thin Lizzy, Ace Frehly, M. Ward, Bright Eyes, Monsters of Folk, Rose Royce, Jim Croce, Better Oblivion Community Center, Jim James, Desaparecidos, Modest Mouse, Califone, Ugly Casanova, Kids Bop kids (yeah!), Daryl Hall and John Oates, Dan the Automator, Gulliver, Tim Moore, Bay City Rollers, Adrianne Lenker, Buck Meek, Big Thief, Billy Bob Thorton, Phill Collins, James Taylor, Jackson Browne, Leland Sklar, Russ Kunkel, Kootch, Carol King, The City, Judee Sill, The Byrds, Dillard & Clark, Gram Parsons, Gene Clark, President Joe Biden, The Cars, Ric Ocasek, Ministry, Digable Planets, Beastie Boys, Shabazz Palaces, Latin Playboys, Los Lobos, Chris Keys, and the Clockers. LLR mixtape #38: [SIDE ONE] (1) Shabazz Palaces - #CAKE (2) Latin Playboys - Crayon Sun (3) Gene Clark - Strength of Strings (4) Desaparecidos - City on the Hill (5) Adrianne Lenker & Buck Meek - money [SIDE TWO] (1) Gulliver - Lemon Road (2) Ugly Casanova - Hotcha Girls (3) The City - Paradise Alley (4) Monsters of Folk - Losin' Yo Head Ric Ocasek - Time Bomb Thanks so much for tuning in. LLR will return in a few weeks with another bonus episode featuring a super-special-secret guest. Do your best to stay hydrated and practice selfcare. Making your way in the world today takes everything you've got. Taking a break from all your worries sure would help a lot. Wouldn't you like to get away? Why ask why? Try Blue Chair Bay flavored rums and head outside, let the sun hit you. Stream, rent, or buy the excellent documentary The Immediate Family, it's Kootch approved!

Label: Motown 1096Year: 1966Condition: M-Price: $24.00Be sure to check out the terrific Holland-Dozier-Holland song/production on the B side! Have a listen to our mp3 "snippet". Note: This beautiful 45 has a drillhole on otherwise-Mint looking labels. The vinyl looks almost untouched, and the audio is pristine Mint. (This scan is a representative image from our archives; it doesn't show the drillhole.)

Lickers Jay and Deon wax poetic on ten of their favorite records from their respective collections which are filed under the letter J. Their choices lead to discussions on Blindboy Boatclub (he rules), the origins of their nicknames (do you even know these guys?), another blind-bought Burger Records beauty (Jay is a total Burger fanboy), Steve Albini (R.I.P.), and much more. Tune in and rock out! --- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted yet somehow still award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential theme of their upcoming thirty-seventh episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru I, so naturally, they went with J. Sonic contributors to the thirty-seventh episode of Lightnin' Licks Radio podcast include: Brothers Johnson, Holland-Dozier-Holland, Lee Moses, Steve Albini, L.L. Cool J, Patience, Prince Paul, De La Soul, Freddie King, Little Walter, Blinboy Boatclub, SHANNON, Cornbroom Jenkins, Mighty Mista Knapps, Lucy Givens, Sesame Street, Huey Lewis & the News, The Jesus Lizard, Jonathon Wolffe, Kenny Gamble, Leon Huff, The Three Degrees, EMINIM, Labi Siffre, Marilyn Manson, Hootie & the Blowfish, Drive Like Jehu, Led Zepplin, Helmet with David Yow, Junk Monkeys, Goo Goo Dolls, Syl Johnson, Howlin' Wolf, Wu-tang Clan, Kanye West with Jay-Z, Hank & Kieth Shocklee with Public Enemy, Charlie Rich, Cypress Hill, The Luniz, R2D2, Jessie Jones, Death Valley Girls, Pete Jolly, Art Pepper, Jessica McQuarter, Herb Alpert, Jerry Moss, Ugly Duckling, DJ Einstein, Jimmie & Vella, Bobby Womack, Dead Prez, J. Cole, Kendrick Lamar, Anthony Fantano, Drake, Timmy Thomas, Post-POTUS George W. Bush, Childish Gambino, Jobriath, David Bowie, Stephen Trask, Vernard Jonson, Peter C. Johnson, Paul Vance & Lee Pockriss, Cody Jinks, Shellac, the Radiolab archives, The Clockers. LLR “J” mixtape: [SIDE A](1) The Jesus Lizard - Mouth Breather (2) Jimmie & Vella - Well (3) Peter C. Johnson - Snowblind (4) J. Cole - No Role Modelz (5) Vernard Johnson - Soul Metamorphosis Medley MegaMix [SIDE B] (1) Pete Jolly - Springs (2) Junk Monkeys - Round and Round (3) Syl Johnson - Is It Because I'm Black (4) Jessie Jones - Sugar Coated (5) Jobriath - World Without You Thanks for listening. Tune in again sometime within a few weeks for another bonus episode. Have a great summer! *former REVIEW magazine best live streaming production --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

For this week's episode of the Plural Pod, Gareth and Joel wonder just how much any record can possibly be worth. There are reviews of fresh pressings from Camera Obscura, Holland-Dozier-Holland and Kamasi Washington. We dig into the world of second hand sales and find out some of the highest value titles snapped up this week, including The Beatles and little known Sixties act Davie Jones and The King Bees. Iain from Longwell Records gives us the inside track on eight years of business in Keynsham and Tom from Cheap Indie Vinyl provides some top tips for bargain records this week. All that and your thoughts on owning multiple copies of the same album. Get in touch with us via pluralofvinylpod@gmail.com or @PluralVinylPod on Twitter. You can also Whatsapp via 07455680866 Join the Cheap Indie Vinyl WhatsApp channel:https://whatsapp.com/channel/0029VaWT9tnElagoIHB2ed1GTasty Records sale: https://tastyrecords.co.uk/product-category/all-products/tasty-offers/ Hosted on Acast. See acast.com/privacy for more information.

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

Rerun: Freda Payne's banger ‘Band Of Gold' sounds like a Motown record, but actually isn't. Although written by Berry Gordy's hit-making trio Holland-Dozier-Holland, it was released on their breakaway label, Invictus, on 25th April, 1970. Ever since, fans have speculated as to the meaning of its lyrics and the nature of the crumbled relationship within. “That night on our honeymoon / We stayed in separate rooms,” Payne sings. Was her betrothed a closeted homosexual? Impotent? Frigid? In this episode, Arion, Rebecca and Olly explore how this ‘proto-disco' classic has been embraced as a gay anthem; explain why Payne originally felt ill-equipped to sing the song that made her name; and credit the extraordinary track record of Detroit's Hutchins Middle School…  Further Reading: • ‘Band of Gold by Freda Payne' (Songfacts): https://www.songfacts.com/facts/freda-payne/band-of-gold • ‘Holland-Dozier-Holland (1962-1970)' (Black Past, 2021): https://www.blackpast.org/african-american-history/groups-organizations-african-american-history/holland-dozier-holland-1962-1970/ • ‘Freda Payne - Band Of Gold' (Soul Train, 1970): https://www.youtube.com/watch?v=uF9Q3hnAr88 ‘Why am I hearing a rerun?' Every Thursday is 'Throwback Thursday' on Today in History with the Retrospectors: running one repeat per week means we can keep up the quality of our independent podcast. Daily shows like this require a lot of work! But as ever we'll have something new for you tomorrow, so follow us wherever you get your podcasts: podfollow.com/Retrospectors Love the show? Join 

Tease your beehive hairdo waaaaaaay up, and put on your most gorgeous flowing dress, the GOAT girl group makes their EarWax debut!Our first 60s record is Motown perfection, although the Supremes' rise to the top was anything but perfect. Ultimately, they became standard bearers for both the label and the genre, and the hits from this record are absolute staples of the revolutionary culture of the 1960s.Mary Wilson, Florence Ballard, and Diana Ross took the songwriting of Holland-Dozier-Holland, the musicianship of the Funk Brothers, and the rest of the Motown machine and put it all together to make a record with three #1 hits.They're more than classic, they're more than legendary, they are the Supremes!Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

