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I know it may seem pretty far off in geography, but the "zero-case" policy of Australia, with its accompanying long and also 'snap' lockdowns, is arrestingly relevant to Mockingbird (and over-all Christian) concerns for human welfare. What is going on officially in Australia is so striking in its steel mindset of fear over faith that it calls out for observation, let alone evaluation. In this podcast, I look at "zero-case" policy in its high(est) bar of risk aversion; in its seemingly complete disbarring of models for human fulfillment outside of physical survival of the body; and its implacable and surprising use of the "civil arm" to enforce the details of the average person's locked-down life. I then ask, Where is the Church's voice being heard? One has spent almost one's whole ministry admiring a certain unusual brand of Australian Anglicanism associated with the Diocese of Sydney. Yet one seems to be hearing nothing from them in terms of faith over fear. I wonder if that Church can recover, after the lockdowns are over, from its silence. Of course there must be many Australian Christians who desire to place other goods beyond just the physical before the public eye. But one sees no evidence of that. Even Beyond the Beach (1959), the nuclear disaster film about the end of Australia (and the world), postulated a mass turning-to-God near the end. And remembeer the evangelical closing shot of that alarming movie: "Brother, there is still time." Where is that spirit "Down Under" now? Where is the Christian Church, and our Christian Hope? Je ne sais pas. Oh, and the opening and closing music today consists of excerpts from cover versions of Screamin' Jay Hawkins' song, "I Put a Spell on You". One grew up on that song, albeit its Tyneside incarnations. LUV U.

Треклист программы: 01 Into the Fray - Invictus 02 Sonic Weapon - Crossing The Line 03 Rhapsody Of Fire - Glory for Salvation 04 The Dogtown Blues Band - You Shook Me 05 SIN73 - Skin To Win 06 Project One - Jonesin' 07 Chris King Robinson - Track You Down 08 Toby Hitchcock - Say No More 09 Lucer - Make My Getaway 10 Big Mike Aguirre & the Blu City All Stars - My Dog 11 Frugale - All About The Blues 12 Frank Duval - Stranger In This World 13 Jimmy Barnes - Love Hurts (feat. Jane Barnes) 14 Rosco Shakes - Why Don't You Do Right 15 Gisele Jackson & The Shu Shu´s - I Put a Spell on You 16 Dave Kalz - Playing the Blues with My Friends 17 Michael Anderson - It's Still God's Fight 18 Johnny Davis - Lets Get Past the Past 19 Ben Jud - Believe in Myself 20 Mental Exile - Stronger Than Time (Beyond Border Remix) 21 Richard Wilde - Second Time Around 22 Jakob Samuel - Freak 23 Babylon Rising - Fallin' Skies 24 Hardline - We Belong Слушайте каждую пятницу в 15-00 с повторами на неделе на motoradio.online Все эпизоды подкаста по ссылке: ссылка Слушать на смартфонах:  Apple: ссылка Android: ссылка #motoradio

There has never been a Garfield. Your hosts for today's episode were Christopher Winter and Christine Today's episode of our popular new segment I Put a Hex on You is about the web color #000007. Check it out! #000007 Are there fine Being Jim Davis-themed wares available for sale in the Pitch Drop Store? We'll never tell... Today's strip Become a Patron! Or visit these other fine internet URLs: BJD Homepage | BJD Twitter | BJD Facebook Page | Pitchdrop Network Homepage

Mr. Beast Goes to Prison? (Ep 1420) “Too” Clever Mafia Reviews Mr. Beast, and his latest Video. “I Spent 50 Hours In Prison” Then he stumbles upon this video: “I Put 100 Million Orbeez In My Friend's Backyard”. My first question was what is an Orbeez? Don't forget to follow our podcast! It'd Free! Of course we love coffee... https://www.buymeacoffee.com/tooclevermafia Support our show here: https://anchor.fm/tooclevermafia/support Paypal: https://paypal.me/2clevermafia?locale.x=en_US Grab a T-Shirt! https://merch.streamelements.com/tooclevermafia Grab a Mug! https://teespring.com/tooclevermafia This is our empire! Click Here: https://linktr.ee/tooclevermafia www.tooclevermafia.com Follow us @TooCleverMafia on all the majors of social media "That's all I have to say about that.” The Too Clever Mafia Podcast owns the rights to all originally created content and audio files. Any third-party audio files that may be used within are used for educational, demonstrative, and/or transformative purposes only. All fair use standards and practices are strictly adhered to. Our hashtags keep growing every time we add a new show! You are welcome Mafians. #Wow #beinspired #StayAlpha #MrBeast Videos Reviewed: I Spent 50 Hours In Prison https://www.youtube.com/watch?v=nM89Wl03Q4g https://www.youtube.com/watch?v=3TflpIllQHY --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/tooclevermafia/message Support this podcast: https://anchor.fm/tooclevermafia/support

A review of "I Put a Spell on You," an autobiography about the life and career of the singer, songwriter, and pianist known professionally as Nina Simone. Show notes are available at http://noirehistoir.com/blog/i-put-a-spell-on-you-book-review.

Gestur þáttarins að þessu sinni er Ólöf Erla Einarsdóttir myndlistarkona og grafískur hönnuður. Hún mætir með uppáhalds Rokkplötuna klukkan 21.00. Vinur þáttarins sendir pistil og lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Origin of Symmetry, önnur plata hljómsveitarinnar Muse, en hún kom út 17. Júlí 2001 fyrir bráðum 20 árum. Titill og concept plötunnar kemur frá eðlisfræðingnum Michiko Kaku, úr bók hans Hyperspace. Platan náði þriðja sæti breska vinsældalistans þegar hún kom út og fjögur lög af henni voru gefin út á smáskífum; Plug In Baby, New Born, Bliss, og Hyper Music / Feeling Good. Lög voru að mestu samin í tónleikaferðinni sem sveitin fór til að fylgja eftir fyrstu plötunni; Showbiz. Lagið Feeling Good er gamalt lag sem samið var fyrir Broadway söngleik árið 1964 og Nina Simone var fyrst til að taka þáð upp fyrir plötuna I Put a Spell on You árið 1965. Upptökur fóru fram í Ridge Farm Studios í vestur Sussex og Real World Studio í Wiltshire, en líka í hljóðveri Davids Gilmour úr Pink Floyd sem er í raun húsbátur og heitir Astoria. Og það var líka tekið upp í Richmond Studios og Abbey Road í London og Sawmills Studio í Cornwall og platan var mixuð í Sawmills. Það voru tveir upptöustjórar með Muse á plötunni, David Bottrill sem hefur unnið með mörgum á löngum ferli og svo John Leckie sem líka hefur stjórnað upptökum á mörgum plötum og gerði fyrstu plötuna með Muse. Platan náði 3. Sæti breska vinsældalistans og 161. sæti í Bandaríkjunum.

Bonnie Tyler, born Gaynor Hopkins, was brought up in Skewen, a small village near Swansea. She grew up to become one of Wales' best known performers, achieving chart success all over the world. She is recognised for her distinctive husky voice, and a long list of hit singles including Total Eclipse of the Heart, It's a Heartache, Holding Out for a Hero, Lost in France, More Than a Lover, Bitterblue and If I Sing You a Love Song. In her 50-year career, Bonnie has performed for audiences in countries across the world, and she has enjoyed critical acclaim for her recent albums Rocks and Honey and Between The Earth and the Stars. Her latest album The Best Is Yet to Come – due for release on 26 February 2021 – is a contemporary approach to the sounds and styles of 80s pop rock.   As a teenager, Bonnie was influenced by the biggest female voices of the 60s, especially Tina Turner and Janis Joplin. After spending several years performing in local pubs and clubs around South Wales, first with Bobbie Wayne & the Dixies and later with her own band, Imagination, Bonnie was discovered by talent scout Roger Bell in 1974. RCA Records launched Bonnie's recording career two years later with her debut single My! My! Honeycomb. Her breakthrough hit was Lost in France, written by her managers Ronnie Scott and Steve Wolfe. The single peaked at no. 9 in the UK, and spent six months in the German charts. After enjoying further success with subsequent singles More Than a Lover and Heaven, Bonnie finally broke into the Billboard charts with It's a Heartache, which reached no. 3 in the United States. Of the four albums that Bonnie recorded for RCA, Natural Force was the most successful, selling over half a million copies in the United States. Ready to embrace the new decade, Bonnie moved to CBS Records to work with Jim Steinman in the early 80s. Their fateful collaboration resulted in the groundbreaking international hit Total Eclipse of the Heart, a multi-platinum selling single that still enjoys cultural relevance in the 21st century. It is lifted from her fifth album, Faster Than the Speed of Night, which saw Tyler become to first British female artist to make her debut appearance on the UK Albums Chart at no. 1. During the 80s, she recorded several songs for movie soundtracks, including the UK no. 2 hit Holding Out for a Hero for Footloose, and the Grammy-nominated single Here She Comes for a restoration of Metropolis. Hide Your Heart became Bonnie's third album for CBS, produced by Desmond Child. It features several songs that became hits for other artists, including The Best for Tina Turner and Save Up All Your Tears for Cher. In the 90s, Bonnie signed with German label Hansa Records for three albums. The first, Bitterblue, rivaled the success of her career-defining album Faster Than the Speed of Night in some European countries, earning 4x Platinum status in Norway. Her follow-up albums Angel Heart and Silhouette in Red also became Platinum records in parts of Europe. Bonnie reunited with Jim Steinman in 1995 after signing with EastWest Records. She recorded epic cover versions of Making Love (Out of Nothing At All) and Two Out of Three Ain't Bad for her album Free Spirit, which featured the work of top producers including Humberto Gatica, Christopher Neil and David Foster. Her second record with EastWest, titled All in One Voice, arrived shortly before the new milennium. The celtic-influenced pop album was recorded in Dublin and Hamburg, and features a haunting cover of “I Put a Spell on You”, produced by Mike Batt.   In the early 2000s, Bonnie signed a one-off deal with EMI to record Heart Strings, an album of classic rock covers featuring her touring band and the City of Prague Philharmonic Orchestra. Bonnie recorded her next two pop-rock albums, Simply Believe and Wings, with producers Jean Lahcene and Stuart Emerson. Bonnie received an ECHO Music Prize for ‘Best International Pop/Rock Female Artist' in 1994. She has also received three Goldene Europa awards, three Grammy and BRIT nominations, two AMA nominations and one ACM nomination. She is the recipient of an honorary degree from Swansea University,  and she was presented with a Gold Badge from BASCA (now The Ivors Academy) in 2013. Bonnie has represented the United Kingdom at two international music contests. In 1979, she won the Yamaha World Popular Song Festival with her song ‘Sitting On the Edge of the Ocean'. After competing in the Eurovision Song Contest with ‘Believe in Me' in 2013, Bonnie picked up two ESC Radio Awards for ‘Best Song' and ‘Best Singer'. Over and above the timeless tracks that made her a household name, Bonnie has proven her versatility by enjoying a bilingual number one album in France, and performing duets – past collaborators include Vince Gill, Cher, Fabio Jr., Shakin' Stevens and Todd Rundgren. In 2013, she released her country-influenced album Rocks and Honey, recorded at the legendary Blackbird Studios in Nashville with David Huff. In 2019, she released Between the Earth and the Stars, another contemporary record with nods to past moments from her 50-year career. She recorded it with David Mackay, who produced her first two albums back in the 70s. Songwriters include long-time collaborators Kevin Dunne, Brian Cadd and Stuart Emerson, with new contributions from Sir Barry Gibb and Amy Wadge. The album also boasts three exciting duets with Rod Stewart, Cliff Richard and Francis Rossi. Her follow-up album The Best Is Yet to Come will arrive in February 2021. The release was pushed back due to the COVID-19 pandemic, but now Bonnie feels ready to celebrate: “I hope these new songs will lift your spirits. I am so happy and proud of this new album. It simply rocks and brings a smile to my face every time I put it on. The moment we can get back on stage and see your smiling faces will be extra special. I promise the best IS yet to come.“

Clean your glasses. Watch out for the ghouls under your bed. Stay out of the metropolitan water delivery business Links & Notes This weeks tune: The No Show Blues by Ben Bostick I Didn't Clean My Glasses for a Week and then I Put them Under a Microscope — Vlogbrothers

This is the Second Instalment of the new series "Navigating Life". Authentic conversation working out the crazy little thing called life!In this edition, I am joined by Daniela Leite, host of Spill the Milk Podcast! We turned the microphones on and spoke about life, fame, our experiences in third world countries, Daniela going to the same high school as Drake, and everything in between!You can find Spill the Milk Podcast through the link attached below:https://linktr.ee/spillthemilkpodcastYou can find everything Not Another Podcast related through the link below:https://linktr.ee/NotAnotherPodcastIf you want to jump to a certain point in the conversation, timestamps are added below:02:44 - Who is Daniela Leite? and what is Spill the Milk Podcast?05:13 - Siblings and Expectations to be in relationships.09:33 - Daniela Teaches Me About Astrology.18:05 - Daniela Talks About Her Travel-Filled Childhood.25:30 - Why Setting Targets Helps Us Move Forward.32:59 - We Talk About Our Experiences Whilst Working With Children.49:44 - Talking About Daniela Being an Open Book - Billy is an Extroverted Introvert... If That Makes Sense?59:00 - Fame, Would You Like to Experience it?01:04:37 - Daniela Loves One Direction. I Put it to The Test.01:10:10 - Daniela Has Aphantasia... What is Aphantasia?01:18:48 - Daniela Talks Going to the Same High School as Drake.01:22:40 - Were There Many Teen Pregnancies in Your School?01:28:45 - Chavs in the UK. And Other UK Culture/Stereotypes.01:39:40 - Daniela Talks of Her Experiences Living in Brazil + Our Experiences in Third World Countries.01:56:43 - Our Shared Love For Machine Gun Kelly and "Tickets to My Downfall".02:03:30 - Daniela's Theory About Harry Styles.02:11:15 - Appreciating Smaller Musicians, and the Effect Interacting with Musicians Has on Us.02:14:37 - How Would You Like to Be Remembered?Support the show (https://www.buymeacoffee.com/NotAnotherPod)

We kick off our February theme of "I Put a Spell on You: Magic in Horror" with SPELLCASTER, the first film shot in Charles Band's castle! We discuss greed, the MTV age, and why we love magic in horror! Give us a listen and let us cast a spell on you!

Vocalist and multi-instrumentalist Casey Abrams became an overnight celebrity in January 2011, when he was selected to be a contestant on the popular televised talent competition American Idol.   ******LISTEN TO THIS EPISODE AND SUBSCRIBE!!! www.richredmond.com/listen   Abrams was born on February 12, 1991, in Austin, Texas. Abrams' family lived in Illinois for several years before settling in Idyllwild, California, where his father taught filmmaking at the Idyllwild Arts Academy. Abrams became a student at Idyllwild, where he studied both jazz and classical music, with emphasis on the double bass and piano. In addition to jazz, Abrams developed a fondness for classic jazz and pop vocalists such as Frank Sinatra, Ray Charles, and James Taylor, and began studying singing as well as instrumental performance. When the producers of American Idol began holding auditions for their tenth season, Abrams appeared at the tryouts in Austin, and his version of Ray Charles' "I Don't Need No Doctor" impressed the judges, who made him one of the 24 semi-finalists who took part in the televised competition in Los Angeles. Abrams' warm, engaging style and likable personality made him a favorite with American Idol's viewers as well as the judges, as did his eclectic choices of material, ranging from Ella Fitzgerald to Nirvana. When Abrams fared poorly in the voting after reaching the Top 11, the show's judges made the rare choice to "save" him, intervening to keep him in the running after an impressive performance of Elton John's "Your Song." However, four weeks later, Abrams was finally voted off the show, coming in sixth place while Scotty McCreery came in first. After making a number of television appearances and taking part in the annual American Idol concert tour, Abrams made his recording debut in the fall of 2011, when he and Haley Reinhart (another season ten contestant) recorded a duet version of the seasonal favorite "Baby, It's Cold Outside" that was issued as a single. In January 2012, Concord Music Group announced they'd signed Abrams to a record deal, and his self-titled debut album was released in June 2012.   Beginning in 2014, Abrams became involved with Scott Bradlee's jazz-themed covers ensemble Postmodern Jukebox, joining the group on several tours and recording fan favorite covers with them like a New Orleans' take on Sam Smith's "I'm Not the Only One" and a version of Haddaway's "What Is Love" done in the style of the Isley Brothers. His ebullient vocal delivery and double bass chops made him a strong fit for the band, even as he continued to record his own music, including the 2016 EP Tales from the Gingerbread House. 2018 saw the release of Abrams' third full-length, I Put a Spell on You, while he dipped back into his roots the following year with the aptly titled effort Jazz.   Some Things That Came Up:  Eve of Destruction w/ Cyndi Lauper Playing on American Idol Rich's playing near Steven Tyler and JLo on AI Getting emotionally attached to an acting role Playing with Jack Black on AI Putting a bass track to "Kiss" by Prince "Make Out" performance    Follow Casey: www.caseybassy.com @casseybassy   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits! Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1 One Book: three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)! Buy Rich’s exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com  

Korea24 – 2021.01.27. (Wednesday) - News Briefing: The South Korean government ensured both Washington and Beijing are on the same page when it comes to North Korea's denuclearization. President Moon Jae-in held telephone talks with Chinese President Xi Jinping while the outgoing and incoming top diplomats from Seoul and Washington held their first phone talks on the matter as well. (Eunice Kim) - In-Depth News Analysis Part 1: Dr. Simon Clarke, associate professor in cellular microbiology at the University of Reading, delves into the various types of COVID-19 strains, their threat, and the vaccine's effectiveness against them. He also gives his thoughts on the possibility of the variants prolonging the world's battle against the pandemic. - In-Depth News Analysis Part 2: Robin Harding, Tokyo Bureau Chief of the Financial Times, shares his thoughts on the ongoing doubt surrounding the Tokyo Olympics on if they're being held after being delayed a year. He also discusses possible scenarios Japan and the International Olympic Committee(IOC) could take. - Korea Trending with Alex Sigrist: KDCA Chief Jeong Eun-kyeong tests negative for COVID-19(정은경 질병관리청장 코로나19 음성), ruling Democratic Party Chairman Lee Nak-yon apologizes to the victim of the late Seoul Mayor Park Won-soon(이낙연, 박원순 피해자에 사과), and the Korea Music Copyright Association(KOMCA) reveals 25 new artists to be added as full-time members(한국음악저작권협회 정회원 승격 명단). - Korea Book Club: Literary Translator Anton Hur shares four poetry books that were reissued by the book publisher Moonji(문학과 지성사). Anton talks about the works by four beloved female poets from the ‘80s to now: "Love in Our Time(이 시대의 사랑)" by Choi Seung-ja(최승자), "A Faraway House Where I Go Alone(혼자 가는 먼 집)," by Huh Sukyung(허수경), "Written in Cursive(그리하여 흘려 쓴 것들)" by Lee Jenny(이제니), and "I Put the Evening in a Drawer(서랍에 저녁을 넣어 두었다)" by Han Kang(한강). - Morning Edition Preview: Mark shares a story from the Korea Times that covers special markets in Yeongdeungpo District aimed to help those feeling financial strain due to the pandemic, and a Korea Herald piece that talks about an English edition of a book by the National Museum of Modern and Contemporary Art(MMCA).

This week Erica from the Seaweed Brain Podcast joins Brayden, Niamh, and Ava to discuss the greatest tragedy in the history of Percy Jackson and also the rest of the universe. An ode to Zoe Nightshade and another rant about capitalism as this week the team discuss the Titan's Curse Chapters 17 and 18, "I Put on a Few Million Extra Pounds" and "A Friend Says Good-bye" through the theme of Sacrifice. More Erica: @seaweedbrainpodcast @ericaleilanii Titan's Curse Playlist: https://open.spotify.com/playlist/2STSzB6JtBfcsbH2H1J9eL?si=9Q_HSkt2QByUY97LS91Djw Offerings: http://bit.ly/Off-TC Find out more at returntocamp.com Check out bonus content on Patreon: https://www.patreon.com/returntocamp Follow us on Twitter & Instagram: @ReturnToCamp For more of your Hosts: @brydnstllmn @niamhhsherlock @avapirie Buy cool merch at Redbubble: www.redbubble.com/people/onthevergepro/shop Music: https://www.purple-planet.com --- Send in a voice message: https://anchor.fm/return-to-camp-half-blood/message Support this podcast: https://anchor.fm/return-to-camp-half-blood/support

DOPAMINE RUSH METAL HOUR #2: HALLOWEEN If you enjoy blaring guitars, horror movies then you'll like this program Tonight's show includes classics such as I Put a Spell on You, Sympathy for the Devil, Psycho Killer BUT with an edge, all songs are performed by Metal Bands such as Motorhead and Disturbed check it out. NO TALKING, Just Music & scary sounds! Song Playlist Phantom of the Opera by Nightwish Bad Moon Rising by Mourning Ritual I put a Spell on you by Halo That Kills Hungry Like the Wolf by Amaru Under Pressure By Chemical Romance When You're Strange Leo Marachiolli Psycho Killer by Velvet Revolver Run Run Away By Vexillum Maniac by Firewind Sympathy For the Devil by Motorhead Don't Fear the Reaper by Leo Marachioli Paint it Black Hidden Citizens Mad World by Melodiocka Brothers Highway to Hell by Sershen & Zaritskaya Just Died in Your Arms Tonight by Throw the Fight Sounds of Silence by Disturbed  

Dylan and Connor are joined by superstar Jay Armstrong Johnson (I Put a Spell on You, On the Town) for a thrilling chat to get in the Halloween spirit. They discuss The Haunting of Hill House, a rundown of Jay’s resume, Priyanka Chopra’s hair, Hands on a Hardbody, standing by for Aaron Tveit, the dream team of On the Town, secrets and thrills from the revival of Hair, marching on Washington for marriage equality, a sex scene with Russell Tovey, their neighborly connection, Jay’s live album, Sister Act 2: Back in the Habit, Connor’s eternal crush on Gavin Creel, and Jay’s incredible Halloween live show I Put a Spell on You, premiering 10/29 at 8pm. Support BCEFA and VOTE! Follow Jay Armstrong Johnson on Twitter & InstagramCheck out I Put A Spell on You starting 10/29 at 8pm! Follow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by Maggie Montalto | Twitter & InstagramNEW OFFICIAL DRAMA MERCH IS HERE!SUBSCRIBE TO OUR PATREON HERE!Please rate us 5 stars and subscribe on Apple Podcasts!