The “I”s have it! And Lightnin' Licks Radio has the “I”s. Ten of them to be exact. Jay and Deon discuss their favorite vinyl records filed under the letter I. It's intimate and intense. It's immersive and inspiring though, ironically, they're idiots. -- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-fifth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good solid grasp of the alphabet and how it works. They had previously utilized the letters A thru H, so naturally, they went with I. The “I” mixtape: [SIDE I-1] (1) INTHEWHALE – Animals (2) The Ice Man's Band – People Make the World Go ‘Round (3) Icehouse – Walls (4) Ice Cube – Down for Whatever (5) Instant Funk – Never Let It Go Away [SIDE I-2] (1) Donnie Iris – Joking (2) The Impressions – I'm Loving Nothing (3) The Icicle Works – Starry Blue Eyed Wonder (4) Weldon Irvine – Morning Sunshine (5) Iron & Wine – Upward Over the Mountain [END] Sonic Contributors to the thirty-fifth episode of Lightnin' Licks Radio podcast include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, James Todd Smith. Grand Puba, Piere Cavalli, Azymuth, Star Wars and Gremlins read-along story books and Sesame Street, Cowboy Junkies, Weldon Irvine, Nina Simone, Donny Hathaway, A Tribe Called Quest, Yasiin Bey, Just Blaze, Memphis Bleek, Jay-Z, Earl Sweatshirt, Icehouse, Ivy Davies, Ice Cude, Leaders of the New School, Fred Gwynne, Joe Pecsi, The Bomb Squad, Da Lench Mob, N.W.A., Grand Master Flash & the Furious Five, Quincy Jones, Instant Funk, Day La Soul, Prince Paul. T-Connection, The Postal Service, Sam Beam, Iron & Wine, Another Nashville Coma. The Icicle Works. INTHEWHALE, Sunny Day Real Estate, The Ice Man's Band, The Beatles, The Impressions, Curtis Mayfield, The Funk Brothers, Donnie Iris, The Jaggers, The Cruisers, Steve Miller Band, Ozzy Osbourne. Dres and Black Sheep, Menehan Street Band, The Stylistics, and the Clockers. *Review Magazine Readers' Choice 2023 (someone nominate us for this year please) Drink Blue Chair Bay flavored rums. Buy vinyl, tapes or CDs at Lightnin' Licks Radio's record store of choice Electric Kitsch in Bay City, Michigan, USA. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

L'épisode d'aujourd'hui parle de "Heat Wave" de Martha and the Vandellas, et des débuts du trio de songwriters producteurs Holland-Dozier-Holland. PLAYLIST   Martha and the Vandellas, "Heatwave" The Fascinations, "Girls Are Out To Get You" The Del-Phis, "I'll Let You Know" Mike Hanks, "When True Love Comes to Be" Della Reese, "Don't You Know ?" Saundra Mallett and the Vandellas, "Camel Walk" Marvin Gaye, "Stubborn Kind of Fellow" The Vells, "You'll Never Cherish A Love So True ('Til You Lose It)" Martha and the Vandellas, "I'll Have to Let Him Go" Eddie Holland, "You" Briant Holland, "(Where's the Joy) in Nature Boy ?" Les Marvelettes, "Please Mr. Postman" Eddie Holland, "Jamie" Aretha Franklin, "There Is a Fountain Filled With Blood" The Romeos, "Gone Gone Get Away" The Voice Masters, "Hope and Pray" Lamont Anthony, "Popeye the Sailor Man" Lamont Anthony, "Benny the Skinny Man" The Marvelettes, "Forever" Little Stevie Wonder, "Contract on Love" The Marvelettes, "Locking Up My Heart" Martha and the Vandellas, "Come and Get These Memories" Martha and the Vandellas, "Heat Wave" Martha Reeves and the Vandellas, "Dancing in the Street" Martha Reeves and the Vandellas, "Nowhere to Run"

One of the groups that defined the Motown sound was the Detroit Quartet known as The Four Tops.  The group originally called themselves the Four Aims, but changed the name to avoid confusion with the Ames Brothers.  The group was composed of Abdul "Duke" Fakir, Renaldo "Obie" Benson, Lawrence Payton, and lead singer Levi Stubbs, four boys who met at Pershing High School and would remain in the same lineup as the Four Tops from 1953 through 1997.The quartet signed to Chess Records in 1956, but did not experience success with that label.  In fact they would not find significant success with multiple records including Red Top, Riverside Records, and Columbia Records for the next seven years.  What they would gain is a lot of opportunities to polish their act and stage presence with extensive touring.  Berry Gordy Jr. convinced them to move to Motown in 1963, initially to record jazz standards and sing backup.  At Motown they experienced success in their own right.Reach Out is their fourth studio album, and their biggest selling album.  The Four Tops had multiple hits, primarily through the writing of the Motown team known as Holland-Dozier-Holland.  Reach Out would be their last album with that songwriting team, as Holland-Dozier-Holland left Motown shortly after this album was recorded.  It went to number 11 on the Billboard Top LP's chart.The Four Tops were inducted into the Rock and Roll Hall of Fame in 1990, and still perform today, with Duke Fakir as the sole original member.Bruce presents this soulful album in this week's podcast. BernadetteThis song was released in February of 1967 and reached number 4 on the Billboard Hot 100.  It would be the final top 10 hit for the Four Tops in the 1960's.  The song is a plea from the boy to Bernadette to stick with him.  Standing In the Shadows of LoveThis single is a heartbreak song about sleepless nights and soul searching for what went wrong.  It hit number 2 on the soul charts and number 6 on the Billboard Hot 100 in 1967.  It is a bit of a reworked song, as the Supremes had a B-side in 1963 called "Standing at the Crossroads of Love."Last Train to ClarksvilleReach Out was a mixture of original songs and covers, and this song made famous by the Monkees is one of the covers.  They also included "If I Were a Carpenter," "Walk Away Renee," and "I'm A Believer" on this album. Reach Out I'll Be ThereHere is the signature song of the Four Tops.  It was released in 1966 and spent two weeks at the top of the Billboard Hot 100.  It alternates between a minor and major key, giving it a Russian feel in the verse and a gospel feel in the chorus according to Lamont Dozier.  The writers intentionally put Levi Stubbs at the top of his vocal range to make sure there was a hunger and wailing in his voice.  ENTERTAINMENT TRACK:Light My Fire by The DoorsThe Doors appearance on The Ed Sullivan Show was their first and last when they promised to change the lyrics "girl we couldn't get much higher," only to leave them unedited in the live performance. STAFF PICKS:Brown Eyed Girl by Van MorrisonLynch launches the staff picks with this hit single off Morrison's debut album, which peaked at number 10 on the Billboard Hot 100.  The nostalgic lyrics which seem tame today were considered too suggestive for the time and were banned by some radio stations.  However, it remains popular today, and as of 2015 was the most downloaded and played song of the entire 60's decade.The Letter  by The Box TopsRob features a short song with a blue-eyed soul feel.  The Box Tops took this song to number 1 on the charts, making it The Box Tops best seller.  Joe Coker would cover this in 1970, and take it to number 7 on the charts.  The producer overdubbed the song with an airplane sound he located at a local library.Testify by ParliamentWayne brings us an early hit from George Clinton and Parliament before their Funkadelic days.  Actually, George Clinton is the only member of Parliament who is recorded on this song.  The group was based in New Jersey and the other members were not able to travel to Detroit for the recording.  As a result, Clinton is joined by local session musicians and singers to complete the song.Funky Broadway by Wilson PickettBruce closes out the staff picks with a song that Pickett picked up from Arlester “Dyke” Christian.  Dyke Christian was living in Phoenix and playing with a group called Dyke & the Blazers.  Unfortunatley in 1971 Dyke Christian was shot to death at the age of 27.  This is the first charting single with the word "funk" in the title. INSTRUMENTAL TRACK:Groovin' by Booker T. & the M.G.'sWe finish off with an instrumental cover of the ballad made famous by The Rascals. Thanks for listening to “What the Riff?!?” Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