Two things we learned from the famous 1993 Halloween movie, Hocus Pocus: A) do not light the black flame candle if you’re a virgin and B) the parents of Salem know how to get LIT. Most of us 90s kids grew up watching Hocus Pocus every Halloween and/or still watch it every year now. In this episode, I am by myself talking about the film and what we love about it - memorable scenes, funny quotes, silly moments, and I even will give you a drinking game for the next time you turn it on.  So come little 90s children, we fly to Salem to learn some interesting facts and trivia about our favorite Halloween movie. PLEASE VOTE. If you haven’t voted yet, drop off your ballot IN PERSON or vote IN PERSON. Vote all the way down the ballot. Amp up your involvement by 25%. Donate. Call. Drive people. Put a sign in your yard. We need to do everything in our power to protect the future of our democracy. Iamavoter.com Iwillvote.com SARAH’S UNOFFICIAL 2020 QUARANTINE HOCUS POCUS DRINKING GAME Take a SIP when: A magic spell is cast Every time you hear the words children, virgin, sister, or sistah Whenever the Sanderson sisters can’t recognize a modern invention Every time there’s a subtle adult joke on screen Anytime someone calls Max “Hollywood” When Sarah Sanderson is acting flirty When Max says “it’s just a bunch of hocus pocus” When one of the Sanderson sisters inhales or smells something When you hear the name Emily Take a GULP when: Max lights the black flame candle Winnie calls for her book Billy Butcherson loses a limb Binx dies  “Yabos” are mentioned “A salt circle” is created Take a SHOT or FINISH your drink when: Sarah Sanderson says “amuck amuck amuck” “I Put a Spell On You” comes on And please drop me a line and let me know how it goes. *Want to be a guest on TTTH Podcast? Go to talktothehandpod.com/contact for our guest application!

This week, we're looking to magic to lift spirits and end this terrible year. Our picks have literal and metaphorical spells, along with other types of witchery. Plus, Erin and Amy develop the haunted house for 2020, complete with news tickers, Goop eggs, and jack-in-the-boxes with terrifying refrains.If you haven't had the pleasure, watch this video for the mehhhh noise that exemplifies 2020.And listen to "I Put a Spell on You," the song from Nina Simone that inspired this week's episode. _____Our picks from Broads and Books Episode 74: I Put a Spell on YouNovels:Amy: Follow Me to Ground, Sue RainsfordErin: Little Disasters, Sarah VaughnOther Books:Amy: Lady Romeo: The Radical, Revolutionary Life of Charlotte Cushman, America’s First Celebrity, Tana WojczukErin: "The Grownup," Gillian FlynnPop Culture:Amy: Lovecraft Country (TV, HBO) Erin: Conviction: American Panic (Podcast)And hey: don't take your rights for granted. VOTE. Register to vote, and/or sign up to be a poll worker! _____Broads and Books is a book podcast. A funny podcast. A feminist podcast. And one of the BEST podcasts. Each week Amy and Erin choose a unique theme. Then we choose two fiction books, two other genre books (short story collections, memoir, non-fiction, true crime, poetry, etc.), and two pop culture picks based on that theme. We surprise each other with our picks, talk about why we like them, and give you unexpected recommendations for every reading taste. Along the way, we share embarrassing stories, pitch amazing-slash-crackpot business ideas, implicate ourselves in future crimes, check in on our Podcats, and so much more. Broads and Books is fresh, funny, thought-provoking, and basically the best time you'll have all week.Visit us at www.broadsandbooks.com, and talk to us on Instagram, Twitter, and Facebook!

Bubbling cauldrons and spooky spells galore, this weeks terrifying episode includes some of shock rocks biggest artists and a playlist that'll rattle your bones. Tune in and get your fix.-Screamin Jay Hawkins. I Put a Spell on You-The Sonics. The Witch -Tom and The Tempests. It's Over Now-The Searchers. Love Potion No. 9-Screaming Lord Sutch. All Black and Hairy-Kip Tyler. Eternity-Steve King. Satan is Her Name-The Last Word. Sleepy Hollow 

Three L.A. comedians are quarantined in a podcast studio during a global pandemic. There is literally nothing to be done EXCEPT make content. These are "The Corona Diaries" and this is Episode 97. Sitting in with us today is our hilarious NEW next door neighbor, Cooper Lyden! Follow him on Twitter @LydenCooper and check out his podcast "Pork Butt"!  Spooky music at the end is "I Put a Spell on You" by Screamin' Jay Hawkins.

In time for Halloween, Clint recommends five horror movies that don’t insult your intelligence and Andy tells the incredible true story behind maybe the spookiest song ever recorded, “I Put a Spell On You” by Screamin’ Jay Hawkins.Also in TV, Clint gives his early take on Netflix’s THE HAUNTING OF BLY MANOR and his review of HBO’s WATCHMEN. In music, Andy pays tribute to the late Eddie Van Halen and talks about why he was different than other guitar virtuosos.Plus:-Streaming recommendations on Netflix, Prime Video, Hulu and HBO Max-Another creepy selection for the Greatest TV Show Theme Song of All-Time (this week)-Five more songs added to the never-ending Spotify playlistEmail Clint at theclintdavis@gmail.com and Andy at sedlakjournal@gmail.com See acast.com/privacy for privacy and opt-out information.

Marilyn Manson estrena el video de “Don´t Chase The Dead” con Norman Reedus como protagonista, Travis Scott estrena el video “Franchise” a lado de Young Thug y M.I.A., Escucha “Las Distancias” de Silver Rose, Blood Orange lanza el remix de “Borderline” de Tame Impala, AC/DC estrena un video en el que insinúa el regreso de la banda, En febrero llegará el nuevo documental sobre la cantante Billie Eilish, Romy Madley estrena su primer sencillo solitario titulado “Lifetime”, The Jade Hearts Club estrena el video del cover “I Put a Spell on You”, esto y mucho más aquí en Sentido Beat

Today's episode is Part 2 in a series of episodes about list building and audience building for your online store. If you haven't listened to Part 1, I would do that first. What is a Lead Magnet? It's premium content that you give in exchange for your customer's email address. What we cover in Part 2... How does a Lead Magnet really work? How do I set it up? How to I deliver the cheatsheet or PDF thingy I promised? Where do I PUT the Lead Magnet? How do I drive traffic to it? Have a listen... https://janehamill.com/magnet2/ ‎

This is part 1 of 2. In this episode I talk to Eliza Schneder who started a Facebook group called Keto & Low Carb Optionz! with Eliza. I wanted to know what I had to do if I wanted to start a low carb diet. I Put on a few pounds during the Covid lock down, so I'm trying to put together a plan to lose weight again by changing my eating habits 1st. Eliza's group has a ton of recipes and info for newbies as well as support when you are struggling. Eliza also has a low carb line of baking mixes for cookies. I have had the peanut butter cookies, and I couldn't even tell that they were sugar free. There is a coupon code below for 20% off 2 or more baking mixes. Offer ends September 20, 2020. 20% off coupon code:  seandustin You can find Eliza here: https://linktr.ee/optionzwitheliza?fbclid=IwAR0pO1pHnsa0iHKwxsRjLkcaFUXWLD2Kmw2axugclf9CLXolGc7qOl41Y4o   Here is where you can find me: Linktree: https://linktr.ee/Nowheretogobutup

The Sound Chaser Progressive Rock Podcast returns. On this show we go Through with Kraan, dance a Bolero with Heldon, survive some Crises with Mike Oldfield, and Sing to the Moon with Snarky Puppy. I have an In Memoriam segment for Keith Tippett and Ennio Morricone. The Symphonic Zone gets grand and eloquent. All that plus news of tours and releases on this edition of Sound Chaser. Playlist 1. Emerson, Lake & Palmer - Bitches Crystal, from Then & Now IN MEMORIAM 2. King Crimson [Keith Tippett] - Happy Family, from Lizard 3. Ennio Morricone - Quatro Mosche di Velluto Grigio, from Argento Vivo (compilation) END IN MEMORIAM 4. Kraan - Through, from Through 5. Bill Bruford's Earthworks - Triplicity, from Footloose and Fancy Free 6. Pekka Pohjola - Vapour Trails, from The Visitation 7. Michael Shrieve - Queen Bee, from Two Doors 8. Siouxsie and the Banshees - Cannons, from Tinderbox 9. Heldon - Bolero, from Stand By THE SYMPHONIC ZONE 10. Dawn Dialogue - Share (Part 1), from I Put the Spell on the Fire 11. Rewiring Genesis - The Light Dies Down on Broadway, from A Tribute to The Lamb Lies Down on Broadway 12. Rewiring Genesis - Riding the Scree, from A Tribute to The Lamb Lies Down on Broadway 13. Mike Oldfield - Crises, from Crises 14. M-Opus - Different Skies, from 1975-Triptych LEAVING THE SYMPHONIC ZONE 15. Mahavishnu Orchestra - Faith, from Visions of the Emerald Beyond 16. Black Sabbath - Kiss of Death, from Forbidden 17. Shadow Gallery - Warcry, from Carved in Stone SPOTLIGHT ON THE MID 1960S 18. The Who - My Generation [mono with guitar overdub], from The Who Sings My Generation [deluxe edition bonus cd] 19. The Mothers of Invention - Who Are the Brain Police?, from Freak Out! 20. The Don Ellis Orchestra - Freedom Jazz Dance [cd bonus track], from Live in 3 2/3 /4 Time END SPOTLIGHT 21. Steven Wilson - Twilight Coda, from Insurgentes 22. Steve Tibbetts - The X Festival, from Exploded View 23. Revolutionary Army of the Infant Jesus - Paradis, from Paradis 24. John Adams - Tourist Song, from Hoodoo Zephyr 25. Bel Canto - Waking Will, from Shimmering, Warm & Bright 26. Popol Vuh - When Love Is Calling You, from For You and Me 27. Snarky Puppy, with Laura Mvula & Michelle Willis - Sing to the Moon, from Family Dinner, Volume 2

90s Vol 4. Requested by You. Mixed by David Virgona. I Put out to my facebook friends that i was doing a 90s mix and if they wanted to request songs. This is all of their requests! The last in the 90s mix 4 of 4! Enjoy in these uncertain times we face ahead, i hope this brings back some great memories for you all! Please remember private use only! thanks.

Kerrie and Angela cover the stories of Nina Simone, The Sex Pistols and Sid and Nancy in an extended version of the podcast this week.Nina Simone was an American singer, songwriter, musician and civil rights activist. Known for songs such as 'My baby just cares for me', I love you Porgy' and 'Feeling good', we take a look back to where it all began, the struggle and passion of someone young, gifted and black in the 50s.Anarchy in the UK, the birth of punk and the tragic tale of Sid and Nancy. We look at the creation of the Sex Pistols and the turbulent lifes of Sid Vicious and Nancy Spungen. Accidental deaths, suicide pact gone wrong or murder?New music featured in this episode is by the bands Tiger Mimic and Skies. Like what you here? Please ubscribe on your favourite listening platform and support us on Patreon https://www.patreon.com/BugeyeNina SimoneLittle Girl Blue - https://open.spotify.com/album/58gOQaPc4RCw8eWdTDRes7?si=fF1OYiJMS1OTr91oaQOLIwNina Simone at Town Hall - https://open.spotify.com/album/23Bd6VeIIzJlQ6HfM1eVNg?si=5ZkpZ25PQ36s3xqc__ViSAMississipi Goddam -https://www.youtube.com/watch?v=4tHYGfRot5wAutobiography -https://www.goodreads.com/book/show/88328.I_Put_a_Spell_on_YouSkieswww.youtube.com/skiesbanduk www.facebook.com/skiesbanduk www.skiesbanduk.bandcamp.com https://twitter.com/SKIESbanduk Instagram: @skiesbandUKSex Pistols & Sid and NancyThe World's Greatest Rock n Roll Scandals by David CavanaghLonely Boy: Tales from a Sex Pistol by Steve JonesSid & Nancy bed Interview in full (1978)https://www.youtube.com/watch?v=s44ya8NNpRkNancy Spungen Interviewhttps://www.youtube.com/watch?v=VW_PneIBAeoSid Vicious - Final Interviewhttps://www.youtube.com/watch?v=2d2o6jKOzVgJamie Reid: Pinnedhttps://www.youtube.com/watch?v=XS0zVWJ1U3kMalcolm McLaren Interviewhttps://www.youtube.com/watch?v=ZRpp9Fa3SHcTiger Mimichttps://www.facebook.com/tigermimicband/https://twitter.com/TigerMimicInstagram: tiger.mimicSupport this show http://supporter.acast.com/bugeyes-rock-pop-rambles. See acast.com/privacy for privacy and opt-out information.

90s Vol 3. Requested by You. Mixed by David Virgona. I Put out to my facebook friends that i was doing a 90s mix and if they wanted to request songs. This is all of their requests! Enjoy in these uncertain times we face ahead, i hope this brings back some great memories for you all! Please remember private use only! thanks.

90s Vol 2. Requested by You. Mixed by David Virgona. I Put out to my facebook friends that i was doing a 90s mix and if they wanted to request songs. This is all of their requests, Vol 2 is more Pop 90s and dance! Enjoy in these uncertain times we face ahead, i hope this brings back some great memories for you all! Please remember private use only! thanks.

A nuestra protagonista de hoy le gustaba repetirse para sí una frase que le solía decir su amigo el escritor James Baldwin: “Este es el mundo que tú misma te has creado. Ahora tienes que vivir con él”. Cuando a la cantante que vamos a desmenuzar en esta sesión le embargaba la tristeza, recurría a la reflexión del que, como ella, fue también azote contra el racismo en Estados Unidos en la segunda mitad del siglo XX. En sus memorias se confesaba como una persona insegura, falta de amor y en continua lucha contra sí misma, pero, especialmente, contra el mundo que le había tocado vivir, marcado por la la segregación racial. Amigas y amigos, bienvenidos a una nueva edición de Green In Jazz donde vamos a intentar recrear el universo de una artista con aura de faraona icónica del siglo XX: Nina Simone. Tracklist (por orden de aparición): 1. I Put a spell on you 2. My Way 3. Feeling Good 4. Wild is the wind 5. Baby Just Cares for Me 6. July Tree 7. Mississippi Gaddem 8. I Love You, Porgy 9. I Shall Be Released 10. Do nothin’till you hear from me 11. Ain’t Got no – I got Life

90s Vol 1. Requested by You. Mixed by David Virgona. I Put out to my facebook friends that i was doing a 90s mix and if they wanted to request songs. This is all of their requests, Vol 1 is more Pop 90s and a good kickstart to the night! Vol 2-4 will progress to more dance! Enjoy in these uncertain times we face ahead, i hope this brings back some great memories for you all! Please remember private use only! thanks.

Episode seventy-five of A History of Rock Music in Five Hundred Songs looks at “There Goes My Baby” by the Drifters, and how a fake record label, a band sacked for drunkenness, and a kettledrum player who couldn’t play led to a genre-defining hit. 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 “Rebel Rouser” by Duane Eddy 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I’m not going to recommend a compilation this week, for reasons I mention in the episode itself. There are plenty available, none of them as good as they should be. The episode on the early career of the Drifters is episode seventeen.  My main resource in putting this episode together was Marv Goldberg’s website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney’s later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. And Bill Millar’s book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note about this one, before I start. As we’ll see in this episode, there have been many, many, lineups of the Drifters over the years, with many different people involved. One problem with that is that there have been lots of compilations put out under the Drifters name, featuring rerecorded versions of their hits, often involving nobody who was on the original record. Indeed, there have been so many of these compilations, and people putting together hits compilations, even for major labels, have been so sloppy, that I can’t find a single compilation of the Drifters’ recordings that doesn’t have one or two dodgy remakes on replacing the originals. I’ve used multiple sources for the recordings I’m excerpting here, and in most cases I’m pretty sure that the tracks I’m excerpting are the original versions. But particularly when it comes to songs that aren’t familiar, I may have ended up using a rerecording rather than the original. Anyway, on with the story… [Excerpt: The Drifters, “There Goes My Baby”] It’s been more than a year since we last properly checked in with the Drifters, one of the great R&B vocal groups of all time, so I’ll quickly bring you up to speed — if you want to hear the full story so far, episode seventeen, on “Money Honey”, gives you all the details. The Drifters had originally formed as the backing group for Clyde McPhatter, who had been the lead singer of Billy Ward and the Dominoes in the early fifties, when that group had had their biggest success. The original lineup of the group had all been sacked before they even released a record, and then a couple of members of the lineup who recorded their first big hits became ill or died, but the group had released two massive hits — “Money Honey” and “Such a Night”, both with McPhatter on lead vocals: [Excerpt: Clyde McPhatter and the Drifters, “Such a Night”] But then McPhatter had been drafted, and the group’s manager, George Treadwell, had got in a member of the original lineup, David Baughan, to replace McPhatter, as Baughan could sound a little like McPhatter. When McPhatter was discharged from the army, he decided to sell the group name to Treadwell, and the Drifters became employees of Treadwell, to be hired and fired at his discretion. This group went through several lineup changes, some of which we’ll look at later in this episode, but they kept making records that sounded a bit like the ones they’d been making with Clyde McPhatter, even after Baughan also left the group. But there was a big difference behind the scenes. Those early records had been produced by Ahmet Ertegun and Jerry Wexler, and had usually been arranged by Jesse Stone, the man who’d written “Money Honey” and many other early rock and roll hits, like “Shake, Rattle, and Roll”. But a little while after Baughan left the group, Ertegun and Wexler asked Jerry Leiber and Mike Stoller to start working with them. Leiber and Stoller, you might remember, were working with a *lot* of people at the time. They’d come over to Atlantic Records with a non-exclusive contract to write and produce for the label, and while their main project at Atlantic was with the Coasters, they were also producing records for people like Ruth Brown, as well as also working on records for Elvis and others at RCA. But they took on the Drifters as well, and started producing a string of minor hits for them, including “Ruby Baby” and “Fools Fall In Love”. Those hits went top ten on the R&B chart, but did little or nothing in the pop market. [Excerpt: The Drifters, “Fools Fall In Love”] That song, which had Johnny Moore on lead vocals, was the last big hit for what we can think of as the “original” Drifters in some form. It came out in March 1957, and for the rest of the year they kept releasing singles, but nothing made the R&B charts at all, though a few did make the lower reaches of the Hot One Hundred. Throughout 1957, the group had been gaining and losing members. Bill Pinkney, who had been chosen by the other group members to be essentially their shop steward, had gone to Treadwell and asked for a raise in late 1956, and been promptly fired. He’d formed a group called the Flyers, with a new singer called Bobby Hendricks on lead. The Flyers recorded one single, “My Only Desire”: [Excerpt: the Flyers, “My Only Desire”] But then Tommy Evans, Pinkney’s replacement in the group, was fired, and Pinkney was brought back into the group. Hendricks thought that was the end of his career, but then a few days later Pinkney phoned him up — Johnny Moore was getting drafted, and Hendricks was brought into the group to take Moore’s place. But almost immediately after Hendricks joined the group, Pinkney once again asked for a raise, and was kicked out and Evans brought back in. Pinkney went off and made a record for Sam Phillips, with backing music overdubbed by Bill Justis: [Excerpt: Bill Pinkney, “After the Hop”] The group kept changing lineups, and there was only one session in 1958, which led to a horrible version of “Moonlight Bay”. Apparently, the session was run by Leiber and Stoller as an experiment (they would occasionally record old standards with the Coasters, so presumably they were seeing if the same thing would work with the Drifters), and several of the group’s members were drunk when they recorded it. They decided at the session that it was not going to be released, but then the next thing the group knew, it was out as their next single, with overdubs by a white vocal group, making it sound nothing like the Drifters at all: [Excerpt: The Drifters “Moonlight Bay”] Bobby Hendricks hated that recording session so much that he quit the group and went solo, going over to Sue Records, where he joined up with another former Drifter, Jimmy Oliver. Oliver wrote a song for Hendricks, “Itchy Twitchy Feeling”, and the Coasters sang the backup vocals for him, uncredited. That track went to number five on the R&B charts: [Excerpt: Bobby Hendricks, “Itchy Twitchy Feeling”] By this time, the Drifters were down to just three people — Gerhart Thrasher, Jimmy Milner, and Tommy Evans. They no longer had a lead singer, but they had a week’s worth of shows they were contracted to do, at the Harlem Apollo, on a show hosted by the DJ Doctor Jive. That show was headlined by Ray Charles, and also featured the Cookies, Solomon Burke, and a minor group called the Crowns, among several other acts. Treadwell was desperate, so he called Hendricks and Oliver and got them to return to the group just for one week, so they would have a lead vocalist. They both did return, though just as a favour. Then, at the end of the week’s residency, one of the group members got drunk and started shouting abuse at Doctor Jive, and at the owner of the Apollo. George Treadwell had had enough. He fired the entire group. Tommy Evans went on to join Charlie Fuqua’s version of the Ink Spots, and Bill Pinkney decided he wanted to get the old group back together. He got a 1955 lineup of the Drifters together — Pinkney, David Baughan, Gerhart Thrasher, and Andrew Thrasher. That group toured as The Original Drifters, and the group under that name would consist almost entirely of ex-members of the Drifters, with some coming or going, until 1968, when most of the group retired, while Pinkney carried on leading a group under that name until his death in 2007. But they couldn’t use that name on records. Instead they made records as the Harmony Grits: [Excerpt: The Harmony Grits, “I Could Have Told You”] and with ex-Drifter Johnny Moore singing lead, as a solo artist under the name Johnny Darrow: [Excerpt: Johnny Darrow, “Chew Tobacco Rag”] And with Bobby Hendricks singing lead, as the Sprites: [Excerpt: The Sprites, “My Picture”] But the reason they couldn’t call themselves the Drifters on their records is that George Treadwell owned the name, and he had hired a totally different group to tour and record under that name. The Crowns had their basis in a group called the Harmonaires, a street-corner group in New York. They had various members at first, but by the time they changed their name to the Five Crowns, they had stabilised on a lineup of Dock Green, Yonkie Paul, and three brothers — Papa, Nicky, and Sonny Boy Clark. The group were managed by Lover Patterson, who they believed was the manager of the Orioles, but was actually the Orioles’ valet. Nonetheless, Patterson did manage to get them signed to a small record label, Rainbow Records, where they released “You’re My Inspiration” in 1952: [Excerpt: The Five Crowns, “You’re My Inspiration”] The record label sent out a thousand copies of that single to one of their distributors, right at the point a truckers’ strike was called, and ended up having to send another thousand out by plane. That kind of thing sums up the kind of luck the Five Crowns would have for the next few years. Nothing they put out on Rainbow Records was any kind of a success, and in 1953 the group became the first act on a new label, Old Town Records — they actually met the owner of the label, Hy Weiss, in a waiting room, while they were waiting to audition for a different label. On Old Town they put out a couple of singles, starting with “You Could Be My Love”: [Excerpt: The Five Crowns, “You Could Be My Love”] But none of these singles were hits either, and the group were doing so badly that when Nicky Clark left the group, they couldn’t get another singer in to replace him at first — Lover Patterson stood on stage and mimed while the four remaining members sang, so there would still be five people in the Five Crowns. By 1955, the group had re-signed to Rainbow Records, now on their Riviera subsidiary, and they had gone through several further lineup changes. They now consisted of Yonkie Paul, Richard Lewis, Jesse Facing, Dock Green, and Bugeye Bailey. They put out one record on Riviera, “You Came To Me”: [Excerpt: The Five Crowns, “You Came to Me”] The group broke up shortly after that, and Dock Green put together a totally new lineup of the Five Crowns. That group signed to one of George Goldner’s labels, Gee, and released another single, and then they broke up. Green got together *another* lineup of the Five Crowns, made another record on another label, and then that group broke up too. They spent nearly two years without making a record, with constantly shifting lineups as people kept leaving and rejoining, and by the time they went into a studio again, they consisted of Charlie Thomas, Dock Green, Papa Clark, Elsbeary Hobbs, and a new tenor singer called Benjamin Earl Nelson, who hadn’t sung professionally before joining the group — he’d been working in a restaurant owned by his father, and Lover Patterson had heard him singing to himself while he was working and asked him to join the group. This lineup of the group, who were now calling themselves the Crowns rather than the Five Crowns, finally got a contract with a record label… or at least, it was sort of a record label. We’ve talked about Doc Pomus before, back in November, but as a brief recap — Pomus was a blues singer and songwriter, a white Jewish paraplegic whose birth name was Jerome Felder, who had become a blues shouter in the late forties: [Excerpt: Doc Pomus, “Send for the Doctor”] He had been working as a professional songwriter for a decade or so, and had written songs for people like Ray Charles, but the music he loved was hard bluesy R&B, and he didn’t understand the new rock and roll music at all. Other than writing “Young Blood”, which Leiber and Stoller had rewritten and made into a hit for the Coasters, he hadn’t written anything successful in quite some time. He’d recently started writing with a much younger man, Mort Shuman, who did understand rock and roll, and we heard one of the results of that last week — “Teenager in Love” by Dion and the Belmonts, which would be the start of a string of hits for them: [Excerpt: Dion and the Belmonts, “Teenager in Love”] But in 1958, that had not yet been released. Pomus’ wife had a baby on the way, and he was desperate for money. He was so desperate, he got involved in a scam. An old girlfriend introduced him to an acquaintance, a dance instructor named Fred Huckman. Huckman had recently married a rich old widow, and he wanted to get away from her during the day to sleep with other people. So Huckman decided he was going to become the owner of a record label, using his wife’s money to fund an office. The label was named R&B Records at Doc’s suggestion, and Doc was going to be the company’s president, while Mort was going to be the company’s shipping clerk. The company would have offices in 1650 Broadway, one of the buildings that these days gets lumped in when people talk about “the Brill Building”, though the actual Brill Building itself was a little way down the street at 1619. 1650 was still a prime music business location though, and the company’s office would let both Doc and Mort go and try to sell their songs to publishing companies and record labels. And they’d need to do this because R&B Records wasn’t going to put out any records at all. Doc and Mort’s actual job was that one of them had to be in the office at all times, so when Huckman’s wife phoned up, they could tell her that he’d just popped out, or was in a meeting, or something so she didn’t find out about his affairs. They lived off the scam for a little while, while writing songs, but eventually they started to get bored of doing nothing all day. And then Lucky Patterson brought the Crowns in. They didn’t realise that R&B Records wasn’t a real record label, and Pomus decided to audition them. When he did, he was amazed at how good they sounded. He decided that R&B Records was *going* to be a real record label, no matter what Huckman thought. He and Shuman wrote them a single in the style of the Coasters, and they got in the best session musicians in New York — people like King Curtis and Mickey Baker, who were old friends of Pomus — to play on it: [Excerpt: The Crowns, “Kiss and Make Up”] At first that record was completely unsuccessful, but then, rather amazingly, it started to climb in the charts, at least in Pittsburgh, where it became a local number one. It started to do better elsewhere as well, and it looked like the Crowns could have a promising career. And then one day Mrs. Huckman showed up at the office. Pomus tried to tell her that her husband had gone out and would be back later, but she insisted on waiting in the office, silently, all day. R&B Records closed the next day. But “Kiss and Make Up” had been a big enough success that the Crowns had ended up on that Doctor Jive show with the Drifters. And then when George Treadwell fired the Drifters, he immediately hired the Crowns — or at least, he hired four of them. Papa Clark had a drinking problem, and Treadwell was fed up of dealing with drunk singers. So from this point on the Drifters were Charlie Thomas, Dock Green, Elsbeary Hobbs, and Benjamin Nelson, who decided that he was going to take on a stage name and call himself Ben E. King. This new lineup of the group went out on tour for almost a year before going into the studio, and they were abysmal failures. Everywhere they went, promoters advertised their shows with photos of the old group, and then this new group of people came on stage looking and sounding nothing like the original Drifters. They were booed everywhere they went. They even caused problems for the other acts — at one show they nearly killed Screamin’ Jay Hawkins. Hawkins used to pop out of a coffin while performing “I Put A Spell on You”: [Excerpt: Screamin’ Jay Hawkins, “I Put a Spell on You”] The group were sometimes asked to carry the coffin onto the stage with Hawkins inside it, and one night Charlie Thomas accidentally nudged something and heard a click. What he didn’t realise was that Hawkins put matchbooks in the gap in the coffin lid, to stop it closing all the way — Thomas had knocked the coffin properly shut. The music started, and Hawkins tried to open the coffin, and couldn’t. He kept pushing, and the coffin wouldn’t open. Eventually, he rocked the coffin so hard that it fell off its stand and popped open, but if it hadn’t opened there was a very real danger that Hawkins could have asphyxiated. But something else happened on that tour — Ben E. King wrote a song called “There Goes My Baby”, which the group started to perform live. As they originally did it, it was quite a fast song, but when they finally got off the tour and went into the studio, Leiber and Stoller, who were going to be the producers for this new group just like they had been for the old group, decided to slow it down. They also decided that this was going to be a chance for them to experiment with some totally new production ideas. Stoller had become infatuated with a style called baion, a Brazillian musical style that is based on the same tresillo rhythm that a lot of New Orleans R&B is based on. If you don’t remember the tresillo rhythm, we talked about it a lot in episodes on Fats Domino and others, but it’s that “bom [pause] bom-bom [pause] bom [pause] bom-bom” rhythm. We’ve always been calling it the tresillo, but when people talk about the Drifters’ music they always follow Stoller’s lead and call it the baion rhythm, so that’s what we’ll do in future. They decided to use that rhythm, and also to use strings, which very few people had used on a rock and roll record before — this is an idea that several people seemed to have simultaneously, as we saw last week with Buddy Holly doing the same thing. It may, indeed, be that Leiber and Stoller had heard “It Doesn’t Matter Any More” and taken inspiration from it — Holly had died just over a month before the recording session for “There Goes My Baby”, and his single hit the top forty the same week that “There Goes My Baby” was recorded. Stoller sketched out some string lines, which were turned into full arrangements by an old classmate of his, Stan Applebaum, who had previously arranged for Lucky Millinder, and who had written a hit for Sarah Vaughan, who was married to Treadwell. Charlie Thomas was meant to sing lead on the track, but he just couldn’t get it right, and eventually it was decided to have King sing it instead, as he’d written the song. King tried to imitate the sound of Sam Cooke, but it came out sounding like no-one but King himself. Then, as a final touch, Leiber and Stoller decided to use a kettledrum on the track, rather than a normal drum kit. There was only one problem — the drummer they booked didn’t know how to change the pitch on the kettledrum using the foot pedal. So he just kept playing the same note throughout the song, even as the chords changed: [Excerpt: The Drifters, “There Goes My Baby”] When Leiber and Stoller took that to their bosses at Atlantic Records, they were horrified. Jerry Wexler said “It’s dog meat. You’ve wasted our money on an overpriced production that sounds like a radio caught between two stations. It’s a goddamn awful mess!” Ahmet Ertegun was a little more diplomatic, but still said that the record was unreleasable. But eventually he let them have a go at remixing it, and then the label stuck the record out, assuming it would do nothing. Instead, it went to number two on the charts, and became one of the biggest hits of 1959. Not only that, but it instantly opened up the possibilities for new ways of producing records. The new Drifters were a smash hit, and Leiber and Stoller were now as respected as producers as they already had been as songwriters. They got themselves a new office in the Brill Building, and they were on top of the world. But already there was a problem for the new Drifters, and that problem was named Lover Patterson. Rather than sign the Crowns to a management deal as a group, Patterson had signed them all as individuals, with separate contracts. And when he’d allowed George Treadwell to take over their management, he’d only sold the contracts for three of the four members. Ben E. King was still signed to Lover Patterson, rather than to George Treadwell. And Patterson decided that he was going to let King sing on the records, but he wasn’t going to let him tour with the group. So there was yet another lineup change for the Drifters, as they got in Johnnie Lee Williams to sing King’s parts on stage. Williams would sing one lead with the group in the studio, “If You Cry True Love, True Love”: [Excerpt: The Drifters, “If You Cry True Love, True Love”] But for the most part, King was the lead singer in the studio, and so there were five Drifters on the records, but only four on the road. But they were still having hits, and everybody seemed happy. And soon, they would all have the biggest hit of their careers, with a song that Doc Pomus had written with Mort Shuman, about his own wedding reception. We’ll hear more about that, and about Leiber and Stoller’s apprentice Phil Spector, when we return to the Drifters in a few weeks time.

Episode seventy-five of A History of Rock Music in Five Hundred Songs looks at “There Goes My Baby” by the Drifters, and how a fake record label, a band sacked for drunkenness, and a kettledrum player who couldn’t play led to a genre-defining hit. 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 “Rebel Rouser” by Duane Eddy 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I’m not going to recommend a compilation this week, for reasons I mention in the episode itself. There are plenty available, none of them as good as they should be. The episode on the early career of the Drifters is episode seventeen.  My main resource in putting this episode together was Marv Goldberg’s website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney’s later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. And Bill Millar’s book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note about this one, before I start. As we’ll see in this episode, there have been many, many, lineups of the Drifters over the years, with many different people involved. One problem with that is that there have been lots of compilations put out under the Drifters name, featuring rerecorded versions of their hits, often involving nobody who was on the original record. Indeed, there have been so many of these compilations, and people putting together hits compilations, even for major labels, have been so sloppy, that I can’t find a single compilation of the Drifters’ recordings that doesn’t have one or two dodgy remakes on replacing the originals. I’ve used multiple sources for the recordings I’m excerpting here, and in most cases I’m pretty sure that the tracks I’m excerpting are the original versions. But particularly when it comes to songs that aren’t familiar, I may have ended up using a rerecording rather than the original. Anyway, on with the story… [Excerpt: The Drifters, “There Goes My Baby”] It’s been more than a year since we last properly checked in with the Drifters, one of the great R&B vocal groups of all time, so I’ll quickly bring you up to speed — if you want to hear the full story so far, episode seventeen, on “Money Honey”, gives you all the details. The Drifters had originally formed as the backing group for Clyde McPhatter, who had been the lead singer of Billy Ward and the Dominoes in the early fifties, when that group had had their biggest success. The original lineup of the group had all been sacked before they even released a record, and then a couple of members of the lineup who recorded their first big hits became ill or died, but the group had released two massive hits — “Money Honey” and “Such a Night”, both with McPhatter on lead vocals: [Excerpt: Clyde McPhatter and the Drifters, “Such a Night”] But then McPhatter had been drafted, and the group’s manager, George Treadwell, had got in a member of the original lineup, David Baughan, to replace McPhatter, as Baughan could sound a little like McPhatter. When McPhatter was discharged from the army, he decided to sell the group name to Treadwell, and the Drifters became employees of Treadwell, to be hired and fired at his discretion. This group went through several lineup changes, some of which we’ll look at later in this episode, but they kept making records that sounded a bit like the ones they’d been making with Clyde McPhatter, even after Baughan also left the group. But there was a big difference behind the scenes. Those early records had been produced by Ahmet Ertegun and Jerry Wexler, and had usually been arranged by Jesse Stone, the man who’d written “Money Honey” and many other early rock and roll hits, like “Shake, Rattle, and Roll”. But a little while after Baughan left the group, Ertegun and Wexler asked Jerry Leiber and Mike Stoller to start working with them. Leiber and Stoller, you might remember, were working with a *lot* of people at the time. They’d come over to Atlantic Records with a non-exclusive contract to write and produce for the label, and while their main project at Atlantic was with the Coasters, they were also producing records for people like Ruth Brown, as well as also working on records for Elvis and others at RCA. But they took on the Drifters as well, and started producing a string of minor hits for them, including “Ruby Baby” and “Fools Fall In Love”. Those hits went top ten on the R&B chart, but did little or nothing in the pop market. [Excerpt: The Drifters, “Fools Fall In Love”] That song, which had Johnny Moore on lead vocals, was the last big hit for what we can think of as the “original” Drifters in some form. It came out in March 1957, and for the rest of the year they kept releasing singles, but nothing made the R&B charts at all, though a few did make the lower reaches of the Hot One Hundred. Throughout 1957, the group had been gaining and losing members. Bill Pinkney, who had been chosen by the other group members to be essentially their shop steward, had gone to Treadwell and asked for a raise in late 1956, and been promptly fired. He’d formed a group called the Flyers, with a new singer called Bobby Hendricks on lead. The Flyers recorded one single, “My Only Desire”: [Excerpt: the Flyers, “My Only Desire”] But then Tommy Evans, Pinkney’s replacement in the group, was fired, and Pinkney was brought back into the group. Hendricks thought that was the end of his career, but then a few days later Pinkney phoned him up — Johnny Moore was getting drafted, and Hendricks was brought into the group to take Moore’s place. But almost immediately after Hendricks joined the group, Pinkney once again asked for a raise, and was kicked out and Evans brought back in. Pinkney went off and made a record for Sam Phillips, with backing music overdubbed by Bill Justis: [Excerpt: Bill Pinkney, “After the Hop”] The group kept changing lineups, and there was only one session in 1958, which led to a horrible version of “Moonlight Bay”. Apparently, the session was run by Leiber and Stoller as an experiment (they would occasionally record old standards with the Coasters, so presumably they were seeing if the same thing would work with the Drifters), and several of the group’s members were drunk when they recorded it. They decided at the session that it was not going to be released, but then the next thing the group knew, it was out as their next single, with overdubs by a white vocal group, making it sound nothing like the Drifters at all: [Excerpt: The Drifters “Moonlight Bay”] Bobby Hendricks hated that recording session so much that he quit the group and went solo, going over to Sue Records, where he joined up with another former Drifter, Jimmy Oliver. Oliver wrote a song for Hendricks, “Itchy Twitchy Feeling”, and the Coasters sang the backup vocals for him, uncredited. That track went to number five on the R&B charts: [Excerpt: Bobby Hendricks, “Itchy Twitchy Feeling”] By this time, the Drifters were down to just three people — Gerhart Thrasher, Jimmy Milner, and Tommy Evans. They no longer had a lead singer, but they had a week’s worth of shows they were contracted to do, at the Harlem Apollo, on a show hosted by the DJ Doctor Jive. That show was headlined by Ray Charles, and also featured the Cookies, Solomon Burke, and a minor group called the Crowns, among several other acts. Treadwell was desperate, so he called Hendricks and Oliver and got them to return to the group just for one week, so they would have a lead vocalist. They both did return, though just as a favour. Then, at the end of the week’s residency, one of the group members got drunk and started shouting abuse at Doctor Jive, and at the owner of the Apollo. George Treadwell had had enough. He fired the entire group. Tommy Evans went on to join Charlie Fuqua’s version of the Ink Spots, and Bill Pinkney decided he wanted to get the old group back together. He got a 1955 lineup of the Drifters together — Pinkney, David Baughan, Gerhart Thrasher, and Andrew Thrasher. That group toured as The Original Drifters, and the group under that name would consist almost entirely of ex-members of the Drifters, with some coming or going, until 1968, when most of the group retired, while Pinkney carried on leading a group under that name until his death in 2007. But they couldn’t use that name on records. Instead they made records as the Harmony Grits: [Excerpt: The Harmony Grits, “I Could Have Told You”] and with ex-Drifter Johnny Moore singing lead, as a solo artist under the name Johnny Darrow: [Excerpt: Johnny Darrow, “Chew Tobacco Rag”] And with Bobby Hendricks singing lead, as the Sprites: [Excerpt: The Sprites, “My Picture”] But the reason they couldn’t call themselves the Drifters on their records is that George Treadwell owned the name, and he had hired a totally different group to tour and record under that name. The Crowns had their basis in a group called the Harmonaires, a street-corner group in New York. They had various members at first, but by the time they changed their name to the Five Crowns, they had stabilised on a lineup of Dock Green, Yonkie Paul, and three brothers — Papa, Nicky, and Sonny Boy Clark. The group were managed by Lover Patterson, who they believed was the manager of the Orioles, but was actually the Orioles’ valet. Nonetheless, Patterson did manage to get them signed to a small record label, Rainbow Records, where they released “You’re My Inspiration” in 1952: [Excerpt: The Five Crowns, “You’re My Inspiration”] The record label sent out a thousand copies of that single to one of their distributors, right at the point a truckers’ strike was called, and ended up having to send another thousand out by plane. That kind of thing sums up the kind of luck the Five Crowns would have for the next few years. Nothing they put out on Rainbow Records was any kind of a success, and in 1953 the group became the first act on a new label, Old Town Records — they actually met the owner of the label, Hy Weiss, in a waiting room, while they were waiting to audition for a different label. On Old Town they put out a couple of singles, starting with “You Could Be My Love”: [Excerpt: The Five Crowns, “You Could Be My Love”] But none of these singles were hits either, and the group were doing so badly that when Nicky Clark left the group, they couldn’t get another singer in to replace him at first — Lover Patterson stood on stage and mimed while the four remaining members sang, so there would still be five people in the Five Crowns. By 1955, the group had re-signed to Rainbow Records, now on their Riviera subsidiary, and they had gone through several further lineup changes. They now consisted of Yonkie Paul, Richard Lewis, Jesse Facing, Dock Green, and Bugeye Bailey. They put out one record on Riviera, “You Came To Me”: [Excerpt: The Five Crowns, “You Came to Me”] The group broke up shortly after that, and Dock Green put together a totally new lineup of the Five Crowns. That group signed to one of George Goldner’s labels, Gee, and released another single, and then they broke up. Green got together *another* lineup of the Five Crowns, made another record on another label, and then that group broke up too. They spent nearly two years without making a record, with constantly shifting lineups as people kept leaving and rejoining, and by the time they went into a studio again, they consisted of Charlie Thomas, Dock Green, Papa Clark, Elsbeary Hobbs, and a new tenor singer called Benjamin Earl Nelson, who hadn’t sung professionally before joining the group — he’d been working in a restaurant owned by his father, and Lover Patterson had heard him singing to himself while he was working and asked him to join the group. This lineup of the group, who were now calling themselves the Crowns rather than the Five Crowns, finally got a contract with a record label… or at least, it was sort of a record label. We’ve talked about Doc Pomus before, back in November, but as a brief recap — Pomus was a blues singer and songwriter, a white Jewish paraplegic whose birth name was Jerome Felder, who had become a blues shouter in the late forties: [Excerpt: Doc Pomus, “Send for the Doctor”] He had been working as a professional songwriter for a decade or so, and had written songs for people like Ray Charles, but the music he loved was hard bluesy R&B, and he didn’t understand the new rock and roll music at all. Other than writing “Young Blood”, which Leiber and Stoller had rewritten and made into a hit for the Coasters, he hadn’t written anything successful in quite some time. He’d recently started writing with a much younger man, Mort Shuman, who did understand rock and roll, and we heard one of the results of that last week — “Teenager in Love” by Dion and the Belmonts, which would be the start of a string of hits for them: [Excerpt: Dion and the Belmonts, “Teenager in Love”] But in 1958, that had not yet been released. Pomus’ wife had a baby on the way, and he was desperate for money. He was so desperate, he got involved in a scam. An old girlfriend introduced him to an acquaintance, a dance instructor named Fred Huckman. Huckman had recently married a rich old widow, and he wanted to get away from her during the day to sleep with other people. So Huckman decided he was going to become the owner of a record label, using his wife’s money to fund an office. The label was named R&B Records at Doc’s suggestion, and Doc was going to be the company’s president, while Mort was going to be the company’s shipping clerk. The company would have offices in 1650 Broadway, one of the buildings that these days gets lumped in when people talk about “the Brill Building”, though the actual Brill Building itself was a little way down the street at 1619. 1650 was still a prime music business location though, and the company’s office would let both Doc and Mort go and try to sell their songs to publishing companies and record labels. And they’d need to do this because R&B Records wasn’t going to put out any records at all. Doc and Mort’s actual job was that one of them had to be in the office at all times, so when Huckman’s wife phoned up, they could tell her that he’d just popped out, or was in a meeting, or something so she didn’t find out about his affairs. They lived off the scam for a little while, while writing songs, but eventually they started to get bored of doing nothing all day. And then Lucky Patterson brought the Crowns in. They didn’t realise that R&B Records wasn’t a real record label, and Pomus decided to audition them. When he did, he was amazed at how good they sounded. He decided that R&B Records was *going* to be a real record label, no matter what Huckman thought. He and Shuman wrote them a single in the style of the Coasters, and they got in the best session musicians in New York — people like King Curtis and Mickey Baker, who were old friends of Pomus — to play on it: [Excerpt: The Crowns, “Kiss and Make Up”] At first that record was completely unsuccessful, but then, rather amazingly, it started to climb in the charts, at least in Pittsburgh, where it became a local number one. It started to do better elsewhere as well, and it looked like the Crowns could have a promising career. And then one day Mrs. Huckman showed up at the office. Pomus tried to tell her that her husband had gone out and would be back later, but she insisted on waiting in the office, silently, all day. R&B Records closed the next day. But “Kiss and Make Up” had been a big enough success that the Crowns had ended up on that Doctor Jive show with the Drifters. And then when George Treadwell fired the Drifters, he immediately hired the Crowns — or at least, he hired four of them. Papa Clark had a drinking problem, and Treadwell was fed up of dealing with drunk singers. So from this point on the Drifters were Charlie Thomas, Dock Green, Elsbeary Hobbs, and Benjamin Nelson, who decided that he was going to take on a stage name and call himself Ben E. King. This new lineup of the group went out on tour for almost a year before going into the studio, and they were abysmal failures. Everywhere they went, promoters advertised their shows with photos of the old group, and then this new group of people came on stage looking and sounding nothing like the original Drifters. They were booed everywhere they went. They even caused problems for the other acts — at one show they nearly killed Screamin’ Jay Hawkins. Hawkins used to pop out of a coffin while performing “I Put A Spell on You”: [Excerpt: Screamin’ Jay Hawkins, “I Put a Spell on You”] The group were sometimes asked to carry the coffin onto the stage with Hawkins inside it, and one night Charlie Thomas accidentally nudged something and heard a click. What he didn’t realise was that Hawkins put matchbooks in the gap in the coffin lid, to stop it closing all the way — Thomas had knocked the coffin properly shut. The music started, and Hawkins tried to open the coffin, and couldn’t. He kept pushing, and the coffin wouldn’t open. Eventually, he rocked the coffin so hard that it fell off its stand and popped open, but if it hadn’t opened there was a very real danger that Hawkins could have asphyxiated. But something else happened on that tour — Ben E. King wrote a song called “There Goes My Baby”, which the group started to perform live. As they originally did it, it was quite a fast song, but when they finally got off the tour and went into the studio, Leiber and Stoller, who were going to be the producers for this new group just like they had been for the old group, decided to slow it down. They also decided that this was going to be a chance for them to experiment with some totally new production ideas. Stoller had become infatuated with a style called baion, a Brazillian musical style that is based on the same tresillo rhythm that a lot of New Orleans R&B is based on. If you don’t remember the tresillo rhythm, we talked about it a lot in episodes on Fats Domino and others, but it’s that “bom [pause] bom-bom [pause] bom [pause] bom-bom” rhythm. We’ve always been calling it the tresillo, but when people talk about the Drifters’ music they always follow Stoller’s lead and call it the baion rhythm, so that’s what we’ll do in future. They decided to use that rhythm, and also to use strings, which very few people had used on a rock and roll record before — this is an idea that several people seemed to have simultaneously, as we saw last week with Buddy Holly doing the same thing. It may, indeed, be that Leiber and Stoller had heard “It Doesn’t Matter Any More” and taken inspiration from it — Holly had died just over a month before the recording session for “There Goes My Baby”, and his single hit the top forty the same week that “There Goes My Baby” was recorded. Stoller sketched out some string lines, which were turned into full arrangements by an old classmate of his, Stan Applebaum, who had previously arranged for Lucky Millinder, and who had written a hit for Sarah Vaughan, who was married to Treadwell. Charlie Thomas was meant to sing lead on the track, but he just couldn’t get it right, and eventually it was decided to have King sing it instead, as he’d written the song. King tried to imitate the sound of Sam Cooke, but it came out sounding like no-one but King himself. Then, as a final touch, Leiber and Stoller decided to use a kettledrum on the track, rather than a normal drum kit. There was only one problem — the drummer they booked didn’t know how to change the pitch on the kettledrum using the foot pedal. So he just kept playing the same note throughout the song, even as the chords changed: [Excerpt: The Drifters, “There Goes My Baby”] When Leiber and Stoller took that to their bosses at Atlantic Records, they were horrified. Jerry Wexler said “It’s dog meat. You’ve wasted our money on an overpriced production that sounds like a radio caught between two stations. It’s a goddamn awful mess!” Ahmet Ertegun was a little more diplomatic, but still said that the record was unreleasable. But eventually he let them have a go at remixing it, and then the label stuck the record out, assuming it would do nothing. Instead, it went to number two on the charts, and became one of the biggest hits of 1959. Not only that, but it instantly opened up the possibilities for new ways of producing records. The new Drifters were a smash hit, and Leiber and Stoller were now as respected as producers as they already had been as songwriters. They got themselves a new office in the Brill Building, and they were on top of the world. But already there was a problem for the new Drifters, and that problem was named Lover Patterson. Rather than sign the Crowns to a management deal as a group, Patterson had signed them all as individuals, with separate contracts. And when he’d allowed George Treadwell to take over their management, he’d only sold the contracts for three of the four members. Ben E. King was still signed to Lover Patterson, rather than to George Treadwell. And Patterson decided that he was going to let King sing on the records, but he wasn’t going to let him tour with the group. So there was yet another lineup change for the Drifters, as they got in Johnnie Lee Williams to sing King’s parts on stage. Williams would sing one lead with the group in the studio, “If You Cry True Love, True Love”: [Excerpt: The Drifters, “If You Cry True Love, True Love”] But for the most part, King was the lead singer in the studio, and so there were five Drifters on the records, but only four on the road. But they were still having hits, and everybody seemed happy. And soon, they would all have the biggest hit of their careers, with a song that Doc Pomus had written with Mort Shuman, about his own wedding reception. We’ll hear more about that, and about Leiber and Stoller’s apprentice Phil Spector, when we return to the Drifters in a few weeks time.