MIXTAPE AVAILABLE NOW ON ⁠MIXCLOUD⁠ & ⁠SOUNDCLOUD Moving forward, but not before we take a look back. 2023 was another wonderful year in music. Lickers Jay and Deon ring in the New Year by each revealing their top 11 (we go to eleven) vinyl long players in the year of Our Lord twenty twenty-three. Break out the champagne and Blue Chair Bay, this episode is a journey. DEON'S TOP 11: 11 - Durand Jones – Wait Til I Get Over 10 – Unknown Mortal Orchestra - V 9 – Dinner Party – Enigmatic Society 8 – Open Mike Eagle – Another Triumph of Ghetto Engineering 7 – Black Belt Eagle Scout - The Land, The Water, The Sky 6 – Young Fathers – Heavy Heavy 5 – Hannah Jadagu - Aperture 4 - Sufjan Stevens -Javelin 3 – Say She She - Silver 2 - Sweeping Promises – Good Living is Coming For You 1 – Califone - Villagers JAY'S TOP 11: 11 – Maple Glider – I Get Into Trouble 10 – Blur – The Ballad of Darren 9 – Film School - Field 8 – Squirrel Flower – Tomorrow's Fire 7 – Cowboy Junkies – Such Ferocious Beauty 6 – Mint Field – Aprender a Ser 5 – The Polyphonic Spree – Salvage Enterprise 4 – Lael Neale – Star Eaters Delight 3 - Sleaford Mods -UK Grim 2 – Olivia Rodrigo - GUTS 1 – Liquid Mike – s/t __ Sonic contributions to episode thirty-four of Lightnin' Licks Radio podcast, 2023's year in review and its supplementary mixtape, include:  Lee Moses, Brothers Johnson, Holland-Dozier-Holland, James Todd Smith, Harry Shearer, Rob Reiner, DJ Shadow, De La Soul, Dhanji, Rahsla, Anthony Fantano, Jim DeRogatis, Greg Kot, Herb Honeysuckle, Durand Jones, The Indications, Macho Man Randy Savage, Aziz Ansari, Unknown Mortal Orchestra, Maple Glider, Blur, The Beatles, Dinner Party, Retta, Open Mike Eagle, The Roots, Hall and Oates, Young Zee, Wu Tang Clan, Film School, Squirrel Flower, Black Belt Eagle Scout, Young Fathers, Velvet Underground, Cowboy Junkies, Mint Field, Hannah Jadagu, Sufjan Stevens, The Polyphonic Spree, Lael Neale, Chic, Say She She, Sweeping Promises, The Go-Go's, The B-52's, Sleaford Mods, Pet Shop Boys, Jane's Addiction, Nirvana, Olivia Rodrigo, Ugly Casanova, Red Red Meat, Califone, Liquid Mike, Cory Hanson, Scarface, Isaac Hayes, Jack Van Impe, and Marvin Gaye. Music heals us. Happy listening in 2024. To receive a downloadable or physical copy of the mixtape, contact us. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

A concert was held at the Santa Monica Civic Auditorium on October 28th and 29th, 1964 which would be released as a concert film called the T.A.M.I. Show.  Free tickets were provided for local high school students to provide the audience.  T.A.M.I. stands for either “Teenage Awards Music International” or “Teen Age Music International,” as both were used by the show's publicity team.  The show included many of the top rock and roll and R&B musicians of the time, including the Beach Boys, the Rolling Stones, James Brown, Chuck Berry, and The Miracles.  Jan and Dean were the emcees for the event.  Motown Records was represented by three of its biggest acts in the Miracles, Marvin Gay, and the Supremes.  The Rolling Stones were featured as the grand finale.  However, the performance by James Brown and the Famous Flames is perhaps the highlight of the show, as it features his dance moves at the height of his career.  Steve Binder and his personnel from The Steve Allen Show shot the film, and the legendary session musicians of The Wrecking Crew provided most of the instrumentation.  The go-go dancers in the background were choreographed by David Winters and his assistant, a young Toni Basil.This is a difficult film to locate due to copyright disputes on the show over the years.  You'll need to go to YouTube to find the performances.Wayne takes us through this concert footage of the early days of rock and roll. (Here They Come) from All Over the World by Jan and DeanThe film starts with a song from Jan and Dean which is played over the credits.  Jan and Dean co-hosted the concert and contributed this anthem written for the show.  It has a surfing vibe and is easily confused for The Beach Boys who also participated in the concert.Hey Little Bird by The BarbariansThe Barbarians were a precursor to the Punk movement, and their style was called garage rock in the day.  The Barbarians had a one-handed drummer who utilized a drum stick in his left arm with a hook prosthetic.  The group sported a pirate look with leather sandals, open necked shirts, and bloused sleeves.Out of Sight by James Brown and the Famous FlamesMany consider the highlight of the show to be James Brown's performance, as it showcases his dance moves.  The energy shown by Brown and his backing singers clearly influenced future acts like Michael Jackson and Prince.Around and Around by The Rolling StonesWhile the Rolling Stones were the final act, Keith Richards claims that choosing to follow James Brown on stages was the worst decision of their careers, because no matter how well they performed, they couldn't top him.  They performed a cover of Chuck Berry's song - an interesting choice since Berry was also a performer for the concert. ENTERTAINMENT TRACK:Do the Clam by Elvis Presley (from the motion picture “Girl Happy”)Elvis was making movies at the time, and would almost always be expected to sing songs in the picture. STAFF PICKS:Nowhere to Run by Martha & the VandellasBruce leads off the staff picks with a group which would see a name change to Martha Reeves & the Vandellas later on.  This Motown hit written by the legendary team called Holland-Dozier-Holland went to number 8 on the US charts.  The song is about a woman trapped in a downward spiraling love affair that she just can't give up.Land of 1000 Dances by Cannibal and the HeadhuntersRob features an iteration of a frequently covered song.  Chris Kenner originally recorded it in 1962, but it was more successful as a cover by Cannibal & the Headhunters, going to number 30 on the Billboard chart.  They also added the "na na na na na" hook to the original when front man Frankie Garcia forgot the lyrics.  Sixteen dances are mentioned in the lyrics of the song.Eight Days a Week by The Beatles Lynch brings us an early hit penned by John Lennon and Paul McCartney.  It would be the seventh number one single for the Fab Four in the United States, despite Lennon's feeling that it was a failed attempt at writing a single.  The title is attributed to a statement Ringo Starr made regarding how busy the Beatles were at the time.Satisfied by Lulu and the LuvversWayne wraps up the staff picks with a high energy party song from a Scottish band.  Lulu would go on to a successful solo career that included film songs like "To Sir With Love," and the title song for "The Man with the Golden Gun."  Lulu was 17 at the time this song came out.  She would go on to marry Maurice Gibb of the Bee Gees.   INSTRUMENTAL TRACK:Cast Your Fate to the Wind by Sounds OrchestralThis week's podcast ends with an instrumental song

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast   Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive  INTRO:               How Sweet It Is To Be Loved By You                           Track No. 2                           0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener.   There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1:                        Simple Twist of Fate                                         Track No. 5                                         3:00 – 4:40               In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2:                        Lay Down Sally                                         Track No. 6                                         1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A:  “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A:   “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A:   “It's very good, and very tight, but it's not really my bag.” SHOW #3:       Deal                        Track No. 9                        2:46 – 4:15 Finally, a Garcia tune!  And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.  SHOW #4:               Ain't No Bread In The Breadbox                                Track No. 14                                1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune.  Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                        OUTRO:                  What A Wonderful World                                Track No. 19                                1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law