Episode seventy-five of A History of Rock Music in Five Hundred Songs looks at "There Goes My Baby" by the Drifters, and how a fake record label, a band sacked for drunkenness, and a kettledrum player who couldn't play led to a genre-defining hit. 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 "Rebel Rouser" by Duane Eddy 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/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I'm not going to recommend a compilation this week, for reasons I mention in the episode itself. There are plenty available, none of them as good as they should be. The episode on the early career of the Drifters is episode seventeen.  My main resource in putting this episode together was Marv Goldberg's website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney's later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. And Bill Millar's book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note about this one, before I start. As we'll see in this episode, there have been many, many, lineups of the Drifters over the years, with many different people involved. One problem with that is that there have been lots of compilations put out under the Drifters name, featuring rerecorded versions of their hits, often involving nobody who was on the original record. Indeed, there have been so many of these compilations, and people putting together hits compilations, even for major labels, have been so sloppy, that I can't find a single compilation of the Drifters' recordings that doesn't have one or two dodgy remakes on replacing the originals. I've used multiple sources for the recordings I'm excerpting here, and in most cases I'm pretty sure that the tracks I'm excerpting are the original versions. But particularly when it comes to songs that aren't familiar, I may have ended up using a rerecording rather than the original. Anyway, on with the story... [Excerpt: The Drifters, "There Goes My Baby"] It's been more than a year since we last properly checked in with the Drifters, one of the great R&B vocal groups of all time, so I'll quickly bring you up to speed -- if you want to hear the full story so far, episode seventeen, on "Money Honey", gives you all the details. The Drifters had originally formed as the backing group for Clyde McPhatter, who had been the lead singer of Billy Ward and the Dominoes in the early fifties, when that group had had their biggest success. The original lineup of the group had all been sacked before they even released a record, and then a couple of members of the lineup who recorded their first big hits became ill or died, but the group had released two massive hits -- "Money Honey" and "Such a Night", both with McPhatter on lead vocals: [Excerpt: Clyde McPhatter and the Drifters, "Such a Night"] But then McPhatter had been drafted, and the group's manager, George Treadwell, had got in a member of the original lineup, David Baughan, to replace McPhatter, as Baughan could sound a little like McPhatter. When McPhatter was discharged from the army, he decided to sell the group name to Treadwell, and the Drifters became employees of Treadwell, to be hired and fired at his discretion. This group went through several lineup changes, some of which we'll look at later in this episode, but they kept making records that sounded a bit like the ones they'd been making with Clyde McPhatter, even after Baughan also left the group. But there was a big difference behind the scenes. Those early records had been produced by Ahmet Ertegun and Jerry Wexler, and had usually been arranged by Jesse Stone, the man who'd written "Money Honey" and many other early rock and roll hits, like "Shake, Rattle, and Roll". But a little while after Baughan left the group, Ertegun and Wexler asked Jerry Leiber and Mike Stoller to start working with them. Leiber and Stoller, you might remember, were working with a *lot* of people at the time. They'd come over to Atlantic Records with a non-exclusive contract to write and produce for the label, and while their main project at Atlantic was with the Coasters, they were also producing records for people like Ruth Brown, as well as also working on records for Elvis and others at RCA. But they took on the Drifters as well, and started producing a string of minor hits for them, including "Ruby Baby" and "Fools Fall In Love". Those hits went top ten on the R&B chart, but did little or nothing in the pop market. [Excerpt: The Drifters, "Fools Fall In Love"] That song, which had Johnny Moore on lead vocals, was the last big hit for what we can think of as the "original" Drifters in some form. It came out in March 1957, and for the rest of the year they kept releasing singles, but nothing made the R&B charts at all, though a few did make the lower reaches of the Hot One Hundred. Throughout 1957, the group had been gaining and losing members. Bill Pinkney, who had been chosen by the other group members to be essentially their shop steward, had gone to Treadwell and asked for a raise in late 1956, and been promptly fired. He'd formed a group called the Flyers, with a new singer called Bobby Hendricks on lead. The Flyers recorded one single, "My Only Desire": [Excerpt: the Flyers, "My Only Desire"] But then Tommy Evans, Pinkney's replacement in the group, was fired, and Pinkney was brought back into the group. Hendricks thought that was the end of his career, but then a few days later Pinkney phoned him up -- Johnny Moore was getting drafted, and Hendricks was brought into the group to take Moore's place. But almost immediately after Hendricks joined the group, Pinkney once again asked for a raise, and was kicked out and Evans brought back in. Pinkney went off and made a record for Sam Phillips, with backing music overdubbed by Bill Justis: [Excerpt: Bill Pinkney, "After the Hop"] The group kept changing lineups, and there was only one session in 1958, which led to a horrible version of "Moonlight Bay". Apparently, the session was run by Leiber and Stoller as an experiment (they would occasionally record old standards with the Coasters, so presumably they were seeing if the same thing would work with the Drifters), and several of the group's members were drunk when they recorded it. They decided at the session that it was not going to be released, but then the next thing the group knew, it was out as their next single, with overdubs by a white vocal group, making it sound nothing like the Drifters at all: [Excerpt: The Drifters "Moonlight Bay"] Bobby Hendricks hated that recording session so much that he quit the group and went solo, going over to Sue Records, where he joined up with another former Drifter, Jimmy Oliver. Oliver wrote a song for Hendricks, "Itchy Twitchy Feeling", and the Coasters sang the backup vocals for him, uncredited. That track went to number five on the R&B charts: [Excerpt: Bobby Hendricks, "Itchy Twitchy Feeling"] By this time, the Drifters were down to just three people -- Gerhart Thrasher, Jimmy Milner, and Tommy Evans. They no longer had a lead singer, but they had a week's worth of shows they were contracted to do, at the Harlem Apollo, on a show hosted by the DJ Doctor Jive. That show was headlined by Ray Charles, and also featured the Cookies, Solomon Burke, and a minor group called the Crowns, among several other acts. Treadwell was desperate, so he called Hendricks and Oliver and got them to return to the group just for one week, so they would have a lead vocalist. They both did return, though just as a favour. Then, at the end of the week's residency, one of the group members got drunk and started shouting abuse at Doctor Jive, and at the owner of the Apollo. George Treadwell had had enough. He fired the entire group. Tommy Evans went on to join Charlie Fuqua's version of the Ink Spots, and Bill Pinkney decided he wanted to get the old group back together. He got a 1955 lineup of the Drifters together -- Pinkney, David Baughan, Gerhart Thrasher, and Andrew Thrasher. That group toured as The Original Drifters, and the group under that name would consist almost entirely of ex-members of the Drifters, with some coming or going, until 1968, when most of the group retired, while Pinkney carried on leading a group under that name until his death in 2007. But they couldn't use that name on records. Instead they made records as the Harmony Grits: [Excerpt: The Harmony Grits, "I Could Have Told You"] and with ex-Drifter Johnny Moore singing lead, as a solo artist under the name Johnny Darrow: [Excerpt: Johnny Darrow, "Chew Tobacco Rag"] And with Bobby Hendricks singing lead, as the Sprites: [Excerpt: The Sprites, "My Picture"] But the reason they couldn't call themselves the Drifters on their records is that George Treadwell owned the name, and he had hired a totally different group to tour and record under that name. The Crowns had their basis in a group called the Harmonaires, a street-corner group in New York. They had various members at first, but by the time they changed their name to the Five Crowns, they had stabilised on a lineup of Dock Green, Yonkie Paul, and three brothers -- Papa, Nicky, and Sonny Boy Clark. The group were managed by Lover Patterson, who they believed was the manager of the Orioles, but was actually the Orioles' valet. Nonetheless, Patterson did manage to get them signed to a small record label, Rainbow Records, where they released "You're My Inspiration" in 1952: [Excerpt: The Five Crowns, "You're My Inspiration"] The record label sent out a thousand copies of that single to one of their distributors, right at the point a truckers' strike was called, and ended up having to send another thousand out by plane. That kind of thing sums up the kind of luck the Five Crowns would have for the next few years. Nothing they put out on Rainbow Records was any kind of a success, and in 1953 the group became the first act on a new label, Old Town Records -- they actually met the owner of the label, Hy Weiss, in a waiting room, while they were waiting to audition for a different label. On Old Town they put out a couple of singles, starting with "You Could Be My Love": [Excerpt: The Five Crowns, "You Could Be My Love"] But none of these singles were hits either, and the group were doing so badly that when Nicky Clark left the group, they couldn't get another singer in to replace him at first -- Lover Patterson stood on stage and mimed while the four remaining members sang, so there would still be five people in the Five Crowns. By 1955, the group had re-signed to Rainbow Records, now on their Riviera subsidiary, and they had gone through several further lineup changes. They now consisted of Yonkie Paul, Richard Lewis, Jesse Facing, Dock Green, and Bugeye Bailey. They put out one record on Riviera, "You Came To Me": [Excerpt: The Five Crowns, "You Came to Me"] The group broke up shortly after that, and Dock Green put together a totally new lineup of the Five Crowns. That group signed to one of George Goldner's labels, Gee, and released another single, and then they broke up. Green got together *another* lineup of the Five Crowns, made another record on another label, and then that group broke up too. They spent nearly two years without making a record, with constantly shifting lineups as people kept leaving and rejoining, and by the time they went into a studio again, they consisted of Charlie Thomas, Dock Green, Papa Clark, Elsbeary Hobbs, and a new tenor singer called Benjamin Earl Nelson, who hadn't sung professionally before joining the group -- he'd been working in a restaurant owned by his father, and Lover Patterson had heard him singing to himself while he was working and asked him to join the group. This lineup of the group, who were now calling themselves the Crowns rather than the Five Crowns, finally got a contract with a record label... or at least, it was sort of a record label. We've talked about Doc Pomus before, back in November, but as a brief recap -- Pomus was a blues singer and songwriter, a white Jewish paraplegic whose birth name was Jerome Felder, who had become a blues shouter in the late forties: [Excerpt: Doc Pomus, "Send for the Doctor"] He had been working as a professional songwriter for a decade or so, and had written songs for people like Ray Charles, but the music he loved was hard bluesy R&B, and he didn't understand the new rock and roll music at all. Other than writing "Young Blood", which Leiber and Stoller had rewritten and made into a hit for the Coasters, he hadn't written anything successful in quite some time. He'd recently started writing with a much younger man, Mort Shuman, who did understand rock and roll, and we heard one of the results of that last week -- "Teenager in Love" by Dion and the Belmonts, which would be the start of a string of hits for them: [Excerpt: Dion and the Belmonts, "Teenager in Love"] But in 1958, that had not yet been released. Pomus' wife had a baby on the way, and he was desperate for money. He was so desperate, he got involved in a scam. An old girlfriend introduced him to an acquaintance, a dance instructor named Fred Huckman. Huckman had recently married a rich old widow, and he wanted to get away from her during the day to sleep with other people. So Huckman decided he was going to become the owner of a record label, using his wife's money to fund an office. The label was named R&B Records at Doc's suggestion, and Doc was going to be the company's president, while Mort was going to be the company's shipping clerk. The company would have offices in 1650 Broadway, one of the buildings that these days gets lumped in when people talk about "the Brill Building", though the actual Brill Building itself was a little way down the street at 1619. 1650 was still a prime music business location though, and the company's office would let both Doc and Mort go and try to sell their songs to publishing companies and record labels. And they'd need to do this because R&B Records wasn't going to put out any records at all. Doc and Mort's actual job was that one of them had to be in the office at all times, so when Huckman's wife phoned up, they could tell her that he'd just popped out, or was in a meeting, or something so she didn't find out about his affairs. They lived off the scam for a little while, while writing songs, but eventually they started to get bored of doing nothing all day. And then Lucky Patterson brought the Crowns in. They didn't realise that R&B Records wasn't a real record label, and Pomus decided to audition them. When he did, he was amazed at how good they sounded. He decided that R&B Records was *going* to be a real record label, no matter what Huckman thought. He and Shuman wrote them a single in the style of the Coasters, and they got in the best session musicians in New York -- people like King Curtis and Mickey Baker, who were old friends of Pomus -- to play on it: [Excerpt: The Crowns, "Kiss and Make Up"] At first that record was completely unsuccessful, but then, rather amazingly, it started to climb in the charts, at least in Pittsburgh, where it became a local number one. It started to do better elsewhere as well, and it looked like the Crowns could have a promising career. And then one day Mrs. Huckman showed up at the office. Pomus tried to tell her that her husband had gone out and would be back later, but she insisted on waiting in the office, silently, all day. R&B Records closed the next day. But "Kiss and Make Up" had been a big enough success that the Crowns had ended up on that Doctor Jive show with the Drifters. And then when George Treadwell fired the Drifters, he immediately hired the Crowns -- or at least, he hired four of them. Papa Clark had a drinking problem, and Treadwell was fed up of dealing with drunk singers. So from this point on the Drifters were Charlie Thomas, Dock Green, Elsbeary Hobbs, and Benjamin Nelson, who decided that he was going to take on a stage name and call himself Ben E. King. This new lineup of the group went out on tour for almost a year before going into the studio, and they were abysmal failures. Everywhere they went, promoters advertised their shows with photos of the old group, and then this new group of people came on stage looking and sounding nothing like the original Drifters. They were booed everywhere they went. They even caused problems for the other acts -- at one show they nearly killed Screamin' Jay Hawkins. Hawkins used to pop out of a coffin while performing "I Put A Spell on You": [Excerpt: Screamin' Jay Hawkins, "I Put a Spell on You"] The group were sometimes asked to carry the coffin onto the stage with Hawkins inside it, and one night Charlie Thomas accidentally nudged something and heard a click. What he didn't realise was that Hawkins put matchbooks in the gap in the coffin lid, to stop it closing all the way -- Thomas had knocked the coffin properly shut. The music started, and Hawkins tried to open the coffin, and couldn't. He kept pushing, and the coffin wouldn't open. Eventually, he rocked the coffin so hard that it fell off its stand and popped open, but if it hadn't opened there was a very real danger that Hawkins could have asphyxiated. But something else happened on that tour -- Ben E. King wrote a song called "There Goes My Baby", which the group started to perform live. As they originally did it, it was quite a fast song, but when they finally got off the tour and went into the studio, Leiber and Stoller, who were going to be the producers for this new group just like they had been for the old group, decided to slow it down. They also decided that this was going to be a chance for them to experiment with some totally new production ideas. Stoller had become infatuated with a style called baion, a Brazillian musical style that is based on the same tresillo rhythm that a lot of New Orleans R&B is based on. If you don't remember the tresillo rhythm, we talked about it a lot in episodes on Fats Domino and others, but it's that "bom [pause] bom-bom [pause] bom [pause] bom-bom" rhythm. We've always been calling it the tresillo, but when people talk about the Drifters' music they always follow Stoller's lead and call it the baion rhythm, so that's what we'll do in future. They decided to use that rhythm, and also to use strings, which very few people had used on a rock and roll record before -- this is an idea that several people seemed to have simultaneously, as we saw last week with Buddy Holly doing the same thing. It may, indeed, be that Leiber and Stoller had heard "It Doesn't Matter Any More" and taken inspiration from it -- Holly had died just over a month before the recording session for "There Goes My Baby", and his single hit the top forty the same week that "There Goes My Baby" was recorded. Stoller sketched out some string lines, which were turned into full arrangements by an old classmate of his, Stan Applebaum, who had previously arranged for Lucky Millinder, and who had written a hit for Sarah Vaughan, who was married to Treadwell. Charlie Thomas was meant to sing lead on the track, but he just couldn't get it right, and eventually it was decided to have King sing it instead, as he'd written the song. King tried to imitate the sound of Sam Cooke, but it came out sounding like no-one but King himself. Then, as a final touch, Leiber and Stoller decided to use a kettledrum on the track, rather than a normal drum kit. There was only one problem -- the drummer they booked didn't know how to change the pitch on the kettledrum using the foot pedal. So he just kept playing the same note throughout the song, even as the chords changed: [Excerpt: The Drifters, "There Goes My Baby"] When Leiber and Stoller took that to their bosses at Atlantic Records, they were horrified. Jerry Wexler said “It’s dog meat. You've wasted our money on an overpriced production that sounds like a radio caught between two stations. It’s a goddamn awful mess!” Ahmet Ertegun was a little more diplomatic, but still said that the record was unreleasable. But eventually he let them have a go at remixing it, and then the label stuck the record out, assuming it would do nothing. Instead, it went to number two on the charts, and became one of the biggest hits of 1959. Not only that, but it instantly opened up the possibilities for new ways of producing records. The new Drifters were a smash hit, and Leiber and Stoller were now as respected as producers as they already had been as songwriters. They got themselves a new office in the Brill Building, and they were on top of the world. But already there was a problem for the new Drifters, and that problem was named Lover Patterson. Rather than sign the Crowns to a management deal as a group, Patterson had signed them all as individuals, with separate contracts. And when he'd allowed George Treadwell to take over their management, he'd only sold the contracts for three of the four members. Ben E. King was still signed to Lover Patterson, rather than to George Treadwell. And Patterson decided that he was going to let King sing on the records, but he wasn't going to let him tour with the group. So there was yet another lineup change for the Drifters, as they got in Johnnie Lee Williams to sing King's parts on stage. Williams would sing one lead with the group in the studio, "If You Cry True Love, True Love": [Excerpt: The Drifters, "If You Cry True Love, True Love"] But for the most part, King was the lead singer in the studio, and so there were five Drifters on the records, but only four on the road. But they were still having hits, and everybody seemed happy. And soon, they would all have the biggest hit of their careers, with a song that Doc Pomus had written with Mort Shuman, about his own wedding reception. We'll hear more about that, and about Leiber and Stoller's apprentice Phil Spector, when we return to the Drifters in a few weeks time.

Oh, sinner man, where you gonna run to? To the rock? To the river? To the sea? Well, wherever you run, you'll still be starring in a Strong Songs analysis of one of Nina Simone's greatest recordings. Yes, it's time for Strong Songs' first-ever analysis of a live recording, as Kirk digs in to legendary pianist/vocalist Nina Simone's 1965 interpretation of the traditional spiritual song "Sinnerman." It's time for some syncopated piano, popless grooves, band crash-landings, hand-clap breakdowns, hip hop samples, and one spectacular vocal cadenza. Artist: Nina Simone Album: Pastel Blues (1965) Written by: Traditional, arr. Nina Simone Listen/Buy: Apple Music | Amazon | Spotify ------ ALSO FEATURED: "I Put a Spell On You" and "Feeling Good" as performed by Nina Simone on I Put a Spell On You, 1965 "Strange Fruit" as performed by Simone on Pastel Blues, 1965 "Sinner Man" arranged by Les Baxter for his orchestra "Oh, Timbaland" by Timbaland from Shock Value, 2007 "Get By" by Talib Kweli from Quality, 2002 Audio from John McTiernan's underrated 1999 remake of The Thomas Crown Affair Audio from Liz Garbus' excellent 2015 documentary What Happened, Miss Simone? OUTRO SOLOIST: Rob Reich This episode's outro soloist is the wonderful bay area pianist/accordionist Rob Reich. Rob performs all over the place with a bunch of different groups, and is a total pleasure to see play. He's got a bunch of albums you can check out and contributes to an array of interesting projects (Live silent-film scores! Circus music!) and experiments. Find more at his website, http://www.robreich.com/. 'GRAM BY 'GRAM If you're interested in occasional music and Portland-related photos and videos, as well as teases for upcoming Strong Songs episodes, follow Kirk on Instagram @kirk_hamilton. https://www.instagram.com/kirk_hamilton/ NEWSLETTER/MAILING LIST Sign up for Kirk's mailing list to start getting monthly-ish newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://tinyletter.com/KirkHamilton STRONG PLAYLISTS You can find playlists containing every Strong Song as well as all of Kirk's weekly music picks from his other podcast, Kotaku Splitscreen, on both Spotify and Apple Music. SUPPORT STRONG SONGS ON PATREON! A huge thank-you to all of Strong Songs's Patreon patrons! If you want to support Kirk making the show, do so here: https://Patreon.com/StrongSongs MARCH 2020 WHOLE-NOTE PATRONS AccessViolation andrew walters CALEB ROTACH Chad Barnard Craig J Covell Dan Apczynski Dave Florey Glenn Jared Norris Mark Schechter Merlin Mann Ryan Torvik MARCH 2020 HALF-NOTE PATRONS AJ Schuster Alex Singer Alexander Polson Amanda Furlotti Andre Bremer Andrew Baker Andrew Lee Arjun Sharma Bill Thornton brant brantphillip Brett Douville Brian Amoebas Brooke Wilford Chas Lednicky Chris Brown Christer Lindqvist Cyrus N. White Darryl Stewart David Stroud Earl Lozada Eero Wahlstedt Elliot Jay O'Neill Emily Williams FlSHBONES Forrest Chang Gavin Doig Jacob Dye Jaehoon Jeong James Johnson Jeffrey Olson Jennifer Bush Jeremy Dawson John and Sharon Stenglein Jon O’Keefe joujou Juan Carlos Montemayor Elosua Jules Bailey Justin Liew Justin McElroy Kate Albury Kevin Morrell Kevin Pennyfeather Leigh Sales Mark Steen Markus Koester Matt Gaskell Max Schechter Melanie Stivers Michael Blackwell Miriam Juskowicz Mueller Nate from Kalamazoo Nicholas Schechter Richard Toller Robbie Ferrero Sam Fenn samuel gardner Shane DeLeon SP Tanner Morton Tom Clewer Tom Lauer Toni Isaacson

Hey Sleeping Beauty and Snow White - wake up! There's some man trying to kiss you! The girls welcome Ellen Haun and Laura Lane (This is Why You're Single), the forthcoming authors of Cinderella and the Glass Ceiling and Other Feminist Fairy Tales, to discuss cosplay, doing chores pantyless and how fucked up Thumblina really is. Did you remember that a mouse tried to marry her off to a mole?I Put a Pagan Spell on You: https://xconfessions.com/film/i-put-a-pagan-spell-on-youFollow Us on Social Media:Show: @girlsonprnLaura: @ramadeiRachel: @_rrratchetEllen and Laura: @feministfairytalesbook Show Credits:Producer: Amanda CTheme by Eli JanneyPodcast Art by Erin DreisMixed and Edited by Mike Comite

Hailing from San Diego, Spencer Yenson's captivating voice draws comparisons to Jim Morrison, Hozier and Robert Plant, displaying a versatility that keeps you listening through to the next track. Spencer talks being a solo artist, releasing music independently and his strategy with social media. His latest releast "In Fever" EP features four original tracks and a boisterous cover of the 1956 Screamin' Jay Hawkins hit “I Put a Spell on You”. “In Fever” is a dangerous blend of dark psychedelia and explosive rock 'n' roll. From the opening track, “Wicked Ones”, with layered harmonies of synth and guitar, to “Throw Me on Your Fire”, with its evolving rhythms and a bass line beefy enough for 90's Dr. Dre, this EP is eclectic yet cohesive.

In the 2019 biography I Put a Spell on You: The Bizarre Life of Screamin' Jay Hawkins, journalist Steve Bergsman tracks the life of the noted shock rocker including his rise-and-fall-and-rise to fame, run-ins with the law, and rocky romantic life. Kate and Jack discuss the book as it relates to the biography as a literary form, the perils of the Big Rock Bio, and the challenges and responsibilities of research. Does Jay's penchant for lying and self-aggrandizement make him an impossible subject for a biography? Where does "rock 'n' roll authenticity" stop and "novelty act" begin? Just how much damage can the Imp of the Perverse do to a person's life? Does anyone know where we can get jobs playing piano in a Hawaii strip club? These questions and a whole lot more will be discussed in this month's episode of Bad Books for Bad People. BBfBP theme song by True Creature  Find us at BadBooksBadPeople.com, on Twitter @badbooksbadppl, Instagram @badbooksbadpeople and on Facebook. You can discover where to get all the books featured on Bad Books for Bad People on our About Page.

John Burnside wendet sich in seinem neuen Buch "Über Liebe und Magie – I Put a Spell on You" jener Kraftquelle zu, aus der er wohl am meisten schöpft: der Liebe in all ihren Ausprägungen. Außerdem sprechen Marie Kaiser und Thomas Böhm über Terézia Moras "Auf dem Seil", "Love letters aus Absurdistan" von Maria Herrlich sowie Nick Drnasos "Sabrina".

WORD ON THE STREET IS #T.R.D special Halloween segment includes NBA star Lebron James family wasn't the only thing evacuating, the biggest celebrities in Hollywood shares their haunted paranormal experiences, rapper Kanye West sits down with BigBoyTV and James Corden, fast-food restaurant McDonalds displays controversial Halloween decorations, and SO MUCH MORE ... WORD ON THE STREET POD. 22 PLAYLIST: INTRO - "Mr. Ouija 2" BY Bone Thugs-N-Harmony SEGMENT 1 MUSIC BREAK: 1.) "Children's Story" BY Slick Rick 2.) "Mind Playing Tricks on Me" BY Geto Boys SEGMENT 2 MUSIC BREAK: 1.) "Jesus Walks" BY Kanye West 2.) "Duppy Know Who Fi Frighten" BY Demarco SEGMENT 3 MUSIC BREAK: 1.) "I Put a Spell on You" BY Screaming Jay Hawkins 2.) "Crazy Feelings" BY Missy Elliott (featuring Beyonce) OUTRO - "Hail Mary" BY Tupac NO COPYRIGHT INTENDED! STREET ALERTS on Instagram @thereeldealpod

RJ and Ian are back, and just in time for Halloween! This week, in our annual spooky episode, we tackle our first Halloween winter song (and also revisit the world of Homestar Runner) with "Decomposing Pumpkins" by Brainkrieg. Then, we discuss "It's Halloween (A Christmas Song)" by Randy Brooks, as well as the troubling revelation that the man responsible for bringing "Grandma Got Run Over by a Reindeer" into the world might also be funny sometimes, the implications of which we're not even remotely prepared to consider.  This week's ranking music was "Ghostbusters" by Ray Parker Jr. and the special intro and outro music was "I Put a Spell on You" by Screamin' Jay Hawkins.

Put your costume on and grab your candy bag, because Fire and Water Records presents the first spooktacular edition of A Very Daly Halloween! The brothers Neil and Ryan share memories of the Halloween season, along with thirteen of their favorite Halloween-themed songs. It's skele-TONS of fun! (That's an actual lyric!!) Track list: "This is Halloween" by Marilyn Manson "Season of the Witch" by Donovan "The Crypt Jam" by The Crypt Keeper "Red Right Hand" by Nick Cave & The Bad Seeds "Moondance" by Van Morrison "Monster" by Kanye West featuring Jay-Z, Nicki Minaj, and Rick Ross "Time Warp" by Little Nell, Patricia Quinn, and Richard O'Brien "The Headless Horseman" by Kay Star "That Old Black Magic" by Louis Prima & Keely Smith "I Put a Spell On You" by Screamin' Jay Hawkins "Get Down Goblin" by Jan Teri "I'm Your Boogie Man" by KC and the Sunshine Band "Thriller" by Michael Jackson Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Additional music this episode: "Trick or Treat for Halloween" by The Mellowmen. Thanks for listening and Happy Holidays!

Episode fifty-three of A History of Rock Music in Five Hundred Songs looks at "I Put a Spell on You" by Screamin' Jay Hawkins, and the career of a man who had more than fifty more children than hit records. 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 "Since I Met You Baby" by Ivory Joe Hunter ----more----   Erratum I only noticed while doing the final edit for this episode that I used the words "legitimate" and "illegitimate" to describe children, and that this usage could quite possibly be considered offensive, something I hadn't realised when writing or recording it. I apologise if anyone does take offence. Resources No Mixcloud this week, as the episode is so heavy on Hawkins that it would violate Mixcloud's terms and conditions. I tried to put together a Spotify playlist instead, but a few of the recordings I use here aren't on Spotify. As I mention in the episode, I leaned very heavily on one book here, I Put a Spell on You: The Bizarre Life of Screamin' Jay Hawkins by Steve Bergsman. There are many compilations of Hawkins' work. This double-CD set containing all his work up to 1962 is as good as any and ridiculously cheap. Finally, you should also listen to this short audio documentary on the search for Jay's kids, as it features interviews with a couple of them. They deserve to have their voices heard.    Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, an acknowledgment. I like to acknowledge in the podcast when I've relied heavily on one source, and in this case the source I'm relying on most is Steve Bergsman's book "I Put a Spell on You: The Bizarre Life of Screamin' Jay Hawkins". That book only came out this year, so it deserves the acknowledgment even more than normal. If you like this episode, you might well want to buy Mr. Bergsman's book, which has a lot more information. There are a lot of one-hit wonders in the history of rock and roll. And most of those one-hit wonders might as well have had no hits for all the impact they actually made on the genre. Of the thousands of people who have hits, many of them drop off the mental radar as soon as their chart success ends. For every Beatles or Elvis there's a Sam And The Womp or Simon Park Orchestra. But some one-hit wonders are different. Some one-hit wonders manage to get an entire career out of that one hit. And in the case of Screamin' Jay Hawkins, not only did he do that, but he created a stage show that would inspire every shock-rocker ever to wear makeup, and indirectly inspire a minor British political party. The one hit he recorded, meanwhile, was covered by everyone from Nina Simone to Marilyn Manson. [Excerpt: Screamin' Jay Hawkins, "I Put A Spell On You"] It's hard to separate truth from myth when it comes to Screamin' Jay Hawkins, not least because he was an inveterate liar. He always claimed, for example, that in his time in the army he had been captured by the Japanese and tortured for eighteen months. According to Army records, he joined the army in December 1945 and was honourably discharged in 1952. Given that World War II ended in September 1945, that would tend to suggest that his story about having been a Japanese prisoner of war was, perhaps, not one hundred percent truthful. And the same thing goes for almost everything he ever said. So anything you hear here is provisional. What we do know is that he seems to have grown up extremely resentful of women, particularly his mother. He was, depending on which version of the story you believe, the youngest of four or seven children, all from different fathers, and he, unlike his older siblings, was fostered from an early age. He resented his mother because of this, but does not seem to have been particularly bothered by the fact that his own prodigious fathering of children by multiple women, all of whom he abandoned, will have put those children in the same position. He variously claimed to have between fifty-seven and seventy-five children. Thirty-three have been traced, so this seems to be one of those rare occasions where he was telling the truth. So this is another of the all too many episodes where I have to warn listeners that we are dealing with someone who behaved appallingly towards women. I am not going to go into too many details here, but suffice to say that Hawkins was not an admirable man. Jalacey Hawkins was born in Cleveland, Ohio, and would often claim that he had musical training at the Ohio Conservatory of Music. This is, you will be shocked to hear, not true -- not least because there was not, in fact, an Ohio Conservatory of Music for him to train at. Instead, he learned his trade as a musician in the armed forces, where he was not, in fact, sent into Japan in a combat role aged fourteen. Instead, he joined the Special Services, the people who put on shows for the rest of the military, and learned the saxophone. As well as his stories about being a prisoner of war, he also used to claim on a regular basis that the reason he'd loved being in the military so much was because you were allowed to kill people and wouldn't get punished for it. History does not record exactly how many people his saxophone playing killed. After his discharge from the military in 1952, he abandoned his first wife and children -- telling them he was popping to the shop and then not seeing them again for two years. Around this time he hooked up with Tiny Grimes, who is yet another person who often gets credited as the creator of the "first rock and roll record", this one a 1946 song called "Tiny's Boogie": [Excerpt: Tiny Grimes, "Tiny's Boogie"] Tiny Grimes was a strange figure who straddled the worlds of jazz and R&B, and who had played with great jazz figures like Charlie Parker and Art Tatum as an instrumentalist, but who as a singer was firmly in the rock and roll world. He had seen his greatest success with a rock and roll version of the old Scottish folk song "Loch Lomond" [Excerpt: Tiny Grimes "Loch Lomond"] As a result of that, he'd started performing in a kilt, and calling himself Tiny "Mac" Grimes and His Rocking Highlanders. Grimes first met Hawkins backstage at the Moondog Coronation Ball -- a legendary gig put on by Alan Freed in 1952, which was the first big sign to Freed of just how successful rock and roll was going to become. At that show, so many more people tried to get in than the venue had capacity for -- thanks, largely, to forged tickets being sold -- that the show became dangerously overcrowded, and had to be cancelled after a single song from the first artist on the bill. So Grimes didn't get to play that day, but Jalacey Hawkins, as he was still then known, managed to get himself backstage and meet Grimes. Hawkins did this through Freed, who Hawkins had got to know shortly after his discharge from the military. When he'd got back to Cleveland, he'd heard Freed on the radio and been amazed that they let a black man have his own show, so he'd gone down to the radio station to meet him, and been even more amazed to find out that the man who sounded black, and was playing black music, was in fact white. For decades afterwards, Hawkins would describe Freed as one of the very few white people in the world who actually cared about black people and black music. The two had struck up a friendship, and Hawkins had managed to get backstage at Freed's show. When he did, he just went up to Grimes and asked for a job. Grimes gave him a job as a combination road manager and musician -- Hawkins would play piano and saxophone, sing occasionally, and was also (according to Hawkins) Grimes' valet and dog walker. Working with Grimes is where Hawkins first started performing outrageously on stage. Grimes' band already dressed in Scottish clothing, and put on quite a bit of a show, but Hawkins pushed things a little further. He would, for example, come out on stage in his kilt and with tins of Carnation evaporated milk hanging on his chest as if they were breasts. He would then sing Ruth Brown's hit "Mama, He Treats Your Daughter Mean". [Excerpt: Ruth Brown, "Mama, He Treats Your Daughter Mean" According to Hawkins, Ruth Brown came to see the show at one point, and said of him "This is the only bitch who can sing my song better than me". That doesn't sound especially like Brown, it has to be said. Hawkins started recording with Grimes, and started to be billed as "Screamin' Jay Hawkins" -- a stage name which, again, he gave varying origins for. The most likely seems to be the one he gave in a documentary, in which he said that he couldn't sing, but had to take lead vocals, so he decided to just scream everything, because at least that would be different. Quite how that tallies with his ability to sing better than Ruth Brown, it's best not to wonder. Either way, his early recordings show him trying to fit into the standard R&B vocal styles of the time, rather than screaming. On his first record, with Grimes, he's not the blues shouter that he had a reputation of being, and nor is he the screamer he would later become -- instead he sounds like he's imitating Clyde McPhatter's singing on "The Bells" by Billy Ward and His Dominoes, but in a bass register somewhat reminiscent of Paul Robeson. Compare Hawkins here: [Excerpt: Tiny Grimes with Screamin' Jay Hawkins, "Why Did You Waste My Time?"] With McPhatter on the Billy Ward record: [Excerpt: Billy Ward and His Dominoes, "The Bells"] You can hear the resemblance there, I'm sure. At this point Hawkins had a certain amount of potential, but was just one of a million smooth blues singers, who relied more on stage gimmicks than on singing ability. But those stage gimmicks were making him a breakout star in Grimes' band, and so at a recording session for Grimes, it was agreed that Hawkins could record a single of his own at the end of the session, if there was time. Hawkins' attitude quickly caused problems for him, though. During the recording of "Screamin' Blues", which would have been his first single, he got into an argument with Ahmet Ertegun, who kept telling him to sing the song more smoothly, like Fats Domino. Accounts of what happened next vary -- Hawkins' most frequent version was that he ended up punching Ertegun, though other people just say that the two got into a screaming row. Either way, the session was abandoned, and Hawkins soon ended up out of Grimes' band. He worked with a few different bands, before getting a big break as Fats Domino's opening act. He only lasted a few weeks in that role -- depending on who you asked, Domino either fired Hawkins for being vulgar on stage and screaming, as Domino claimed, or because he was jealous of Hawkins' great leopardskin suit, as Hawkins would sometimes claim. Wynonie Harris saw something in Hawkins, and helped him get his first solo shows in New York, and on the back of these he made his first records as a solo artist, for the tiny label Timely Records, under his birth name, Jalacey Hawkins, and featuring Mickey Baker, who would play on most of his fifties sessions, on guitar: [Excerpt: Jalacey Hawkins, "Baptize Me in Wine"] But unfortunately, after two of these singles, Timely Records folded, and Hawkins had to find another label. He moved on to Grand Records, and started recording as Screamin' Jay Hawkins. By this time, he had started using some of the gimmicks he would use in his stage show, though for the most part his act was still fairly tame by modern standards. He was also still, at least in the recording studio, making fairly standard jump blues records, like this one, the first he recorded as a solo artist under his stage name: [Excerpt, Screamin' Jay Hawkins, "Take Me Back"] That was the only single that saw release from his time with Grand Records, and it's not even certain that it was released until a year or so later -- reports seem to vary about this. But it was while he was recording for Grand Records that he wrote the song that would bring him worldwide fame. It came about, as so much of Hawkins' life did, from his mistreatment of a woman. He was playing a residency in Atlantic City, and he had a live-in girlfriend from Philadelphia. But, as was always the case with Hawkins, he was cheating on her with multiple other women. Eventually she figured this out, and walked into the bar in the middle of one of his sets, threw his keys onto the stage, and walked out, blowing him a kiss. He didn't realise what had happened until he was talking to the barmaid later, and she explained to him that no, that meant his girlfriend was definitely leaving. He brooded over this for a day, and then had another conversation with the barmaid, and told her he was planning to go to Philadelphia to get the girl back. She said "so you think she'll come back to you, do you?" and he replied "yes, I'll get her back, even if I have to put a spell on her -- that's it! I'll write a song about putting a spell on her, and she'll realise how much I love her and come back!" Hawkins would later claim that when, two years later, the song was finally released, she did come back -- not because of "I Put A Spell On You", but because she loved the B-side, a song called "Little Demon". As Hawkins told the story, she came back to him, they stayed together for four months, and then he dumped her. He hadn't wanted her back because he loved her, he'd wanted her back so that he could be the one to do the dumping, not her. Whatever the truth of that last part, he recorded "I Put A Spell on You" some time around late 1954, but that version wouldn't be released until decades later: [Excerpt: Screamin' Jay Hawkins, "I Put A Spell on You (unreleased version)"] It's a decent record, but there's something missing, and for whatever reason, it never came out. Instead, he signed to yet another label, Mercury, which was at the time somewhere between a large independent label and a small major, and started putting out singles just as "Jay Hawkins". By this time, he'd found a regular team of people to work with -- Leroy Kirkland was the arranger, and Mickey Baker would play guitar, Sam "the Man" Taylor and Al Sears were on saxophone, and Panama Francis was on drums. That core team would work on everything he did for the next couple of years. It was while he was at Mercury that he hit on the style he would use from that point on, with a B-side called "(She Put The) Wamee (On Me)", a song about voodoo and threatening to murder a woman who'd cast a spell on him that, in retrospect, has all the elements of Hawkins' later hit in place, just with the wrong song: [Excerpt: Jay Hawkins, "(She Put The) Wamee (On Me)"] That was Hawkins' first truly great record, but it was hidden away on a B-side and did nothing. After a couple more singles, Hawkins was once again dropped by his label -- but once again, he moved on to a slightly bigger label, this time to OKeh, which was a subsidiary of Columbia, one of the biggest labels in the country. And in September 1956, he went into the studio to record his first single for them, which was to be a new version of "I Put a Spell on You". But Arnold Maxim, the producer at the session, wanted something a bit different from Hawkins. He thought that everyone sounded a little too staid, a little too uptight, and he asked why they couldn't sound in the studio like they did when they were having fun on stage and really cutting loose. Hawkins replied that when they were on stage everyone was usually so drunk they couldn't *remember* what it was they'd been doing. So Maxim decided to order in some crates of beer and fried chicken, and told them "this isn't a recording session, it's a party. Have fun." When they were drunk enough, he started recording, and the result was this: [Excerpt: Screamin' Jay Hawkins, "I Put A Spell On You"] Now, in later years, Hawkins would try to claim that he had been tricked into that performance, and that he'd had to relearn the song from the record after the fact, because he couldn't remember what it was he'd been doing. In truth, though, it's not that different from a record like "(She Put the) Wamee (On Me)", and it seems more than likely that this is yet more of Hawkins' exaggeration. The record didn't chart, because many radio stations refused to play it, but it nonetheless became a classic and reportedly sold over a million copies. This was in part due to the efforts of Alan Freed. Hawkins was already starting to play up his stage persona even more -- wearing capes and bones through his nose, and trying to portray a voodoo image. But when he was booked as the headline act on a Christmas show Freed put together in 1956, Freed surprised him by telling him he'd had a great idea for the show -- he'd got hold of a coffin, and Hawkins could start his performance by rising out of the coffin like a vampire or zombie. Hawkins was horrified. He told Freed that there was only one time a black man was ever getting into a coffin, and that was when he was never getting out again. Freed insisted, and eventually ended up paying Hawkins a large bonus -- which Hawkins would later claim was multiple thousands of dollars, but which actually seems to have been about three hundred dollars, itself a lot of money in 1956. Hawkins eventually agreed, though he kept a finger between the coffin and the lid, so it couldn't close completely on him. This was the start of Hawkins' career as a shock-rocker, and he became known as "the black Vincent Price" for his stage shows which would include not only the coffin but also a skull on a stick with smoke coming out of it (the skull was named Henry) and a giant rubber snake. Many horror-themed rock acts of the future, such as Alice Cooper or the Cramps, would later use elements of Hawkins' stage shows -- and he would increasingly make music to match the show, so that he later recorded a song called "Constipation Blues", which he would perform while sitting on a toilet on stage. But in 1957, neither he nor the record label seemed quite sure what they should do to follow up "I Put a Spell on You". That record had traded heavily on its shock value, to the extent that OKeh's trade ads contained the line "DJs be brave -- if you get fired, we'll get you a job!" however, only one DJ did get fired for playing it, one Bob Friesen. He contacted OKeh, but they didn't get him a job -- and eventually someone working for the company told Billboard this, Billboard publicised the story, and another station hired Friesen for the publicity that would get them. OKeh actually edited the single shortly after release, to get rid of some of the grunts at the end, which people variously described as "orgiastic" and "cannibalistic", but it didn't make the record any more palatable to the professionally outraged. But the next record went completely the other way -- a cover version of the old standard "You Made Me Love You (I Didn't Want to Do it)": [Excerpt: Screamin' Jay Hawkins, "You Made Me Love You (I Didn't Want to Do It)"] I can see why they thought that was a good idea before recording it -- Fats Domino had just had a massive hit with "Blueberry Hill", another old standard done in a similar arrangement to the one on Hawkins' record, but still... The next couple of records were more in the style one might expect from Hawkins, a track called "Frenzy", and a great Leiber and Stoller swamp-rocker called "Alligator Wine": [Excerpt: Screamin' Jay Hawkins, "Alligator Wine"] But neither of those was a success either -- partly because Hawkins went too far in the other direction. He had the opportunity to appear in Alan Freed's film "Mister Rock and Roll" to promote "Frenzy", but while every other act in the film performed in suits or were similarly well-dressed, Hawkins insisted on performing naked apart from a loincloth, with his hair sticking up, white face-paint, and carrying a spear and a shield -- his idea of what a Mau Mau rebel in Kenya looked like (the Mau Mau fighters did not look like this). Or at least that was his later description of what he was wearing. Others who've seen the footage suggest it wasn't quite that extreme, but still involved him being half-naked and looking like a "native". Hawkins had already been getting a certain amount of criticism from the NAACP and other civil rights groups because they believed that he was making black people look bad by associating them with voodoo and cannibalism. Paramount Pictures decided that they didn't particularly want to have their film picketed, and so removed Hawkins' section from the film. Hawkins' attitude to the NAACP was that as far as he was concerned the only thing they were doing for black people was trying to stop him earning a living, and he wanted nothing to do with them. (This was not a common attitude among black people at the time, as you might imagine.) And so, once again, things went to the other extreme. Hawkins put out his first album. It was called "At Home With Screamin' Jay Hawkins", had a cheery photo of Hawkins in a Santa hat on the cover, and mixed in his recent singles, a couple of new originals (including one called "Hong Kong" which is mostly just Hawkins making racist "ching chong" sounds) and... versions of "I Love Paris in the Springtime", "Ol' Man River", and other extremely non-voodoo-shock-rock songs. Unsurprisingly, it wasn't a success. He was dropped by OKeh and moved to a tiny label, where he started recording more idiosyncratic material like "Armpit #6": [Excerpt: Screamin' Jay Hawkins, "Armpit #6"] But any chance of a comeback was pretty much destroyed when he was arrested in 1958 for possession of cannabis and statutory rape, after having had sex with a fifteen-year-old girl. After he got out of prison, he moved to Hawaii for a while, and became a performer again, although there was a temporary hiccup in his career when his girlfriend and singing partner stabbed him after she found out he'd married someone else without telling her. She presumably also didn't know that he was still married to his first wife at the time. Hawkins' career remained in the doldrums until 1965, when two things happened almost simultaneously. The first was that Nina Simone recorded a cover version of "I Put a Spell on You", which made the top thirty in the US charts: [Excerpt: Nina Simone, "I Put a Spell on You"] The second was that Hawkins got rediscovered in the UK, in quite a big way. There was a club in Manchester called the Twisted Wheel, which was legendary in soul and R&B circles -- to the extent that when I saw P.P. Arnold in its successor venue Night People two weeks ago, she kept referring to it as the Twisted Wheel, even though the original club closed down in 1971, because she had such strong memories of the original venue. And among the regular attendees of that club were a group of people who loved the few Screamin' Jay Hawkins records they'd been able to get hold of. Hawkins had been popular enough that a British act, Screamin' Lord Sutch and the Savages, had stolen his act wholesale, cape, coffin, and all: [Excerpt: Screamin' Lord Sutch and the Savages, "Jack the Ripper"] Screamin' Lord Sutch would later go on to form the Monster Raving Loony Party, a political party intended as a joke that still continues to field candidates at every election twenty years after Sutch's death. But while people like Sutch had admired him, Hawkins was mostly a legend in British blues circles, someone about whom almost nothing was known. But then some of the Twisted Wheel people went to see Little Richard at the Oasis club, another famous Manchester venue, and got chatting to Don "Sugarcane" Harris, from the support act Don and Dewey. He mentioned that he'd recently seen Hawkins, and he was still doing the same show, and so the British blues and soul fans tracked him down and persuaded the promoter Don Arden to put on a tour of the UK, with Hawkins using the Twisted Wheel as his base. The tour wasn't a commercial success, but it built Hawkins' reputation in Britain to the point that it seemed like *every* beat group wanted to record "I Put a Spell on You". Between 1965 and 1968, it was recorded by Manfred Mann, the Crazy World of Arthur Brown, the Animals, Them (featuring Van Morrison) and Alan Price, who made the top ten in the UK with his version: [Excerpt: The Alan Price Set, "I Put a Spell on You"] Hawkins even got to record a second album, finally, in Abbey Road studios, and he started to tour Europe successfully and build up a major fanbase. But Hawkins' self-destructive -- and other-people-destructive -- tendencies kicked in. The next few decades would follow a recurring pattern -- Hawkins would get some big break, like opening for the Rolling Stones at Madison Square Garden, or recording an album with Keith Richards guesting, or finally getting to appear in a film. Every time, he would let his addictions to alcohol or codeine overtake him, or he would rip a friend off for a trifling sum of money, or he would just get married bigamously again. Much of the time, he was living in one-room apartments, sometimes with no electricity. He married six times in total, and was abusive towards at least some of his wives. Screamin' Jay Hawkins died in 2000 after emergency surgery for an aneurysm. His fifth wife, one of the two who seem to have been actually important to him in some way, has dropped strong hints that he was killed by his sixth wife, who he had been claiming was poisoning him, though there's no evidence for that other than that she was strongly disliked by many of the people around Hawkins. When he died, he was seventy, and his current wife was thirty-one. Many people claimed that they had visitations from Hawkins' ghost in the days after his death, but the thing that seems to sum him up in the afterlife the most is his legacy to his family. He sold the rights to "I Put a Spell on You" shortly before his death, for twenty-five thousand dollars, which means his estate gets no songwriting royalties from his one big hit. He hadn't made a will since the 1970s, and that will left most of his money to his second wife, Ginny, who most people seem to agree deserved it if anyone did -- she was with him for sixteen years, and tolerated the worst of his behaviour. He also left an amount to a niece of his. As for his kids? Well, none of the seventy or however many illegitimate children he had saw a penny from his will. His three legitimate children, he left a dollar each. At least one of them, his daughter Sookie, didn't get her dollar -- it went to her cousin, who didn't pass it on to her. And I think that means I should give Sookie the final word here, in a quote from the end of Steve Bergsman's biography. "My father thought he was all that, but not to me. Screamin' Jay Hawkins didn't treat people right. He was a performer, but he didn't treat people right."