What the H? Exactly. The award-winning* Lickers discuss some of their favorite records filed under the letter H. -- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2023, idiotic, introverted hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-third episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good solid grasp of the alphabet and how it works. They had previously utilized the letters A thru G, so naturally, they went with H. LLR "H" mixtape:  [SIDE H-A] (1) Kristian Harting - Digging Up Graves (2) Steve Harley & Cockney Rebel - Hideaway (3) Height Keech - Working Woman Blues / This Brutal World... (4) Honey Ltd. - Tomorrow Your Heart (5) Tim Hecker - Voice Crack [SIDE H-B] (1) Hurrah! - If Love Could Kill (2) Donny Hathaway - I Believe To My Soul (3) Daryl Hall - Why Was It So Easy (4) H.E.R. - Focus (5) John Hartford - Holding Sonic contributors to episode thirty-one of Lightnin' Licks Radio include:  Holland-Dozier-Holland, Lee Moses, James Todd Smith, SZA, Herbie Hancock, Placido Flamingo,  Babyface, The Rascals, B.L.K., Donny Hathaway, Roberta Flack, John Lennon, Ray Charles, Daryl Hall, John Oates, Elton John, Robert Frip, David Bowie, Kristian Harting, Mike Kroll, Honey Limited, Lee Hazlewood, Nancy Sinatra, The Mamas and the Papas, The Wrecking Crew, Height Keech, Future Islands, Hemlock Ernst, Steve Harley, Cockney Rebel, super special secret guest student disc jockey Billy Lalonde form the WHCW archives circa 1992(ish), Faith No More, The Waterboys, John Fahey, John Hartford, Glenn Campbell, Randy Scruggs, Norman Blake, Emma Ruth Rundle, Tim Hecker, Brian Eno, H.E.R., TLC, Home, U2, Elvin Bishop, DJ Shadow, Arc of All, The Clockers, Ashley Alexander, Mister and Jenn Wasner. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

TVC 625.3: Ed welcomes singer and dancer Shelly Clark, one of the founding members of Honey Cone, the legendary R&B and soul girl group from the late 1960s and early 1970s that was also the premier female group for Hot Wax Records, the label operated by the famed writing team Holland-Dozier-Holland. Honey Cone was also the very first act to appear on the debut episode of Soul Train in 1971, performing two of their hits, "Want Ads" and "Stick Up." Shelly talks to Ed about the significance of appearing on Soul Train. She also explains how she was working as a regular dancer on The Jim Nabors Hour (CBS, 1969-1971) at the time "Want Ads" became a big hit, and how she had to hire her own replacement on the Nabors show so that she could tour nationally with Honey Cone. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

We continue our Let Motown Roll mini-series with a recast of Nate's 2021 interview with Dave Thompson, the co-author of "Come and Get These Memories: The Story of Holland-Dozier-Holland." Buy the book and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lightnin' Lickers Jay and Deon discuss the upcoming 17th annual Hell's Half Mile Film & Music Festival, previewing the bands slated to perform while reminiscing about artists whom have previously been showcased under the HHM banner. If you're looking to celebrate the official end of summer in a big way, Downtown Bay City is the place. HHM No. 17 Music Festival is set to kick off the evening of September21st with Indianapolis psych rock trio Karate, Guns & Tanning rocking the Opening Night Party at Old City Hall. The next evening, Cincy synthpop outfit (and returning favorite) Moonbeau will be taking the stage at MI Table. Both Thursday and Friday's music events start at 10 PM, ticket info @ hhmfest.com or the event door. Finally, the weekend's premier music event takes place Saturday, September 23rd at the Dunlop Building (located at 517 Washington Ave., Bay City, MI), and per usual features 3 amazing bands! This year's lineup features Weakened Friends (Portland, ME), LVRS (Lansing, MI) & Kelly Jean Caldwell Band (Detroit, MI).  As a festival we're thrilled to return to the Dunlop Building and transform it into an HHM-style venue for one evening, and bring 3 incredible bands together at this unique location. Last year the atmosphere in the Dunlop Building added to the experience making for an unforgettable live show. Get ready to run it back, Hellions! The show is open to all ages for Pass holders, or admission is $15 at the door, which opens at 8 PM.   HHM 2023 unofficial end-of-summer mix tape: [SIDE A] (1) EOS HHM Intro (2) Moonbeau – All Summer (3) Weakened Friends – Everything is Better (4) Kelly Jean Caldwell Band – Caroline Creature (5) LVRS – Safe Word (6) Karate, Guns & Tanning – Hot Bots [SIDE B] (1) Moving Panoramas – ADD Heart (2) Georgie James – Long Week (3) The Satin Peaches – Well Well Well (4) Passalacqua – At the Party (5) Matt Pond PA – Champagne Supernova [END] Sonic contributors to Lightnin' Licks Radio's Hell's Half Mile Preview bonus episode include: Brothers Johnson, Holland-Dozier-Holland, Lee Moses, James Todd Smith, Erno the Inferno, Earth. Wind & Fire, Georgie James, John Fusciante, Ratatat, Weakened Friends, Letters To Cleo, Kelly Jean Caldwell Band, The Lemonheads, LVRS, Moonbeau, Karate Guns and Tanning, De La Soul, Mogwai, Seth and Jax Anderson, Passalacqua, Eddie Logix, Boz Scaggz, Matt Pond PA, Leslie Sisson, Moving Panoramas, LCD Soundsystem, James Brown, John Prime, The Mynabirds, George Morris and the Gypsy Chorus, Handgrenades, Jordan Pries, Height Keech, Gershwin and Heyward, Charlie Parker, J. Cole, The Satin Peaches, American television series “The O.C.”, Oasis, Arc of All, The Clockers. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

The heat is (dun-dun-dun-dun-dun-dun-dun-dun) ON! Ending summer with a bang, the award-winning Lickers are discussing what they consider to be some of the most trusted record labels of all time. Even in the digital hellscape that is 2023, a reputable record label can be an important point of interest when discovering new bands, or music that may have been around a while but is new to you. Join the dysfunctional duo in a conversation built around the business entities that bring our favorite music onto our turntables and into our ears. Sonic contributors to the thirty-second episode of Lightnin' Licks Radio include:  Brothers Johnson, Lee Moses, Holland-Dozier-Holland, James Todd Smith, Height Keech, Drizabone, Kavinski, Khruangbin, Mark Mothersbaugh, Brian K., Paul Rubens, Chris Kline, Anthony Fantano, Damien Keyes, Joeski Love, Def Jeff, Dust Brothers, Tone Loc, Young MC, Masters of Reality, The Brand New Heavies, Nadia Davenport, Jimi Hendrix, The Pharcyde, De La Soul, The Strangeloves, The Music Machine, The Ramones, Yaz, Madonna, Echo & The Bunnymen, The Ruzillos, The Human League, Pavement, H.P. Zinker, Beck, Helium, Liz Phair, Peach Kelli Pop, Death Valley Girls, Ty Segall, Habibi, The Summer Twins, Cherry Glazerr, Easy Love, Cursive, Bright Eyes, The Faint, Desaparecidos, Tomberlin, 764-HERO, Modest Mouse, The Paranoyds, The Gun Club, Peanut Butter Wolf, madlib, Jay Dilla, OH NO, Homeboy Sandman, Jonwayne the producer, and John Wayne the famous actor, Georgia Muldrow, Pheobe Bridgers, Stella Donnelly, Faye Webster, Yoko Ono, John Lennon, Plastic Ono Band, Pale Jay, Kendra Morris, Black Market Brass, Durand Jones, Say She She, Monophonics, The Jive Turkeys, Okonski, Jacko Gardner, Alvvays, American Football, Xiu Xiu, Painted Palms, STRFKR, Adrian Quesada, Ikebe Showdown, robot Biden and The Clockers. Labels We Trust mixtape [SIDE ONE] (1) Painted Palms – Here It Comes [Polyvinyl Records] (2) Pale Jay – By the Lake [Karma Chief c/o Colemine Records] (3) Easy Love – I'll Be Fine [Burger Records] (4) Yoko Ono – Hirake [Secretly Canadian] (5) Homeboy Sandman – America the Beautiful [Stones Throw Records] [SIDE TWO] (1) The Coathangers – Sex Beat [Suicide Squeeze Records] (2) Liz Phair – Mesmerizing [Matador Records] (3) The Pharcyde – She Said [Delicious Vinyl] (4) The Rezillos – (My Baby Does) Good Sculptures [Sire Records] (5) Tomberlin – stoned [Saddle Creek Records] R.I.P. PWH For Ollie.