Episode fifty-three of A History of Rock Music in Five Hundred Songs looks at “I Put a Spell on You” by Screamin’ Jay Hawkins, and the career of a man who had more than fifty more children than hit records. 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 “Since I Met You Baby” by Ivory Joe Hunter —-more—-   Erratum I only noticed while doing the final edit for this episode that I used the words “legitimate” and “illegitimate” to describe children, and that this usage could quite possibly be considered offensive, something I hadn’t realised when writing or recording it. I apologise if anyone does take offence. Resources No Mixcloud this week, as the episode is so heavy on Hawkins that it would violate Mixcloud’s terms and conditions. I tried to put together a Spotify playlist instead, but a few of the recordings I use here aren’t on Spotify. As I mention in the episode, I leaned very heavily on one book here, I Put a Spell on You: The Bizarre Life of Screamin’ Jay Hawkins by Steve Bergsman. There are many compilations of Hawkins’ work. This double-CD set containing all his work up to 1962 is as good as any and ridiculously cheap. Finally, you should also listen to this short audio documentary on the search for Jay’s kids, as it features interviews with a couple of them. They deserve to have their voices heard.    Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, an acknowledgment. I like to acknowledge in the podcast when I’ve relied heavily on one source, and in this case the source I’m relying on most is Steve Bergsman’s book “I Put a Spell on You: The Bizarre Life of Screamin’ Jay Hawkins”. That book only came out this year, so it deserves the acknowledgment even more than normal. If you like this episode, you might well want to buy Mr. Bergsman’s book, which has a lot more information. There are a lot of one-hit wonders in the history of rock and roll. And most of those one-hit wonders might as well have had no hits for all the impact they actually made on the genre. Of the thousands of people who have hits, many of them drop off the mental radar as soon as their chart success ends. For every Beatles or Elvis there’s a Sam And The Womp or Simon Park Orchestra. But some one-hit wonders are different. Some one-hit wonders manage to get an entire career out of that one hit. And in the case of Screamin’ Jay Hawkins, not only did he do that, but he created a stage show that would inspire every shock-rocker ever to wear makeup, and indirectly inspire a minor British political party. The one hit he recorded, meanwhile, was covered by everyone from Nina Simone to Marilyn Manson. [Excerpt: Screamin’ Jay Hawkins, “I Put A Spell On You”] It’s hard to separate truth from myth when it comes to Screamin’ Jay Hawkins, not least because he was an inveterate liar. He always claimed, for example, that in his time in the army he had been captured by the Japanese and tortured for eighteen months. According to Army records, he joined the army in December 1945 and was honourably discharged in 1952. Given that World War II ended in September 1945, that would tend to suggest that his story about having been a Japanese prisoner of war was, perhaps, not one hundred percent truthful. And the same thing goes for almost everything he ever said. So anything you hear here is provisional. What we do know is that he seems to have grown up extremely resentful of women, particularly his mother. He was, depending on which version of the story you believe, the youngest of four or seven children, all from different fathers, and he, unlike his older siblings, was fostered from an early age. He resented his mother because of this, but does not seem to have been particularly bothered by the fact that his own prodigious fathering of children by multiple women, all of whom he abandoned, will have put those children in the same position. He variously claimed to have between fifty-seven and seventy-five children. Thirty-three have been traced, so this seems to be one of those rare occasions where he was telling the truth. So this is another of the all too many episodes where I have to warn listeners that we are dealing with someone who behaved appallingly towards women. I am not going to go into too many details here, but suffice to say that Hawkins was not an admirable man. Jalacey Hawkins was born in Cleveland, Ohio, and would often claim that he had musical training at the Ohio Conservatory of Music. This is, you will be shocked to hear, not true — not least because there was not, in fact, an Ohio Conservatory of Music for him to train at. Instead, he learned his trade as a musician in the armed forces, where he was not, in fact, sent into Japan in a combat role aged fourteen. Instead, he joined the Special Services, the people who put on shows for the rest of the military, and learned the saxophone. As well as his stories about being a prisoner of war, he also used to claim on a regular basis that the reason he’d loved being in the military so much was because you were allowed to kill people and wouldn’t get punished for it. History does not record exactly how many people his saxophone playing killed. After his discharge from the military in 1952, he abandoned his first wife and children — telling them he was popping to the shop and then not seeing them again for two years. Around this time he hooked up with Tiny Grimes, who is yet another person who often gets credited as the creator of the “first rock and roll record”, this one a 1946 song called “Tiny’s Boogie”: [Excerpt: Tiny Grimes, “Tiny’s Boogie”] Tiny Grimes was a strange figure who straddled the worlds of jazz and R&B, and who had played with great jazz figures like Charlie Parker and Art Tatum as an instrumentalist, but who as a singer was firmly in the rock and roll world. He had seen his greatest success with a rock and roll version of the old Scottish folk song “Loch Lomond” [Excerpt: Tiny Grimes “Loch Lomond”] As a result of that, he’d started performing in a kilt, and calling himself Tiny “Mac” Grimes and His Rocking Highlanders. Grimes first met Hawkins backstage at the Moondog Coronation Ball — a legendary gig put on by Alan Freed in 1952, which was the first big sign to Freed of just how successful rock and roll was going to become. At that show, so many more people tried to get in than the venue had capacity for — thanks, largely, to forged tickets being sold — that the show became dangerously overcrowded, and had to be cancelled after a single song from the first artist on the bill. So Grimes didn’t get to play that day, but Jalacey Hawkins, as he was still then known, managed to get himself backstage and meet Grimes. Hawkins did this through Freed, who Hawkins had got to know shortly after his discharge from the military. When he’d got back to Cleveland, he’d heard Freed on the radio and been amazed that they let a black man have his own show, so he’d gone down to the radio station to meet him, and been even more amazed to find out that the man who sounded black, and was playing black music, was in fact white. For decades afterwards, Hawkins would describe Freed as one of the very few white people in the world who actually cared about black people and black music. The two had struck up a friendship, and Hawkins had managed to get backstage at Freed’s show. When he did, he just went up to Grimes and asked for a job. Grimes gave him a job as a combination road manager and musician — Hawkins would play piano and saxophone, sing occasionally, and was also (according to Hawkins) Grimes’ valet and dog walker. Working with Grimes is where Hawkins first started performing outrageously on stage. Grimes’ band already dressed in Scottish clothing, and put on quite a bit of a show, but Hawkins pushed things a little further. He would, for example, come out on stage in his kilt and with tins of Carnation evaporated milk hanging on his chest as if they were breasts. He would then sing Ruth Brown’s hit “Mama, He Treats Your Daughter Mean”. [Excerpt: Ruth Brown, “Mama, He Treats Your Daughter Mean” According to Hawkins, Ruth Brown came to see the show at one point, and said of him “This is the only bitch who can sing my song better than me”. That doesn’t sound especially like Brown, it has to be said. Hawkins started recording with Grimes, and started to be billed as “Screamin’ Jay Hawkins” — a stage name which, again, he gave varying origins for. The most likely seems to be the one he gave in a documentary, in which he said that he couldn’t sing, but had to take lead vocals, so he decided to just scream everything, because at least that would be different. Quite how that tallies with his ability to sing better than Ruth Brown, it’s best not to wonder. Either way, his early recordings show him trying to fit into the standard R&B vocal styles of the time, rather than screaming. On his first record, with Grimes, he’s not the blues shouter that he had a reputation of being, and nor is he the screamer he would later become — instead he sounds like he’s imitating Clyde McPhatter’s singing on “The Bells” by Billy Ward and His Dominoes, but in a bass register somewhat reminiscent of Paul Robeson. Compare Hawkins here: [Excerpt: Tiny Grimes with Screamin’ Jay Hawkins, “Why Did You Waste My Time?”] With McPhatter on the Billy Ward record: [Excerpt: Billy Ward and His Dominoes, “The Bells”] You can hear the resemblance there, I’m sure. At this point Hawkins had a certain amount of potential, but was just one of a million smooth blues singers, who relied more on stage gimmicks than on singing ability. But those stage gimmicks were making him a breakout star in Grimes’ band, and so at a recording session for Grimes, it was agreed that Hawkins could record a single of his own at the end of the session, if there was time. Hawkins’ attitude quickly caused problems for him, though. During the recording of “Screamin’ Blues”, which would have been his first single, he got into an argument with Ahmet Ertegun, who kept telling him to sing the song more smoothly, like Fats Domino. Accounts of what happened next vary — Hawkins’ most frequent version was that he ended up punching Ertegun, though other people just say that the two got into a screaming row. Either way, the session was abandoned, and Hawkins soon ended up out of Grimes’ band. He worked with a few different bands, before getting a big break as Fats Domino’s opening act. He only lasted a few weeks in that role — depending on who you asked, Domino either fired Hawkins for being vulgar on stage and screaming, as Domino claimed, or because he was jealous of Hawkins’ great leopardskin suit, as Hawkins would sometimes claim. Wynonie Harris saw something in Hawkins, and helped him get his first solo shows in New York, and on the back of these he made his first records as a solo artist, for the tiny label Timely Records, under his birth name, Jalacey Hawkins, and featuring Mickey Baker, who would play on most of his fifties sessions, on guitar: [Excerpt: Jalacey Hawkins, “Baptize Me in Wine”] But unfortunately, after two of these singles, Timely Records folded, and Hawkins had to find another label. He moved on to Grand Records, and started recording as Screamin’ Jay Hawkins. By this time, he had started using some of the gimmicks he would use in his stage show, though for the most part his act was still fairly tame by modern standards. He was also still, at least in the recording studio, making fairly standard jump blues records, like this one, the first he recorded as a solo artist under his stage name: [Excerpt, Screamin’ Jay Hawkins, “Take Me Back”] That was the only single that saw release from his time with Grand Records, and it’s not even certain that it was released until a year or so later — reports seem to vary about this. But it was while he was recording for Grand Records that he wrote the song that would bring him worldwide fame. It came about, as so much of Hawkins’ life did, from his mistreatment of a woman. He was playing a residency in Atlantic City, and he had a live-in girlfriend from Philadelphia. But, as was always the case with Hawkins, he was cheating on her with multiple other women. Eventually she figured this out, and walked into the bar in the middle of one of his sets, threw his keys onto the stage, and walked out, blowing him a kiss. He didn’t realise what had happened until he was talking to the barmaid later, and she explained to him that no, that meant his girlfriend was definitely leaving. He brooded over this for a day, and then had another conversation with the barmaid, and told her he was planning to go to Philadelphia to get the girl back. She said “so you think she’ll come back to you, do you?” and he replied “yes, I’ll get her back, even if I have to put a spell on her — that’s it! I’ll write a song about putting a spell on her, and she’ll realise how much I love her and come back!” Hawkins would later claim that when, two years later, the song was finally released, she did come back — not because of “I Put A Spell On You”, but because she loved the B-side, a song called “Little Demon”. As Hawkins told the story, she came back to him, they stayed together for four months, and then he dumped her. He hadn’t wanted her back because he loved her, he’d wanted her back so that he could be the one to do the dumping, not her. Whatever the truth of that last part, he recorded “I Put A Spell on You” some time around late 1954, but that version wouldn’t be released until decades later: [Excerpt: Screamin’ Jay Hawkins, “I Put A Spell on You (unreleased version)”] It’s a decent record, but there’s something missing, and for whatever reason, it never came out. Instead, he signed to yet another label, Mercury, which was at the time somewhere between a large independent label and a small major, and started putting out singles just as “Jay Hawkins”. By this time, he’d found a regular team of people to work with — Leroy Kirkland was the arranger, and Mickey Baker would play guitar, Sam “the Man” Taylor and Al Sears were on saxophone, and Panama Francis was on drums. That core team would work on everything he did for the next couple of years. It was while he was at Mercury that he hit on the style he would use from that point on, with a B-side called “(She Put The) Wamee (On Me)”, a song about voodoo and threatening to murder a woman who’d cast a spell on him that, in retrospect, has all the elements of Hawkins’ later hit in place, just with the wrong song: [Excerpt: Jay Hawkins, “(She Put The) Wamee (On Me)”] That was Hawkins’ first truly great record, but it was hidden away on a B-side and did nothing. After a couple more singles, Hawkins was once again dropped by his label — but once again, he moved on to a slightly bigger label, this time to OKeh, which was a subsidiary of Columbia, one of the biggest labels in the country. And in September 1956, he went into the studio to record his first single for them, which was to be a new version of “I Put a Spell on You”. But Arnold Maxim, the producer at the session, wanted something a bit different from Hawkins. He thought that everyone sounded a little too staid, a little too uptight, and he asked why they couldn’t sound in the studio like they did when they were having fun on stage and really cutting loose. Hawkins replied that when they were on stage everyone was usually so drunk they couldn’t *remember* what it was they’d been doing. So Maxim decided to order in some crates of beer and fried chicken, and told them “this isn’t a recording session, it’s a party. Have fun.” When they were drunk enough, he started recording, and the result was this: [Excerpt: Screamin’ Jay Hawkins, “I Put A Spell On You”] Now, in later years, Hawkins would try to claim that he had been tricked into that performance, and that he’d had to relearn the song from the record after the fact, because he couldn’t remember what it was he’d been doing. In truth, though, it’s not that different from a record like “(She Put the) Wamee (On Me)”, and it seems more than likely that this is yet more of Hawkins’ exaggeration. The record didn’t chart, because many radio stations refused to play it, but it nonetheless became a classic and reportedly sold over a million copies. This was in part due to the efforts of Alan Freed. Hawkins was already starting to play up his stage persona even more — wearing capes and bones through his nose, and trying to portray a voodoo image. But when he was booked as the headline act on a Christmas show Freed put together in 1956, Freed surprised him by telling him he’d had a great idea for the show — he’d got hold of a coffin, and Hawkins could start his performance by rising out of the coffin like a vampire or zombie. Hawkins was horrified. He told Freed that there was only one time a black man was ever getting into a coffin, and that was when he was never getting out again. Freed insisted, and eventually ended up paying Hawkins a large bonus — which Hawkins would later claim was multiple thousands of dollars, but which actually seems to have been about three hundred dollars, itself a lot of money in 1956. Hawkins eventually agreed, though he kept a finger between the coffin and the lid, so it couldn’t close completely on him. This was the start of Hawkins’ career as a shock-rocker, and he became known as “the black Vincent Price” for his stage shows which would include not only the coffin but also a skull on a stick with smoke coming out of it (the skull was named Henry) and a giant rubber snake. Many horror-themed rock acts of the future, such as Alice Cooper or the Cramps, would later use elements of Hawkins’ stage shows — and he would increasingly make music to match the show, so that he later recorded a song called “Constipation Blues”, which he would perform while sitting on a toilet on stage. But in 1957, neither he nor the record label seemed quite sure what they should do to follow up “I Put a Spell on You”. That record had traded heavily on its shock value, to the extent that OKeh’s trade ads contained the line “DJs be brave — if you get fired, we’ll get you a job!” however, only one DJ did get fired for playing it, one Bob Friesen. He contacted OKeh, but they didn’t get him a job — and eventually someone working for the company told Billboard this, Billboard publicised the story, and another station hired Friesen for the publicity that would get them. OKeh actually edited the single shortly after release, to get rid of some of the grunts at the end, which people variously described as “orgiastic” and “cannibalistic”, but it didn’t make the record any more palatable to the professionally outraged. But the next record went completely the other way — a cover version of the old standard “You Made Me Love You (I Didn’t Want to Do it)”: [Excerpt: Screamin’ Jay Hawkins, “You Made Me Love You (I Didn’t Want to Do It)”] I can see why they thought that was a good idea before recording it — Fats Domino had just had a massive hit with “Blueberry Hill”, another old standard done in a similar arrangement to the one on Hawkins’ record, but still… The next couple of records were more in the style one might expect from Hawkins, a track called “Frenzy”, and a great Leiber and Stoller swamp-rocker called “Alligator Wine”: [Excerpt: Screamin’ Jay Hawkins, “Alligator Wine”] But neither of those was a success either — partly because Hawkins went too far in the other direction. He had the opportunity to appear in Alan Freed’s film “Mister Rock and Roll” to promote “Frenzy”, but while every other act in the film performed in suits or were similarly well-dressed, Hawkins insisted on performing naked apart from a loincloth, with his hair sticking up, white face-paint, and carrying a spear and a shield — his idea of what a Mau Mau rebel in Kenya looked like (the Mau Mau fighters did not look like this). Or at least that was his later description of what he was wearing. Others who’ve seen the footage suggest it wasn’t quite that extreme, but still involved him being half-naked and looking like a “native”. Hawkins had already been getting a certain amount of criticism from the NAACP and other civil rights groups because they believed that he was making black people look bad by associating them with voodoo and cannibalism. Paramount Pictures decided that they didn’t particularly want to have their film picketed, and so removed Hawkins’ section from the film. Hawkins’ attitude to the NAACP was that as far as he was concerned the only thing they were doing for black people was trying to stop him earning a living, and he wanted nothing to do with them. (This was not a common attitude among black people at the time, as you might imagine.) And so, once again, things went to the other extreme. Hawkins put out his first album. It was called “At Home With Screamin’ Jay Hawkins”, had a cheery photo of Hawkins in a Santa hat on the cover, and mixed in his recent singles, a couple of new originals (including one called “Hong Kong” which is mostly just Hawkins making racist “ching chong” sounds) and… versions of “I Love Paris in the Springtime”, “Ol’ Man River”, and other extremely non-voodoo-shock-rock songs. Unsurprisingly, it wasn’t a success. He was dropped by OKeh and moved to a tiny label, where he started recording more idiosyncratic material like “Armpit #6”: [Excerpt: Screamin’ Jay Hawkins, “Armpit #6”] But any chance of a comeback was pretty much destroyed when he was arrested in 1958 for possession of cannabis and statutory rape, after having had sex with a fifteen-year-old girl. After he got out of prison, he moved to Hawaii for a while, and became a performer again, although there was a temporary hiccup in his career when his girlfriend and singing partner stabbed him after she found out he’d married someone else without telling her. She presumably also didn’t know that he was still married to his first wife at the time. Hawkins’ career remained in the doldrums until 1965, when two things happened almost simultaneously. The first was that Nina Simone recorded a cover version of “I Put a Spell on You”, which made the top thirty in the US charts: [Excerpt: Nina Simone, “I Put a Spell on You”] The second was that Hawkins got rediscovered in the UK, in quite a big way. There was a club in Manchester called the Twisted Wheel, which was legendary in soul and R&B circles — to the extent that when I saw P.P. Arnold in its successor venue Night People two weeks ago, she kept referring to it as the Twisted Wheel, even though the original club closed down in 1971, because she had such strong memories of the original venue. And among the regular attendees of that club were a group of people who loved the few Screamin’ Jay Hawkins records they’d been able to get hold of. Hawkins had been popular enough that a British act, Screamin’ Lord Sutch and the Savages, had stolen his act wholesale, cape, coffin, and all: [Excerpt: Screamin’ Lord Sutch and the Savages, “Jack the Ripper”] Screamin’ Lord Sutch would later go on to form the Monster Raving Loony Party, a political party intended as a joke that still continues to field candidates at every election twenty years after Sutch’s death. But while people like Sutch had admired him, Hawkins was mostly a legend in British blues circles, someone about whom almost nothing was known. But then some of the Twisted Wheel people went to see Little Richard at the Oasis club, another famous Manchester venue, and got chatting to Don “Sugarcane” Harris, from the support act Don and Dewey. He mentioned that he’d recently seen Hawkins, and he was still doing the same show, and so the British blues and soul fans tracked him down and persuaded the promoter Don Arden to put on a tour of the UK, with Hawkins using the Twisted Wheel as his base. The tour wasn’t a commercial success, but it built Hawkins’ reputation in Britain to the point that it seemed like *every* beat group wanted to record “I Put a Spell on You”. Between 1965 and 1968, it was recorded by Manfred Mann, the Crazy World of Arthur Brown, the Animals, Them (featuring Van Morrison) and Alan Price, who made the top ten in the UK with his version: [Excerpt: The Alan Price Set, “I Put a Spell on You”] Hawkins even got to record a second album, finally, in Abbey Road studios, and he started to tour Europe successfully and build up a major fanbase. But Hawkins’ self-destructive — and other-people-destructive — tendencies kicked in. The next few decades would follow a recurring pattern — Hawkins would get some big break, like opening for the Rolling Stones at Madison Square Garden, or recording an album with Keith Richards guesting, or finally getting to appear in a film. Every time, he would let his addictions to alcohol or codeine overtake him, or he would rip a friend off for a trifling sum of money, or he would just get married bigamously again. Much of the time, he was living in one-room apartments, sometimes with no electricity. He married six times in total, and was abusive towards at least some of his wives. Screamin’ Jay Hawkins died in 2000 after emergency surgery for an aneurysm. His fifth wife, one of the two who seem to have been actually important to him in some way, has dropped strong hints that he was killed by his sixth wife, who he had been claiming was poisoning him, though there’s no evidence for that other than that she was strongly disliked by many of the people around Hawkins. When he died, he was seventy, and his current wife was thirty-one. Many people claimed that they had visitations from Hawkins’ ghost in the days after his death, but the thing that seems to sum him up in the afterlife the most is his legacy to his family. He sold the rights to “I Put a Spell on You” shortly before his death, for twenty-five thousand dollars, which means his estate gets no songwriting royalties from his one big hit. He hadn’t made a will since the 1970s, and that will left most of his money to his second wife, Ginny, who most people seem to agree deserved it if anyone did — she was with him for sixteen years, and tolerated the worst of his behaviour. He also left an amount to a niece of his. As for his kids? Well, none of the seventy or however many illegitimate children he had saw a penny from his will. His three legitimate children, he left a dollar each. At least one of them, his daughter Sookie, didn’t get her dollar — it went to her cousin, who didn’t pass it on to her. And I think that means I should give Sookie the final word here, in a quote from the end of Steve Bergsman’s biography. “My father thought he was all that, but not to me. Screamin’ Jay Hawkins didn’t treat people right. He was a performer, but he didn’t treat people right.”

Episode fifty-three of A History of Rock Music in Five Hundred Songs looks at “I Put a Spell on You” by Screamin’ Jay Hawkins, and the career of a man who had more than fifty more children than hit records. 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 “Since I Met You Baby” by Ivory Joe Hunter —-more—-   Erratum I only noticed while doing the final edit for this episode that I used the words “legitimate” and “illegitimate” to describe children, and that this usage could quite possibly be considered offensive, something I hadn’t realised when writing or recording it. I apologise if anyone does take offence. Resources No Mixcloud this week, as the episode is so heavy on Hawkins that it would violate Mixcloud’s terms and conditions. I tried to put together a Spotify playlist instead, but a few of the recordings I use here aren’t on Spotify. As I mention in the episode, I leaned very heavily on one book here, I Put a Spell on You: The Bizarre Life of Screamin’ Jay Hawkins by Steve Bergsman. There are many compilations of Hawkins’ work. This double-CD set containing all his work up to 1962 is as good as any and ridiculously cheap. Finally, you should also listen to this short audio documentary on the search for Jay’s kids, as it features interviews with a couple of them. They deserve to have their voices heard.    Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, an acknowledgment. I like to acknowledge in the podcast when I’ve relied heavily on one source, and in this case the source I’m relying on most is Steve Bergsman’s book “I Put a Spell on You: The Bizarre Life of Screamin’ Jay Hawkins”. That book only came out this year, so it deserves the acknowledgment even more than normal. If you like this episode, you might well want to buy Mr. Bergsman’s book, which has a lot more information. There are a lot of one-hit wonders in the history of rock and roll. And most of those one-hit wonders might as well have had no hits for all the impact they actually made on the genre. Of the thousands of people who have hits, many of them drop off the mental radar as soon as their chart success ends. For every Beatles or Elvis there’s a Sam And The Womp or Simon Park Orchestra. But some one-hit wonders are different. Some one-hit wonders manage to get an entire career out of that one hit. And in the case of Screamin’ Jay Hawkins, not only did he do that, but he created a stage show that would inspire every shock-rocker ever to wear makeup, and indirectly inspire a minor British political party. The one hit he recorded, meanwhile, was covered by everyone from Nina Simone to Marilyn Manson. [Excerpt: Screamin’ Jay Hawkins, “I Put A Spell On You”] It’s hard to separate truth from myth when it comes to Screamin’ Jay Hawkins, not least because he was an inveterate liar. He always claimed, for example, that in his time in the army he had been captured by the Japanese and tortured for eighteen months. According to Army records, he joined the army in December 1945 and was honourably discharged in 1952. Given that World War II ended in September 1945, that would tend to suggest that his story about having been a Japanese prisoner of war was, perhaps, not one hundred percent truthful. And the same thing goes for almost everything he ever said. So anything you hear here is provisional. What we do know is that he seems to have grown up extremely resentful of women, particularly his mother. He was, depending on which version of the story you believe, the youngest of four or seven children, all from different fathers, and he, unlike his older siblings, was fostered from an early age. He resented his mother because of this, but does not seem to have been particularly bothered by the fact that his own prodigious fathering of children by multiple women, all of whom he abandoned, will have put those children in the same position. He variously claimed to have between fifty-seven and seventy-five children. Thirty-three have been traced, so this seems to be one of those rare occasions where he was telling the truth. So this is another of the all too many episodes where I have to warn listeners that we are dealing with someone who behaved appallingly towards women. I am not going to go into too many details here, but suffice to say that Hawkins was not an admirable man. Jalacey Hawkins was born in Cleveland, Ohio, and would often claim that he had musical training at the Ohio Conservatory of Music. This is, you will be shocked to hear, not true — not least because there was not, in fact, an Ohio Conservatory of Music for him to train at. Instead, he learned his trade as a musician in the armed forces, where he was not, in fact, sent into Japan in a combat role aged fourteen. Instead, he joined the Special Services, the people who put on shows for the rest of the military, and learned the saxophone. As well as his stories about being a prisoner of war, he also used to claim on a regular basis that the reason he’d loved being in the military so much was because you were allowed to kill people and wouldn’t get punished for it. History does not record exactly how many people his saxophone playing killed. After his discharge from the military in 1952, he abandoned his first wife and children — telling them he was popping to the shop and then not seeing them again for two years. Around this time he hooked up with Tiny Grimes, who is yet another person who often gets credited as the creator of the “first rock and roll record”, this one a 1946 song called “Tiny’s Boogie”: [Excerpt: Tiny Grimes, “Tiny’s Boogie”] Tiny Grimes was a strange figure who straddled the worlds of jazz and R&B, and who had played with great jazz figures like Charlie Parker and Art Tatum as an instrumentalist, but who as a singer was firmly in the rock and roll world. He had seen his greatest success with a rock and roll version of the old Scottish folk song “Loch Lomond” [Excerpt: Tiny Grimes “Loch Lomond”] As a result of that, he’d started performing in a kilt, and calling himself Tiny “Mac” Grimes and His Rocking Highlanders. Grimes first met Hawkins backstage at the Moondog Coronation Ball — a legendary gig put on by Alan Freed in 1952, which was the first big sign to Freed of just how successful rock and roll was going to become. At that show, so many more people tried to get in than the venue had capacity for — thanks, largely, to forged tickets being sold — that the show became dangerously overcrowded, and had to be cancelled after a single song from the first artist on the bill. So Grimes didn’t get to play that day, but Jalacey Hawkins, as he was still then known, managed to get himself backstage and meet Grimes. Hawkins did this through Freed, who Hawkins had got to know shortly after his discharge from the military. When he’d got back to Cleveland, he’d heard Freed on the radio and been amazed that they let a black man have his own show, so he’d gone down to the radio station to meet him, and been even more amazed to find out that the man who sounded black, and was playing black music, was in fact white. For decades afterwards, Hawkins would describe Freed as one of the very few white people in the world who actually cared about black people and black music. The two had struck up a friendship, and Hawkins had managed to get backstage at Freed’s show. When he did, he just went up to Grimes and asked for a job. Grimes gave him a job as a combination road manager and musician — Hawkins would play piano and saxophone, sing occasionally, and was also (according to Hawkins) Grimes’ valet and dog walker. Working with Grimes is where Hawkins first started performing outrageously on stage. Grimes’ band already dressed in Scottish clothing, and put on quite a bit of a show, but Hawkins pushed things a little further. He would, for example, come out on stage in his kilt and with tins of Carnation evaporated milk hanging on his chest as if they were breasts. He would then sing Ruth Brown’s hit “Mama, He Treats Your Daughter Mean”. [Excerpt: Ruth Brown, “Mama, He Treats Your Daughter Mean” According to Hawkins, Ruth Brown came to see the show at one point, and said of him “This is the only bitch who can sing my song better than me”. That doesn’t sound especially like Brown, it has to be said. Hawkins started recording with Grimes, and started to be billed as “Screamin’ Jay Hawkins” — a stage name which, again, he gave varying origins for. The most likely seems to be the one he gave in a documentary, in which he said that he couldn’t sing, but had to take lead vocals, so he decided to just scream everything, because at least that would be different. Quite how that tallies with his ability to sing better than Ruth Brown, it’s best not to wonder. Either way, his early recordings show him trying to fit into the standard R&B vocal styles of the time, rather than screaming. On his first record, with Grimes, he’s not the blues shouter that he had a reputation of being, and nor is he the screamer he would later become — instead he sounds like he’s imitating Clyde McPhatter’s singing on “The Bells” by Billy Ward and His Dominoes, but in a bass register somewhat reminiscent of Paul Robeson. Compare Hawkins here: [Excerpt: Tiny Grimes with Screamin’ Jay Hawkins, “Why Did You Waste My Time?”] With McPhatter on the Billy Ward record: [Excerpt: Billy Ward and His Dominoes, “The Bells”] You can hear the resemblance there, I’m sure. At this point Hawkins had a certain amount of potential, but was just one of a million smooth blues singers, who relied more on stage gimmicks than on singing ability. But those stage gimmicks were making him a breakout star in Grimes’ band, and so at a recording session for Grimes, it was agreed that Hawkins could record a single of his own at the end of the session, if there was time. Hawkins’ attitude quickly caused problems for him, though. During the recording of “Screamin’ Blues”, which would have been his first single, he got into an argument with Ahmet Ertegun, who kept telling him to sing the song more smoothly, like Fats Domino. Accounts of what happened next vary — Hawkins’ most frequent version was that he ended up punching Ertegun, though other people just say that the two got into a screaming row. Either way, the session was abandoned, and Hawkins soon ended up out of Grimes’ band. He worked with a few different bands, before getting a big break as Fats Domino’s opening act. He only lasted a few weeks in that role — depending on who you asked, Domino either fired Hawkins for being vulgar on stage and screaming, as Domino claimed, or because he was jealous of Hawkins’ great leopardskin suit, as Hawkins would sometimes claim. Wynonie Harris saw something in Hawkins, and helped him get his first solo shows in New York, and on the back of these he made his first records as a solo artist, for the tiny label Timely Records, under his birth name, Jalacey Hawkins, and featuring Mickey Baker, who would play on most of his fifties sessions, on guitar: [Excerpt: Jalacey Hawkins, “Baptize Me in Wine”] But unfortunately, after two of these singles, Timely Records folded, and Hawkins had to find another label. He moved on to Grand Records, and started recording as Screamin’ Jay Hawkins. By this time, he had started using some of the gimmicks he would use in his stage show, though for the most part his act was still fairly tame by modern standards. He was also still, at least in the recording studio, making fairly standard jump blues records, like this one, the first he recorded as a solo artist under his stage name: [Excerpt, Screamin’ Jay Hawkins, “Take Me Back”] That was the only single that saw release from his time with Grand Records, and it’s not even certain that it was released until a year or so later — reports seem to vary about this. But it was while he was recording for Grand Records that he wrote the song that would bring him worldwide fame. It came about, as so much of Hawkins’ life did, from his mistreatment of a woman. He was playing a residency in Atlantic City, and he had a live-in girlfriend from Philadelphia. But, as was always the case with Hawkins, he was cheating on her with multiple other women. Eventually she figured this out, and walked into the bar in the middle of one of his sets, threw his keys onto the stage, and walked out, blowing him a kiss. He didn’t realise what had happened until he was talking to the barmaid later, and she explained to him that no, that meant his girlfriend was definitely leaving. He brooded over this for a day, and then had another conversation with the barmaid, and told her he was planning to go to Philadelphia to get the girl back. She said “so you think she’ll come back to you, do you?” and he replied “yes, I’ll get her back, even if I have to put a spell on her — that’s it! I’ll write a song about putting a spell on her, and she’ll realise how much I love her and come back!” Hawkins would later claim that when, two years later, the song was finally released, she did come back — not because of “I Put A Spell On You”, but because she loved the B-side, a song called “Little Demon”. As Hawkins told the story, she came back to him, they stayed together for four months, and then he dumped her. He hadn’t wanted her back because he loved her, he’d wanted her back so that he could be the one to do the dumping, not her. Whatever the truth of that last part, he recorded “I Put A Spell on You” some time around late 1954, but that version wouldn’t be released until decades later: [Excerpt: Screamin’ Jay Hawkins, “I Put A Spell on You (unreleased version)”] It’s a decent record, but there’s something missing, and for whatever reason, it never came out. Instead, he signed to yet another label, Mercury, which was at the time somewhere between a large independent label and a small major, and started putting out singles just as “Jay Hawkins”. By this time, he’d found a regular team of people to work with — Leroy Kirkland was the arranger, and Mickey Baker would play guitar, Sam “the Man” Taylor and Al Sears were on saxophone, and Panama Francis was on drums. That core team would work on everything he did for the next couple of years. It was while he was at Mercury that he hit on the style he would use from that point on, with a B-side called “(She Put The) Wamee (On Me)”, a song about voodoo and threatening to murder a woman who’d cast a spell on him that, in retrospect, has all the elements of Hawkins’ later hit in place, just with the wrong song: [Excerpt: Jay Hawkins, “(She Put The) Wamee (On Me)”] That was Hawkins’ first truly great record, but it was hidden away on a B-side and did nothing. After a couple more singles, Hawkins was once again dropped by his label — but once again, he moved on to a slightly bigger label, this time to OKeh, which was a subsidiary of Columbia, one of the biggest labels in the country. And in September 1956, he went into the studio to record his first single for them, which was to be a new version of “I Put a Spell on You”. But Arnold Maxim, the producer at the session, wanted something a bit different from Hawkins. He thought that everyone sounded a little too staid, a little too uptight, and he asked why they couldn’t sound in the studio like they did when they were having fun on stage and really cutting loose. Hawkins replied that when they were on stage everyone was usually so drunk they couldn’t *remember* what it was they’d been doing. So Maxim decided to order in some crates of beer and fried chicken, and told them “this isn’t a recording session, it’s a party. Have fun.” When they were drunk enough, he started recording, and the result was this: [Excerpt: Screamin’ Jay Hawkins, “I Put A Spell On You”] Now, in later years, Hawkins would try to claim that he had been tricked into that performance, and that he’d had to relearn the song from the record after the fact, because he couldn’t remember what it was he’d been doing. In truth, though, it’s not that different from a record like “(She Put the) Wamee (On Me)”, and it seems more than likely that this is yet more of Hawkins’ exaggeration. The record didn’t chart, because many radio stations refused to play it, but it nonetheless became a classic and reportedly sold over a million copies. This was in part due to the efforts of Alan Freed. Hawkins was already starting to play up his stage persona even more — wearing capes and bones through his nose, and trying to portray a voodoo image. But when he was booked as the headline act on a Christmas show Freed put together in 1956, Freed surprised him by telling him he’d had a great idea for the show — he’d got hold of a coffin, and Hawkins could start his performance by rising out of the coffin like a vampire or zombie. Hawkins was horrified. He told Freed that there was only one time a black man was ever getting into a coffin, and that was when he was never getting out again. Freed insisted, and eventually ended up paying Hawkins a large bonus — which Hawkins would later claim was multiple thousands of dollars, but which actually seems to have been about three hundred dollars, itself a lot of money in 1956. Hawkins eventually agreed, though he kept a finger between the coffin and the lid, so it couldn’t close completely on him. This was the start of Hawkins’ career as a shock-rocker, and he became known as “the black Vincent Price” for his stage shows which would include not only the coffin but also a skull on a stick with smoke coming out of it (the skull was named Henry) and a giant rubber snake. Many horror-themed rock acts of the future, such as Alice Cooper or the Cramps, would later use elements of Hawkins’ stage shows — and he would increasingly make music to match the show, so that he later recorded a song called “Constipation Blues”, which he would perform while sitting on a toilet on stage. But in 1957, neither he nor the record label seemed quite sure what they should do to follow up “I Put a Spell on You”. That record had traded heavily on its shock value, to the extent that OKeh’s trade ads contained the line “DJs be brave — if you get fired, we’ll get you a job!” however, only one DJ did get fired for playing it, one Bob Friesen. He contacted OKeh, but they didn’t get him a job — and eventually someone working for the company told Billboard this, Billboard publicised the story, and another station hired Friesen for the publicity that would get them. OKeh actually edited the single shortly after release, to get rid of some of the grunts at the end, which people variously described as “orgiastic” and “cannibalistic”, but it didn’t make the record any more palatable to the professionally outraged. But the next record went completely the other way — a cover version of the old standard “You Made Me Love You (I Didn’t Want to Do it)”: [Excerpt: Screamin’ Jay Hawkins, “You Made Me Love You (I Didn’t Want to Do It)”] I can see why they thought that was a good idea before recording it — Fats Domino had just had a massive hit with “Blueberry Hill”, another old standard done in a similar arrangement to the one on Hawkins’ record, but still… The next couple of records were more in the style one might expect from Hawkins, a track called “Frenzy”, and a great Leiber and Stoller swamp-rocker called “Alligator Wine”: [Excerpt: Screamin’ Jay Hawkins, “Alligator Wine”] But neither of those was a success either — partly because Hawkins went too far in the other direction. He had the opportunity to appear in Alan Freed’s film “Mister Rock and Roll” to promote “Frenzy”, but while every other act in the film performed in suits or were similarly well-dressed, Hawkins insisted on performing naked apart from a loincloth, with his hair sticking up, white face-paint, and carrying a spear and a shield — his idea of what a Mau Mau rebel in Kenya looked like (the Mau Mau fighters did not look like this). Or at least that was his later description of what he was wearing. Others who’ve seen the footage suggest it wasn’t quite that extreme, but still involved him being half-naked and looking like a “native”. Hawkins had already been getting a certain amount of criticism from the NAACP and other civil rights groups because they believed that he was making black people look bad by associating them with voodoo and cannibalism. Paramount Pictures decided that they didn’t particularly want to have their film picketed, and so removed Hawkins’ section from the film. Hawkins’ attitude to the NAACP was that as far as he was concerned the only thing they were doing for black people was trying to stop him earning a living, and he wanted nothing to do with them. (This was not a common attitude among black people at the time, as you might imagine.) And so, once again, things went to the other extreme. Hawkins put out his first album. It was called “At Home With Screamin’ Jay Hawkins”, had a cheery photo of Hawkins in a Santa hat on the cover, and mixed in his recent singles, a couple of new originals (including one called “Hong Kong” which is mostly just Hawkins making racist “ching chong” sounds) and… versions of “I Love Paris in the Springtime”, “Ol’ Man River”, and other extremely non-voodoo-shock-rock songs. Unsurprisingly, it wasn’t a success. He was dropped by OKeh and moved to a tiny label, where he started recording more idiosyncratic material like “Armpit #6”: [Excerpt: Screamin’ Jay Hawkins, “Armpit #6”] But any chance of a comeback was pretty much destroyed when he was arrested in 1958 for possession of cannabis and statutory rape, after having had sex with a fifteen-year-old girl. After he got out of prison, he moved to Hawaii for a while, and became a performer again, although there was a temporary hiccup in his career when his girlfriend and singing partner stabbed him after she found out he’d married someone else without telling her. She presumably also didn’t know that he was still married to his first wife at the time. Hawkins’ career remained in the doldrums until 1965, when two things happened almost simultaneously. The first was that Nina Simone recorded a cover version of “I Put a Spell on You”, which made the top thirty in the US charts: [Excerpt: Nina Simone, “I Put a Spell on You”] The second was that Hawkins got rediscovered in the UK, in quite a big way. There was a club in Manchester called the Twisted Wheel, which was legendary in soul and R&B circles — to the extent that when I saw P.P. Arnold in its successor venue Night People two weeks ago, she kept referring to it as the Twisted Wheel, even though the original club closed down in 1971, because she had such strong memories of the original venue. And among the regular attendees of that club were a group of people who loved the few Screamin’ Jay Hawkins records they’d been able to get hold of. Hawkins had been popular enough that a British act, Screamin’ Lord Sutch and the Savages, had stolen his act wholesale, cape, coffin, and all: [Excerpt: Screamin’ Lord Sutch and the Savages, “Jack the Ripper”] Screamin’ Lord Sutch would later go on to form the Monster Raving Loony Party, a political party intended as a joke that still continues to field candidates at every election twenty years after Sutch’s death. But while people like Sutch had admired him, Hawkins was mostly a legend in British blues circles, someone about whom almost nothing was known. But then some of the Twisted Wheel people went to see Little Richard at the Oasis club, another famous Manchester venue, and got chatting to Don “Sugarcane” Harris, from the support act Don and Dewey. He mentioned that he’d recently seen Hawkins, and he was still doing the same show, and so the British blues and soul fans tracked him down and persuaded the promoter Don Arden to put on a tour of the UK, with Hawkins using the Twisted Wheel as his base. The tour wasn’t a commercial success, but it built Hawkins’ reputation in Britain to the point that it seemed like *every* beat group wanted to record “I Put a Spell on You”. Between 1965 and 1968, it was recorded by Manfred Mann, the Crazy World of Arthur Brown, the Animals, Them (featuring Van Morrison) and Alan Price, who made the top ten in the UK with his version: [Excerpt: The Alan Price Set, “I Put a Spell on You”] Hawkins even got to record a second album, finally, in Abbey Road studios, and he started to tour Europe successfully and build up a major fanbase. But Hawkins’ self-destructive — and other-people-destructive — tendencies kicked in. The next few decades would follow a recurring pattern — Hawkins would get some big break, like opening for the Rolling Stones at Madison Square Garden, or recording an album with Keith Richards guesting, or finally getting to appear in a film. Every time, he would let his addictions to alcohol or codeine overtake him, or he would rip a friend off for a trifling sum of money, or he would just get married bigamously again. Much of the time, he was living in one-room apartments, sometimes with no electricity. He married six times in total, and was abusive towards at least some of his wives. Screamin’ Jay Hawkins died in 2000 after emergency surgery for an aneurysm. His fifth wife, one of the two who seem to have been actually important to him in some way, has dropped strong hints that he was killed by his sixth wife, who he had been claiming was poisoning him, though there’s no evidence for that other than that she was strongly disliked by many of the people around Hawkins. When he died, he was seventy, and his current wife was thirty-one. Many people claimed that they had visitations from Hawkins’ ghost in the days after his death, but the thing that seems to sum him up in the afterlife the most is his legacy to his family. He sold the rights to “I Put a Spell on You” shortly before his death, for twenty-five thousand dollars, which means his estate gets no songwriting royalties from his one big hit. He hadn’t made a will since the 1970s, and that will left most of his money to his second wife, Ginny, who most people seem to agree deserved it if anyone did — she was with him for sixteen years, and tolerated the worst of his behaviour. He also left an amount to a niece of his. As for his kids? Well, none of the seventy or however many illegitimate children he had saw a penny from his will. His three legitimate children, he left a dollar each. At least one of them, his daughter Sookie, didn’t get her dollar — it went to her cousin, who didn’t pass it on to her. And I think that means I should give Sookie the final word here, in a quote from the end of Steve Bergsman’s biography. “My father thought he was all that, but not to me. Screamin’ Jay Hawkins didn’t treat people right. He was a performer, but he didn’t treat people right.”