Our favorite vinyl records from bands or artists filed under "G". And...GO! In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2022, idiot basement-dwelling, award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-first episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good handle on the alphabet. They had previously utilized the letters A thru F, so naturally, they went with G. Nuthin' But a “G” Thang mixtape:   [SIDE G1] (1) Game Theory - Erica's World (2) Grant Green - We Have Only Just Begun (3) Grazia - Soyle Beni (4) Goodie Mob - Cell Therapy (5) Glitterhouse - I Lost Me a Friend [SIDE G2] (1) Guru featuring Roy Ayers - Take a Look at Yourself (2) Grandaddy - Hewlett's Daughter (3) Marvin Gaye - Trouble Man (4) Guadalcanal Diary - 3AM (5) The Goon Sax - Sweaty Hands [END]   Sonic contributors to episode thirty-one of Lightnin' Licks Radio include:  Lee Moses, Brothers Johnson, Holland-Dozier-Holland, Cal Tjader, Craig Mack & Co., DJ Evil Dee, The Nonce, Kendrick Lamar, Dr. Dre & Snoop, Lee Hazelwood, J. Geils Band, some classic Sesame Street ABC bits, White Wedding String Quartet, Milkbone, Geto Boys, The Goon Sax, The Go-Betweens, Guadalcanal Diary, Don Dixon, Marti Jones, L.L. Cool J., Rick Rubin,  DJ Premier, Gang Starr, Roy Ayers, Branford Marsalis, Donald Byrd, Guru, Nena Cherry, The Velvet Underground, Game Theory, The Loud Family, Scott Miller, Let's Active, Goodie Mob, Rob Harvilla, Outkast, Gnarles Barkley, Cee Lo Green, Witch Doctor, The Dungeon Family, Grandaddy, The Alan Parsons Project, Chicago, Grant Green, Rudy Van Gelder, The Jackson Five, The Carpenters, Roger Nichols, Paul Williams, Mozart, Glitterhouse, Slowdive, Marvin Gaye, Tammi Terell, The Funk Brothers, Booker T. & the M.G.s, Grazia, Marko Buchar, Murray Head, Andrew Doggett, Andrew Llyod Webber, Tim Rice, The Deviants, The Clockers. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Aerosmith is a band in two acts.  They were a highly successful group in the 70's, but arguments and drugs left the band a shade of its former self by 1980.  A second chance was presented when the crossover collaboration between Aerosmith and Run-D.M.C. on "Walk this Way" became a number 4 US hit in 1986.  The bad went into drug rehab at the insistence of manager Tim Collins, and had a major hit with their ninth studio album "Permanent Vacation."Aerosmith demonstrated that their second act was not just a fluke with their tenth studio album, Pump, which was even more successful than Permanent Vacation.  This was a significant comeback, re-establishing the band as one of rock's premier acts.  The album was polished and energetic, combining a gritty hard rock sound with pop sensibilities.  The album was not only a commercial success, peaking at number 5 on the US charts and being certified 7x platinum by 1995, but was also a critical success, landing Aerosmith their first Grammy for "Janie's Got a Gun."  Pump was the fourth best-selling album of the year 1990.The band lineup for this album had Steven Tyler on vocals, keyboards, and harmonica, Joe Perry on guitar and backing vocals, Brad Whitford on guitar, Tom Hamiilton on bass, and Joey Kramer on drums.  Guitarist Brad Whitford explained the album title on a 1989 MTV special by saying "now that we're off drugs, we're all pumped up."  John Lynch brings us this stellar rock and pop sensation this week. Water Song/Janie's Got a GunA 10-second instrumental called "Water Song" precedes the song written by Steven Tyler and Tom Hamilton.  The second single from the album went to number 4 on the Billboard Hot 100.  It describes the revenge of a young woman for the childhood abuse she experienced.  Aerosmith won the 1990 Grammy Award for Best Rock Performance by a Duo or Group with Vocal for this song.Dulcimer Stomp/The Other SideAnother song with a brief instrumental lead-in, this was the fourth single released from the album.  It was written by Jim Vallance and Steven Tyler, with Holland-Dozier-Holland receiving songwriting credit after threatening to file suit over similarities between this and their song "Standing in the Shadows of Love."  The lyrics are about a turbulent relationship, with the singer wanting to get past the emotional roller-coaster. Monkey on My BackIt is difficult to find a deep cut on this album, but this is one that was not released as a single.  Tyler and Perry wrote this track about the band's struggles with addiction.  It was the first song that Tyler and Perry wrote for the album, and it was composed in November 1988 prior to the end of their Permanent Vacation tour.Going Down/Love In an ElevatorA double entendre-laden skit leads in this double entendre-laden song.  Tyler and Perry wrote this piece, and it was inspired by an actual experience Steven Tyler had where he was making out with a woman in an elevator and the doors opened.  It was nominated for a Grammy in 1990 for Best Hard Rock Performance, but Aerosmith lost out to Living Colour on that one. ENTERTAINMENT TRACK:Theme from the television music performance and dance program “American Bandstand” Dick Clark's music show which premiered in March 1952 had its final show on October 7, 1989. STAFF PICKS:Sowing the Seeds of Love by Tears for FearsBruce brings us a Beatles-esque song from the third Tears for Fears album, "Seeds of Love."  It was written by Roland Orzabal and Curt Smith, and hit number 2 on the Billboard Hot 100, their fourth and final entry into the top 10.  Orzabal considers it to be the most overtly political song Tears for Fears had written at the time.  Big Talk by WarrantRob's staff pick is a rocking tune from glam metal band Warrant's first album, "Dirty Rotten Filthy Stinking Rich."  This third single from the album made it to number 30 on the Modern Rock Tracks chart, though it only made it to number 93 on the Billboard Hot 100.  The album went to number 10 on the Billboard 200 chart.Pictures of Matchstick Men by Camper Van Beethoven Wayne brings us a cover of the first hit single by Status Quo, released in 1968.  This rendition combines elements of pop, ska, punk, folks, alternative, and country.  the "Matchstick men" reference is to the paintings of L.S. Lowry, and English painter who depicted Salford, Manchester, and other industrial scenes in his works.It's Not Enough by StarshipLynch's staff pick is the second single released off Starship's third album, the first album after Grace Slick left the band.  It went to number 12 on the Billboard charts, the final top 40 hit for the band.  This is the sound that most typified the produced sound of the late 80's.   INSTRUMENTAL TRACK:Flying In a Blue Dream by the Joe SatrianiThe title track to Satriani's third studio album closes out this week's podcast.

Such an incredible interview with Paul Lambert! Paul Lambert is an Entertainment Executive and Producer with a strong Digital Marketing background. He has been quoted as saying, "I love to be in positions that require a consensus and team effort to move things forward. One of my greatest thrills is to find ways to bring out the best in others. Most companies and entertainment projects have a lot of moving parts and this ability is critical to their ultimate success”. Paul is a graduate of Moody Bible Institute (Theology major) and then continued his education at Wheaton College (economics). He was a Harvard Prize book Award winner, recipient of a Bank of America Scholarship in the field of fine arts. While a young marketing executive, Paul helped Bob Pitman (MTV) and Bob Geremia (ESPN) experiment and develop the appeal of their pioneering brands for traditional Ad agency business. At the time, these unique networks were unorganized, spontaneous, and enthusiastic but not always the best fit for big traditional Ad Agencies. Paul went on to be President of a NY Advertising Agency for 12 years before turning to entrepreneurial projects and full time Producing. Paul is part pioneer and part enthusiast in everything he does. He was a member of the executive team who closed the first US automotive import deal with China, he convinced both Betty White and Shirley Jones to do regional commercials (unheard of with their status) while in the advertising business, completed a deal with Sherry Lansing (Paramount Pictures) that gave him the rights to adapt the movie "The First Wives Club" as a Musical and worked with Hollywood producing “royalty” -- Suzanne de Passe —in developing a new project, "Driving While Black in Beverly Hills". Mr Lambert has produced theatrical projects in Los Angeles, NY, San Diego, Chicago, Toronto, and Melbourne, Australia. He is currently the lead producer of the NEW Four Tops Musical — "I'll Be There" - with fellow Producers, Duke Fakir (original Four Tops member), and Michael Swanson, Sr VP NBC / Universal Television. He also has attracted Eddie and Brian Holland (of the legendary Motown composing team Holland Dozier Holland) and HB Barnum (Aretha Franklin's music supervisor for 30 years) as the project's arranger and orchestrator; and, Tim Sabean as a key executive in the shows marketing, audience platform development, and IP expansion. "I'll Be There" is slated for an opening in the Fall of 2024. Paul's full-time focus is now creating and producing "branded" entertainment that has both entertainment value and social significance.

Hi. Our name is Lightnin' Licks Radio podcast. Song titles that are also a person's name is the theme of episode thirty. “Name” that tune. Get it? Join Lickers Jay and Deon as they discuss some of their favorite name songs and the artists responsible for them. Stay healthy out there, Podcast America. Also, check your sump pump(s). Sonic contributors to episode thirty of Lightnin' Lick Radio podcast include:  Lee Moses, Holland-Dozier-Holland, James Todd Smith, Labi Siffre, Seth McFarlane, Shirley Ellis, Lincoln Chase, Charles Calello, Snoop Doggy Dogg, Parliament Funkadelic, Soul Doctors, Carson Williams, Harry and Roberta Salter, Johnny Oliver Orchestra, Tom Kennedy, Iggy Pop, The Prodigy, War Games, Rare Earth, Timbaland, Joyner Lucas, Bob Edwards, BJ Leiderman, Stuart McLean, Garrison Keillor, Tom Newman, Andrew Bird, Gillian Welch, William Prince, The Undertones, The Specials, That Petrol Emotion, Unknown Mortal Orchestra, Nick Lowe, Yellow Magic Orchestra, Sam Coffey and the Iron Lungs, Dwight Twilley Band, Genesis, Drugdealer, Kate Bollinger, Weyes Blood, Masters of Reality, Chris Goss, Kyuss, Little Beaver, Chocolate Clay, Squeeze, Red House Painters, Mark Kozalek, The Cars, Sun Kil Moon, Hot Chocolate, Urge Overkill, George McCrae, Isaac Hayes, Geto Boys, The Clockers, Goldie Hawn, Susan Sarandon. “Name” That Tune mixtape: [SIDE 1] (1) Sam Coffey and the Iron Lungs – Judy (2) Little Beaver – Joey (3) The Undertones – Julie Ocean (4) Unknown Mortal Orchestra – Nadja (5) Squeeze – Vicky Verky [SIDE 2] (1) Drugdealer – Madison (2) Red House Painters – Kavita (3) Hot Chocolate – Emma (4) William Prince – Goldie Hawn (5) Masters of Reality – John Brown [fin.] RECORDED: 04/30/2023  RELEASED 05/07/2023  SPECIAL THANKS: Blue Chair Bay --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

An exclusive never-before-heard interview with legendary songwriter, producer and recording artist, Lamont Dozier, one of the primary architects of the Motown Sound, one-third of Holland-Dozier-Holland and responsible for writing and producing over 54 #1 hits for The Supremes, The Four Tops, Marvin Gaye, Smokey Robinson, The Temptations and a host of others. Inducted into the Rock & Roll Hall of Fame and the Songwriters Hall of Fame (from which he received the 2009 Johnny Mercer Award), he was named Best New Male Pop Vocalist from Billboard and earned a GRAMMY Award, a Golden Globe Award, a Brit Award, Britain's distinguished Ivor Novello honor and an Oscar nomination for the song, “Two Hearts,” his collaboration with Phil Collins for the soundtrack for Buster. In 2007, Lamont received the prestigious Thornton Legacy Award from USC, where he served as an Artist in Residence professor for the Popular Music program through the distinguished Thornton School of Music, which has established the highly sought after “Lamont Dozier Scholarship” in perpetuity.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

CNN, HBO Max, Amazon Prime She's BACK!!  In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. You can see it now on HBO Max, & Amazon Prime. She is making stops in Hawaii and Vancouver on her One Last Time tour — she won't say whether it's truly her last — tweeting (or “twoting,” as she calls it) to her more than half a million followers,On a Saturday Night LIVE's spoof "The Dionne Warwick Show", with  NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick  began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australian 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Episode 170: Second Time Around - Covers A GO GO! It's a ripper! Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman see Facebook for links to videos & songs mentioned in this episode! Email: planet80sproductions@gmail.com Rewind 80's Band: www.rewind80sband.com Facebook: the80smontagepodcast twitter: 80_montage instagram: the80smontage Links from Episode 170: Second Time Around - Covers A GO GO!Tickets to Rewind 80s Mixtape Tour - www.rewind80smixtape.com.auRewind 80s Band - www.rewind80sband.comPseudo Echo Tickets - www.pseudoecho.netPatreon Link With Thanks x https://www.patreon.com/the80smontagepodcast www.the80smontage.comLinks:Tina Turner - Better Be Good To Me (Official Music Video)https://www.youtube.com/watch?v=qyU7BbQSm98Better Be Good to Me - Spiderhttps://www.youtube.com/watch?v=rr8mzsNt1dgI Feel For You - Princehttps://www.youtube.com/watch?v=IluGjaWG5BkPrince℗ 1979 NPG Records, Inc. under exclusive license to Warner Records Inc.Mastering  Engineer: Bernie GrundmanEngineer: Bob MocklerEngineer: Gary BrandtAssistant  Engineer: Mark EttelArranger, Instruments, Vocals: PrinceEngineer: PrinceProducer: PrinceWriter: PrinceChaka Khan - I Feel for You (Official Music Video)Official music video for Chaka Khan - "I Feel for You" from 'I Feel for You' (1984)CHAKA KHANSINGER, SONGWRITER, ACTOR, ACTIVISTSUBSCRIBE to get the latest:    / #chakakhan  Connect with Chaka Khan via her online channels:Visit the Chaka Khan WEBSITE: https://www.chakakhan.com/Like & Follow Chaka Khan on FACEBOOK: https://www.facebook.com/chakakhanFollow Chaka Khan on FACEBOOK MESSENGER: https://go.bot1.com/web/01C8VC70WE4SH...Follow @ChakaKhan on TWITTER: https://twitter.com/ChakaKhanFollow Chaka Khan on INSTAGRAM: https://www.instagram.com/chakaikhan/SUBSCRIBE to latest Chaka Khan specials & updates via her exclusive mailing list: http://eepurl.com/dt97Q5Kim Carnes - Bette Davis Eyes (Official Music Video)https://youtu.be/EPOIS5taqA8Bette Davis Eyes - Jackie DeShannon (1974)https://youtu.be/FAQsOJbs-yoShocking Blue - Venus (Video)Taken from several albums. One of these albums is The Very Best OF Shocking Blue.Available on:Spotify: https://goo.gl/i29pGmiTunes: https://goo.gl/cDZC1tGoogle Play: https://goo.gl/aUbA86Deezer: https://goo.gl/HxpBvfFollow Red Bullet:https://www.facebook.com/redbulletoff...https://www.instagram.com/redbulletof...Venus- Bananarama - Venus (Official Video)https://www.youtube.com/watch?v=d4-1ASpdT1YKim Wilde - You Keep Me Hangin' Onhttps://www.youtube.com/watch?v=xJZF-skCY-MThe Supremes-You Keep Me Hangin' OnWritten by Brian Holland,Lamont Dozier,and Edward Holland Jr.(Holland-Dozier-Holland or H-D-H). Produced by Brian Holland and Lamont Dozier.#1 Pop (2 weeks) and R&B (4 weeks)1966.https://www.youtube.com/watch?v=t3bjMtqpGBwFunky Town - Pseudo Echo. (Tickets to shows - www.pseudoecho.net)Lipps Inc. - Funkytown (Official Music Video)https://www.youtube.com/watch?v=68X5rQEFCXghttps://www.youtube.com/watch?v=2BacpdM4Qv8Thanks For Listening!

Defining a genre for the group War is a difficult process.  There are elements of Latin, R&B, funk, soul, and rock mixed in.  Some call it progressive soul.  War came from Long Beach, California in 1969, and began as a backing band for Deacon Jones.  The band was originally led by Eric Burden of the Animals and were known as Eric Burden and War for their first tow albums, then as War after Burden left the group.  Their seventh studio album, Why Can't We Be Friends? would continue a tradition of successful albums for the band, going to number 8 on the US charts, number 1 on the R&B sharts, and two singles would be nominated for the Grammy awards in 1976.War had a large number of musicians, and much of their personnel rotated in and out of the group.  For this album the group was Howard Scott on guitar, B.B. Dickerson on bass, Lonnie Jordan on organ, Papa Dee Allen on conga and bongos, Charles Miller on clarinet and sax, and Lee Oskar on harmonica.  All members are also listed on percussion and vocals.War was a band with a purpose.  The goal of the band from the beginning was to spread a message of brotherhood and harmony, and to speak out against racism, hunger, gangs, and crimes.Bruce brings us this funky fusion band for discussion.. Why Can't We Be Friends?The title track reached number 6 on the Billboard Hot 100.  Each band member gets their own verse to sing.  The title is sung 44 times.  It was played in outer space during the Apollo-Soyuz Test Project.  Smash Mouth did a cover in 1998 as the second single from their debut album.  HeartbeatThis is a deeper cut with a lot of funk.  You could easily hear George Clinton and Parliament doing this piece.  The lyrics are about not worrying about things, but being in the present.  "Ain't no need a-worryin' about the future.  Ain't no need a-worryin'."Don't Let No One Get You DownLeading off the album, this song is a piece of encouragement, letting the listener know they will always be lifted up by the singer.  "Don't let no one get you down, cause if they do, if they do, I'll be around."Low RiderThe big hit off the album would become iconic over time.  The song is about a car and a culture in Southern California.  A low rider is a car modified with hydraulic lifts so the wheels can be lowered and make the car bounce.  The band maintains that the references are not to drug culture, although the song did make it into a couple of Cheech and Chong movies.. ENTERTAINMENT TRACK:Main Theme to the motion picture "Jaws"This movie was keeping everyone out of the water in the summer of 1975.   STAFF PICKS:Welcome to My Nightmare by Alice CooperWayne starts off the staff picks with the title song from a concept album that chronicles a journey through the nightmares of a child named Steven.  Cooper would later perform this song on "The Muppet Show."  It peaked at number 45 on the Billboard Hot 100.Take Me In Your Arms (Rock Me a Little While)  by The Doobie BrothersRob brings us a cover from Motown.  Holland-Dozier-Holland wrote this one, originally performed by Kim Weston in 1964.  While the original version peaked at number 50 on the Billboard Hot 100, the Doobie Brothers version was more successful, peaking at number 11.Sister Golden Hair by America Brian features a track that went to number 1 on the charts.  This is a relationship song according to Gerry Beckley, and it was made as a demo before America recorded their fourth album.  It didn't make the cut for that album, and so was included in their next album. Magic by PilotBruce's staff pick is the first hit single from short-lived Scottish pop rock band pilot.  The inspiration for this song is a sunrise on Blackford Hill in Edinburgh.  Lead singer David Paton also worked with the original lineup of The Alan Parson's Project, and worked with Kate Bush, Camel, and Rick Wakeman.  The band had a couple of other hits before splitting in 1977.   NOVELTY TRACK:You Never Even Called Me By My Name by David Allen CoeThe perfect country and western song was released in 1975, and reached number 8 on the Billboard Hot Country Songs chart.

EPISODE 27: Top twenty-two albums of 2022 (Year-In-Review) Jay and Deon each reveal their top eleven vinyl releases of this past year. As is tradition. Jay's Top Eleven: #11 Nilufer Yanya – PAINLESS #10 Mattiel – Georgia Gothic #9 Rolling Blackouts Coastal Fever – Endless Rooms #8 Whitney – SPARK #7 Interpol – The Other Side of Make-Believe #6 Hatchie – Giving The World Away #5 Shout Out Louds – House #4 Julia, Julia – Derealization #3 Momma – Household Name #2 Weyes Blood – And In The Darkness, Hearts Aglow #1 Winter – What Kind of Blue Are You? Deon's Top Eleven: #11 MICHELLE – AFTER DINNER WE TALK DREAMS #10 The Chats – Get Fucked #9 Kendrick Lamar – Mr. Morale & The Big Steppers #8 Wet Leg – Wet Leg #7 Yeah Yeah Yeahs – Cool It Down #6 Say She She – Prism #5 Broken Bells – Into The Blue #4 Kurt Vile – (watch my moves) #3 Alex G – God Save The Animals #2 Denzel Curry – Melt My Eyes See Your Future #1 Big Thief – Dragon New Warm Mountain I Believe In You Sonic contributors to Lightnin' Licks Radio's twenty-two for '22 Year-In-Review episode and mixtape include: Lee Moses. Holland Dozier Holland. L.L. Cool J. Andrew Bird. Gus Lombardo. Tom Waits. Rob Reiner. Ric Parnell. The Irish Rovers. U2. Larry Fleet. Oliver from the "Deep Cuts" YouTube channel. J. Cole. Biggie Smalls. Height Keech. The Pixies. Nilufer Yanya. Mattiel. MICHELLE. En Vogue. The Chats. Rolling Blackouts Coastal Fever. Whitney. The Smith Westerns. The goddamn Beatles. Kendrick Lamar. Wet Leg. Passalacqua. Interpol. Hatchie. Yeah Yeah Yeahs. Perfume Genius. Piya Malik. Say She She. Shout Out Louds. Peter Bjorn & John. Julia, Julia. Broken Bells. The Shins. Kurt Vile. Mama. Weyes Blood. (Sandy) Alex G. Unknown Mortal Orchestra. Denzel Curry. Gizzle. Bren Joy. 454. Buzzy Lee. Pachyman. Winter. The Sundays. Big Thief. Will Ferrell. Duncan Lamont. Stephen Grey. The Clockers. Eazy-E. Ali Alexander. Beastie Boys. The World's Famous Supreme Team. Big Bird, Brian Eno, random wooks. Thank you for a wonderful year of sharing music with friends. We love you. --- Send in a voice message: https://anchor.fm/llradio/message

The Stuph File Program Featuring some of the great guests of 2022 in this “Best-Of” year ender Stuph File Program Download Les Ansley, the creator of Indlovu Gin in South Africa, makes his gin by filtering the botanical mix from the dung of elephants.  (Patreon Stuph File Program fans, there is a Patreon Reward Extra where you can hear more of our conversation with Les). First heard on Stuph File Program #0655. Also heard on Audea under the title Les Ansley - Elephant Dung Gin). Žilvinas Kulvinskis, co-founder of Chazz Chips, who offer a potato chip that has a very distinctive flavour of the nether regions of the female anatomy. (First heard on Stuph File Program #0684. Also heard on Audea under the title Žilvinas Kulvinskis - Pus*y Flavor Chips). Amanda Booth, founder of Trinkets By Amanda, makes jewelry that has elements not normally found in jewelry, such as breast milk and semen. (First heard on Stuph File Program #0691. Also heard on Audea under the title Amanda Booth - Jizzy Jewellery). Thordur O. Thordarson is the manager of The Icelandic Phallological Museum, probably the only museum in the world to contain a collection of phallic specimens belonging to all the various types of mammal found in a single country. (First heard on Stuph File Program #0668. Also heard on Audea under the title Thordur O. Thordarson - The Icelandic Phallological Museum). We remember legendary director and film historian, Peter Bogdanovich, who recently died on January 6th at the age of 82, with a conversation from 1997. At the time we talked a bit about his career but also a lot on the amazing book he wrote about directors called Who the Devil Made It: Conversations With Legendary Film Directors, which showed Peter's love of the history of filmmaking. (First heard on Stuph File Program #0647. Also heard on Audea under the title Remembering Peter Bogdanovich). We remember actress Sally Kellerman, the original Hot Lips Houlihan, from the film MASH, who died in February at the age of 84. (First heard on Stuph File Program #0655. Also heard on Audea under the title Remembering Sally Kellerman). We remember comedian Gilbert Gottfried, who passed away in April.  We share an interview from 1994 when he performed in Montreal at Just For Laughs. (First heard on Stuph File Program #0661. Also heard on Audea under the title Remembering Gilbert Gottfried). We remember legendary songwriter, Lamont Dozier, part of the number one writing team of all time, Motown's Holland Dozier Holland.  He died in August at the age of 81. We feature part of an interview with him from 2004, when he was promoting his album, Reflections.(Patreon Stuph File Program fans, there is a Patreon Reward Extra featuring the full hour long visit with Lamont, including featuring three songs from his album). (First heard on Stuph File Program #0678. Also heard on Audea under the title Remembering Lamont Dozier). We remember Bob McGrath from Sesame Street, who died in December at the age of 90 with part of a conversation from 2004. He was one of the first four humans on the classic children's program. (First heard on Stuph File Program #0695. Also heard on Audea under the title Remembering Bob McGrath). Journalist, broadcaster and author, Alan Hustak, talks about the Monarchy, it's future in Canada and his connection to King Charles III. (Alan is also the author of Titanic, The Canadian Story Centennial Edition). (First heard on Stuph File Program #0683. Also heard on Audea under the title Alan Hustak - Canada, The Monarchy & The Commonwealth). TV producer/writer Nick Santora on how TV writers and novelists pick character names and how they get them cleared. Nick is also the author of a couple of favourite books of mine. Slip & Fall and the excellent page turner Fifteen Digits. (First heard on Stuph File Program #0686. Also heard on Audea under the title Nick Santora - Character Name Clearance.

Filled with sadness? Filled with gloom? Don't wait in the darkness of your lonely room — listen to this episode of THE STORY SONG PODCAST! Join your hosts for their review of the classic 1970 hit, “Band of Gold'' by Freda Payne, written by legendary songwriters Holland-Dozier-Holland. In this episode, we'll discuss record-breaking time between “I Do” and “I Don't,” advance bookings for multiple honeymoon suites, and the modest genius of Edythe Wayne. So, walk back through that door and say “I Do” to this episode of THE STORY SONG PODCAST.Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast).THE STORY SONG PODCAST is a member of the Pantheon Podcast Network.“Band of Gold” by Freda Payne is available on the album Band of Gold on Tidal and on the album Freda Payne: Greatest Hits on Apple Music and Pandora. Re-recorded versions of “Band of Gold” by Freda Payne are available on Deezer, Spotify, or wherever you listen to music.

Filled with sadness? Filled with gloom? Don't wait in the darkness of your lonely room — listen to this episode of THE STORY SONG PODCAST! Join your hosts for their review of the classic 1970 hit, “Band of Gold'' by Freda Payne, written by legendary songwriters Holland-Dozier-Holland. In this episode, we'll discuss record-breaking time between “I Do” and “I Don't,” advance bookings for multiple honeymoon suites, and the modest genius of Edythe Wayne. So, walk back through that door and say “I Do” to this episode of THE STORY SONG PODCAST.Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast).THE STORY SONG PODCAST is a member of the Pantheon Podcast Network.“Band of Gold” by Freda Payne is available on the album Band of Gold on Tidal and on the album Freda Payne: Greatest Hits on Apple Music and Pandora. Re-recorded versions of “Band of Gold” by Freda Payne are available on Deezer, Spotify, or wherever you listen to music. 

Classic Jamz every Saturday 4pm PST on AcceleratedRadio

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

Lamont Dozier, the middle of the celebrated Holland-Dozier-Holland team that wrote and produced “You Can't Hurry Love,” “Heat Wave,” and dozens of other hits and helped make Motown an essential record company of the 1960s and beyond, died Monday at age 81.Duke Fakir, a close friend and the last surviving member of the original Four Tops, said, “I like to call Holland-Dozier-Holland ‘tailors of music.' They could take any artist, call them into their office, talk to them, listen to them, and write them a Top Ten song.”From 1963-1967, Dozier and brothers Brian and Eddie Holland crafted more than 25 Top Ten songs and mastered the blend of pop and rhythm and blues that allowed the Detroit label, and founder Berry Gordy, to defy boundaries between Black and white music and rival the Beatles on the airwaves. For Off-Ramp, we're listening back to his appearance at the kickoff of the Songwriters Hall of Fame at the Grammy Museum at LA Live in 2010. Songwriter Paul Williams was the emcee for the event.  And I have lots more tape from that event, featuring Williams, Ashford and Simpson, Mac Davis, and Hal David. We'll listen to that in coming weeks.    Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live; and by the Corporation for Public Broadcasting, a private corporation funded by the American people. Off-Ramp theme music by Fesliyan Studios.

Today Layla and Other Assorted Love Songs is considered Eric Clapton's best work.  However, at the time that this double album debut by Derek and the Dominos came out it was considered both a commercial and critical failure.  Clapton met fellow Derek and the Dominos band members Bobby Whitlock (keyboards), Carl Radle (bass) and Jim Gordon (drums) when working with Delaney & Bonnie.  Whitlock and Clapton got together at Clapton's house and composed most of what would become the original songs on the Layla album.The name Derek and the Dominos was chosen by Eric Clapton because he was tired of the supergroup approach to music and did not want his fame to overshadow the band.  Derek and the Dominos played a lot of small clubs in England in August, then went to Miami to record the studio album.The group met up with Duane Allman in Miami, and Allman and Clapton struck up a close friendship from the start.  Allman would record on 11 of the 14 songs on the album.Most know that the song Layla was inspired by Clapton's infatuation with Pattie Boyd Harrison, George Harrison's wife.  In truth, many of the songs on the Layla album were performed with Pattie Boyd in mind.Unfortunately this double album is the only record these musicians would make together.  Clapton would struggle with drug addiction and depression for several years afterward, and Allman would die in a tragic accident in 1971.  The reputation of this album would grow over time, however, and is iconic today. Bell Bottom BluesThis song was the first single, and was written by Clapton and Whitlock.  The inspiration for the song was that Pattie Boyd had asked Clapton to get her a pair of bell-bottom blue jeans while he was in the United States.  It's Too LateThe album contains five covers including this blues song originally benned by Chuck Willis in 1956.  Clapton and Whitlock trade off on vocals, and guitar work is from Eric Clapton and Duane Allman.  The song would be performed on Derek and the Dominos' only TV appearance, on the Johnny Cash Show in January 1971.Why Does Love Got to Be So SadYou can hear a terrific jam between Clapton and Allman on guitar in this song.  It swings from A minor on the verses to D major on the chorus.  Whitlock and Clapton trade off vocal work.LaylaThis signature track was inspired by a 12th century tale called “The Story of Layla and Majnun.”  It is about a young man who falls hopelessly in love with a young girl only to be rebuffed by her father because of his obsession with her.  Clapton of course identified with the story of hopeless love because of his feelings toward Pattie Boyd Harrison. ENTERTAINMENT TRACK:Main theme from the television series “The Goodies”This offbeat comedy series premiered in the UK in this month. STAFF PICKS:Share the Land by the Guess WhoBrian starts off the staff picks with the title track from the Guess Who's seventh studio album, and the first after the departure of guitarist Randy Bachman.  The lyrics reflect the growing popularity of the environmental movement.  Burton Cummings wrote this song and sings lead.Cherryhill Park by Billy Joe RoyalWayne brings us a story song about a young girl named Mary Hill who “was a thrill after dark in Cherryhill Park.”  The thrills end when Mary Hill marries a rich man.  Billy Joe Royal was born in Valdosta, Georgia.Montego Bay by Bobby BloomRob finds an early reggae-influenced rock song.  Bobby Bloom and Jeff Berry wrote this one-hit wonder.  It made it to number 8 on the Billboard Hot 100.  Sadly, Bobby Bloom died in 1974 at the age of 28.Somebody's Been Sleeping in My Bed by 100 Proof (Aged in Soul)Bruce's staff pick comes from the songwriting team of Holland-Dozier Holland after they left Motown Records to set up a separate label.  This song about discovering evidence of infidelity went to number 8 on the US pop charts, and was 100 Proof's biggest hit INSTRUMENTAL TRACK:Overture by the WhoIn the tradition of symphonic music, the Who began their rock opera Tommy with this overture. 

Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. 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 "You're Gonna Miss Me" by the Thirteenth Floor Elevators. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and  originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way,  slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone",  but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life.  He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life.  He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not  died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter.  The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as  synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either.  The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response.  This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for  Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows",   but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]