An in-depth conversation about one the strangest characters of the Blues and Rock-N-Roll, Screaming Jay Hawkins with author Steve Bergsman. Details of Hawkins life is based on Bergsman new autobiography called, I Put a Spell on You: The Bizarre Life of Screamin' Jay Hawkins. Part 1 of this 2 part series will cover Hawkins early career which both, sensationalized and marginalized by his many character flaws.

An in-depth conversation about one the strangest characters of the Blues and Rock-N-Roll, Screaming Jay Hawkins with author Steve Bergsman. Details of Hawkins life is based on Bergsman new autobiography called, I Put a Spell on You: The Bizarre Life of Screamin' Jay Hawkins. Part 1 of this 2 part series will cover Hawkins early career which both, sensationalized and marginalized by his many character flaws.

1:22 - “I Put a Spell On You” 7:54 - The Sanderson Sisters 19:42 - Hocus Pocus vs. other Halloween movies27:53 - Who is the audience? 36:39 - Closing ThoughtsFollow us on TwitterLike us on Facebook Check us out on InstagramDon’t forget to rate, review, and subscribe

Find us at: iTunes Spotify Patreon CW: Discussions of racism, violence, sexism. In preparation for the new Netflix series, The Chilling Adventures of Sabrina, we read all 8 issues of the comic it's based on. There's some interesting ideas floating around, but between some seriously problematic writing and just ugly artwork, we're not real excited about the comic itself. Still, there's not enough here to make us not want to watch the new show, and the last three issues in the series made things a little easier to swallow. Who knows? Maybe you'll side with these witches over Macintosh & Maud, and then join us on Patreon for our continuing review of the TV series... Macintosh & Maud have started a Patreon! You can sign up now at our $2/month level to get our Doghouse Drive-Thru every Friday after a new Riverdale episode, plus season 2 ofThe Chilling Adventures of the Doghouse, a weekly review of The Chilling Adventures of Sabrina on Netflix! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Intro taken from "I Put a Spell on You," written and performed by "Screamin' Jay" Hawkins. Copyright 1956 OKeh Records. Outro taken from "Season of the Witch," written by Donovan and Shawn Phillips, and performed by Donovan. ℗©1966 Epic Records/Sony Music Entertainment Inc. Interstitial music taken from "Make Up" from the compilation album Kamelot by Distortions. Licensed under an Attribution-NonCommercial-NoDerivatives 4.0 International license. To hear the song or get more information about the artist, visit the song page at Jamendo.

An interview with Steve Bergsman, author of "I Put a spell on You: The Bizarre Live of Screamin' Jay Hawkins" published by Feral House Books. --- Support this podcast: https://anchor.fm/the-junot-files/support

Frihetssångerskan som med musiken som vapen bekämpade ett samhälle byggt på orättvisor och som blev rösten för en hel revolution. Redaktionen för detta avsnitt består av: Cecilia Düringer - programledare och manus Sofia Pappa - producent, manus, och research Navid Bavey - scenuppläsare Samuel Lindberg -  ljuddesign och slutmix David Rune - exekutiv producent Medverkar gör också Håkan Thörn, professor i sociologi vid Göteborgs Universitet och författare till boken 1968: Revolutionens rytmer. Vill du veta mer om Nina Simone? Här är några av de böcker som legat till grund för avsnittet: I Put a Spell on You, av Nina Simone Are you ready to burn buildings? The Guardian What Happened, Miss Simone? av Liz Garbus Nina Simone - The Biography, av David Brun-Lambert Better Day Coming: Blacks and Equality, 1890-2000, av Adam Fairclough

I Put this Away, mistakenly I Guess, for the Season! My Poor HYUNDAI ELANTRA VE MIDNIGHT BLUE 2004!-Leary.

I Put together the best of some of my favorite tracks to play out this year! It was hard to choose, but this mix definitely gives you the vibe. Dig in and I’ll see you in 2019! Jams! Best of 2018 Claire Richards - On My Own (Rare Candy Remix) Jess Glynne - Thursday (Jack Wins Remix) Clean Bandit - Solo ft Demi Lovato (Wideboys Remix) Silk City - Electricity ft Dua Lipa (Rip City Boys Remix) Sandy Rivery & Styline - I Can’t Stop (Samuele Martini Mashup) Jaki Nelson - Dancing With Strangers (StoneBridge & Damien Hall Remix) Debby Holiday - Waiting For A Lifetime (Russ Rich & Andy Allder Piano House Mix) Avicii - Lonely Together ft Rita Ora (Sagi Kariv Remix) Cher - Gimme Gimme Gimme (Guy Scheiman Anthem Remix) Ariana Grande - No Tears Left To Cry (Toy Armada & DJ GRIND Remix) Kim Petras - Heart To Break (Toy Armada & DJ GRIND After Dark Mix) Celine Dion - Ashes (Andre Grossi ETERNA Festival Mix)

Spooky tunes for ghosts and goons! Tracklist: The Cadillacs "The Boogie Man" Screaming Lord Sutch "Jack the Ripper" The Surfaris "Jack the Ripper" The Tarantulas "Tarantula" Kenyon Hopkins "The Tell-Tale Heart" Franco Micalizzi "Bargain with the Devil" Lambert, Hendricks & Ross "Halloween Spooks" Dusty Springfield "Spooky" Scientist "The Voodoo Curse" Lee "Scratch" Perry "Disco Devil" Carl McKnight "The Devil's Out Tonight" Paul Mauriat "Thriller" Nina Simone "I Put a Spell on You" Geto Boys "My Mind Playin Tricks On Me" Isaac Hayes "Hung Up On My Baby" Eugene McDaniels "Jagger the Dagger" Johnny Mathis "No Love (But Your Love)" Mayer Hawthorne "Held the Hand (Daniel Johnston cover)"

Það fór fram hópfílun þegar Fílahjörðin mætti við drykkjarstöðvar sínar og stakk sér á bólakaf í tilfinninga-uppnáms-stomperinn I Put a Spell on You. Var lagið bæði mergfílað með höfundi sínum, Screamin’ Jay Hawkins og svo einnig með Creedence Clearwater Revival. Sérhver taug var þanin í þessari fílun. Móða stríðsins. Ofsi afbrýðisseminnar. Ofsóknaræðið og lostinn í […]

As the wind blows and darkness falls we come upon an episode of Werewolf We Ghost, I mean, Hear We Go. Listen to us discuss songs based on the topic theme of Halloween! www.lead.deals SPOILER ALERT TRACKLIST: “This Is Halloween” by The Nightmare Before Christmas, “I Remember Halloween” by the Misfits, “I Put a Spell On You” by Bette Middler, “Obsidian” by John Carpenter, “Oh My God” by Ida Maria, “Halloween Theme” by John Carpenter

October is the season of the witch.  Maybe that’s why so many of you have asked for episodes about witches and witchcraft.  In March, 2017, I released an episode about a man named Nelson Rehmeyer, a pow-wow doctor who lived in York County, PA. While I work on a new episode about a Pennsylvania witch … Continue reading "I Put a Spell on You – the Story of Hex Hollow and Other Tales"

Today 5pm-6pm EST 10pm-11pm BST 2pm-3pm PDT bombshellradio.com Bombshell Radio Repeats 5am EST #Rock #Radio #alternative #Classics #NewMusic #ZadokStrawberry #ForTheRecord For The Record Playlist 10-10-18 00:00:00,Steely Dan,Doctor Wu 00:03:48,Steely Dan,Green Earrings 00:07:43,Levinsky,Abandon 00:09:11,Levinsky,Misdemeanor 00:13:35,James A. McDermid,The vagabond 00:15:13,James A. McDermid,I Put the Letter in My Pocket 00:18:20,Simple Minds,Shake Off the Ghosts (2002 Remastered) 00:22:00,Simple Minds,Bass line 00:26:50,Stardazer,Liquid Memories 00:29:50,Stardazer,Vacation Dreams 00:31:55,Byte Mapper,i Will Follow 00:35:39,Byte Mapper,Stuck Up Glitch 00:38:39,R A,Mod Six Plus or Minus One 00:41:39,R A,Approaching the Infinity Of 00:43:39,The Hunted Hare,Everywhere Green 00:47:07,The Hunted Hare,Summers in the Field 00:51:34,Apostrophic,sunrise

En 1965 Nina Simonepublicó I Put a Spell on You, uno de sus trabajos más exitosos y redondos, un álbum clave para Simone que era presentada al público como la Gran Sacerdotisa del Alma

Lisa-Kaindé Diaz of Ibeyi explains how Nina Simone's version of "I Put a Spell on You" helped her understand what singing was really about and how music helped heal the relationship with her sister Naomi. Oh yeah, and what it was like to be a part of Beyonce's Lemonade!

Lisa-Kaindé Diaz of Ibeyi explains how Nina Simone's version of "I Put a Spell on You" helped her understand what singing was really about and how music helped heal the relationship with her sister Naomi. Oh yeah, and what it was like to be a part of Beyonce's Lemonade!

Ett porträtt av den amerikanska jazzsångerskan, pianisten och medborgarrättskämpen Nina Simone. Ett program från 2009. I Loves You Porgy, Baltimore, My Baby Just Cares For Me, och I Put a Spell On You. Listan på fantastiska låtar med Nina Simone kan göras lång. Men hon var inte bara en stor soulstjärna med en fantastisk röst. Hon var även en medborgarrättsaktivist och deltog i kampen för svartas rättigheter. Nina Simone dog 2003 men fortsätter att inspirera nya generationer av musiker och lyssnare. Porträttet är gjort av musikjournalisten Karin Forsmark och såhär beskriver hon henne: "Nina Simone är kraft, ilska och bräcklighet för mig. En stor röst med ett alldeles speciellt uttryck, hård och nästan vass, ömsom hjärtskärande, ömsom len som honung. Hon var sällan lagom, avskydde etiketter och vände sig starkt emot de som sattes på hennes musik. Nina Simone var en artist som ville göra världen till en bättre plats med sin musik." Det här programmet sändes ursprungligen i P4 2009.

Screamin’ Jay Hawkins isn’t a name many would recognize, but his most famous song, “I Put a Spell on You” is now a Halloween staple in many homes across the U.S. He also may have fathered anywhere between 30 and 75 children.

Natacha Atlas - Yalla Chant Edit By Petko Turner Most of Natacha Atlas' earlier albums were produced by Tim Whelan and Hamilton Lee from Transglobal Underground. Diaspora (1995), Halim (1997) (in honour of Egyptian singer Abdel Halim Hafez), Gedida (1998) and Ayeshteni (2001). Atlas has always spoken her mind about the way both she and Transglobal Underground were seen by the UK press back in the late 90s/early 2000. "Someone from the New Musical Express rang us about a feature we're to do with them and said 'We don't want it to be about the multi-cultural angle'. In other words that fad is over. And I'm personally insulted... what other angle is there for us?! I get sick of it all." In 1999, Atlas collaborated with David Arnold on the song "One Brief Moment". The single featured a cover version of the James Bond theme song from the film You Only Live Twice. Two years earlier, Atlas had collaborated with Arnold on the album Shaken and Stirred, recording the song "From Russia with Love" for the eponymous film(originally performed by Matt Monro). Also in 1999, she collaborated with Jean Michel Jarre for the track "C'est La Vie" on his album Métamorphoses. The track was released as a single. In 2003, Atlas provided vocals for the Kolo folk dance song "'Ajde Jano" on Nigel Kennedy and Kroke's album, East Meets East. In 2005, Atlas contributed the song "Just Like A Dream" (from Something Dangerous) to the charity album Voyces United for UNHCR. Her music has been used in a number of soundtracks. Her song "Kidda" was featured on the Sex and the City 2 soundtrack and in the 2005 video game Grand Theft Auto: Liberty City Stories on Radio del Mundo. In 2003, her voice is heard in Hulk in the song "Captured“. Additionally, her song "Bathaddak" is one of the songs included in the 2007 Xbox 360 exclusive video game Project Gotham Racing 4. Her cover of I Put a Spell On You was used in the 2002 film Divine Intervention by Palestinian director Elia Suleiman. Atlas was originally billed to star in and provide the soundtrack to the film Whatever Lola Wants, directed by Nabil Ayouch. However, shooting delays caused Atlas to only be involved in the film's soundtrack. Her song "Gafsa" (Halim, 1997) was used as the main soundtrack during the Korean film Bin-Jip (also known as 3-Iron) (2004) by Kim Ki-Duk. She participated in the piece "Light of Life (Ibelin Reprise)" for the soundtrack of Ridley Scott's Kingdom of Heaven. In 2007, Atlas collaborated with Belinda Carlisle for Belinda's seventh album Voila. She contributed additional vocals on songs "Ma Jeunesse Fout Le Camp," "La Vie En Rose", "Bonnie et Clyde" and "Des Ronds Dans L'Eau." Voila was released via Rykodisc in the U.K. on 5 February 2007 and in the U.S. the following day. The 2007 film Brick Lane features four songs with vocals by Atlas, "Adam's Lullaby", "Running Through the Night", "Love Blossoms" and "Rite of Passage". On 23 May 2008 Atlas released a new album, Ana Hina, which was well received by critics. In 2008, two of Atlas' songs, "Kidda" and "Ghanwa Bossanova", were used in Shamim Sarif's romantic comedy about two women, I Can't Think Straight. In 2008, she sang lead in the song "Habibe" from Peter Gabriel's long-awaited album and project, Big Blue Ball. On 20 September 2010 Atlas released Mounqaliba. Co-produced by Samy Bishai, it explored classical instrumentation, jazz and traditional Arabic styles and was inspired by the poems of Indian poet Rabindranath Tagore. She is also composing the music for Francoise Charpat's upcoming film. In May 2013, Natacha Atlas released Expressions: Live in Toulouse, an album which showcased her expressive voice using largely orchestral arrangements augmented by Middle Eastern percussion.

It’s ‘I Put a Spell on You’ Month all October! Happy Halloween?? There is an ancient legend that proclaims: “Darkness falls across the land/ The midnight hour is close at hand/ And whosoever shall be found/ Without the soul for getting down/ Must stand and face the hounds of hell/ And rot inside a corpse’s shell/ The foulest stench is in the air/ The funk of forty thousand years/ And grizzly ghouls from every tomb/ Are closing in to share your doom/ And though you fight to stay alive/ Your body starts to shiver/ For no mere mortal can resist/ The evil of the thriller.” Or maybe that's a Michael Jackson song, I can never remember. At any rate, prepare to stand and face the hounds of hell, this week we are talking werewolves! That's right from Lycanthropy, to the Beast of Gevaudan, to Rabies and the scientific superhero Louis Pasteur; we will be asking if this legend's bark is as bad as its bite.  For more on this week's episode, and every episode: justastorypod.com Twitter: @justastorypod  Instagram: justastorypod  Leave a voicemail on the Urban Legend Hotline 1-(512)-222-3375       Help support the show: https://www.patreon.com/justastorypod

  It’s ‘I Put a Spell on You’ Month all October! Happy Halloween?? When you really think about it, we all live in mystery houses. Secrets and blood are two things that really help shape our notions of ‘family’. Perhaps the most well known mystery house of all, that of Widow Winchester in San Jose, California had one more feature that helped define it, a family curse. Join us this week as we explore family curses throughout history. from the Hapsburgs and their ravens to Henry VII and his monks, a good curse seems to be almost status symbol for European royalty. We’ll discuss the machinations of general cursing and the curse of original sin before taking a look at one of America’s own cursed Colt family. For more on this week's episode, and every episode: justastorypod.com Twitter: @justastorypod  Instagram: justastorypod  Leave a voicemail on the Urban Legend Hotline 1-(512)-222-3375       Help support the show: https://www.patreon.com/justastorypod

Gloom/garage creepcore....dream trash....a David Lynch garage sale... After meeting at a NYC ad agency marketing drugs for schizophrenia, Brooklyn's 68creep has set out to spread its heavy, surreal, carny creepcore to David Lynch fans near and far. https://www.facebook.com/68creep PLAYLIST68creep - "Stone Cold Kiss"The Improbables - "Save Yourself"68creep - "Birthday"The '94 Knicks - "Don't Worry"Shotgun Sawyer - "Shallow Grave"68creep - "I Put a Spell on You"68creep - "Black Cat"Gunfight! - "Raise & Fall" The Rodent Hour plays independent rock 'n' roll from Brooklyn & beyond every Monday evening at 8PM on Radio Free Brooklyn. rfb.nyc/trh

Recently I realized it’s been quite a while since I’ve told any Pennsylvania ghost stories – I think it’s been since Haunted Hill which was the third episode?And there are so many from around Philadelphia and all over Pennsylvania.  I’ve told you  I believe in ghosts – or maybe spirits is the right word.  That … Continue reading "Episode 28: I Put a Spell On You"

Step back in time to the days when DJs played vinyl, glow-sticks lit up the dancefloor and galloping bass-lines ruled the clubs... let's go all the way back to The 90s! Here's a preview of my 2016 set at PUMP's 5th birthday party in Dec 2016 at ARQ in Sydney. http://DJDanMurphy.com - check out my website for heaps more music & contact details. 1. Stay (radio edit) - SASH! 2. I Put a Spell On You - SONIQUE 3. Dreamer - LIVIN' JOY 4. Another Night - THE REAL MCCOY 5. Better Off Alone (1999 original mix) - ALICE DEEJAY 6. All I Wanna Do (12" extended mix) - DANNII MINOGUE 7. Son Of A Gun (jx & red jerry mix) - JX 8. The Key, The Secret (glamorously developed mix) - URBAN COOKIE COLLECTIVE 9. 9PM (‘til I Come) (sequential one 1999 mix) - ATB 10. Wannabe (motiv8 vocal slam mix) - SPICE GIRLS 11. We Like To Party (The Vengabus) - VENGABOYS 12. Deeper And Deeper - MADONNA 13. Show Me Love - ROBIN S. 14. Mr. Vain - CULTURE BEAT 15. Not Over Yet (perfecto mix) - GRACE 16. Dreaming (percussion mix) - RUFF DRIVERS pr. ARROLA 17. Sing Hallelujah - DR. ALBAN 18. The Best Things In Life Are Free - JANET JACKSON & LUTHER VANDROSS • http://facebook.com/DJDanMurphy • http://twitter.com/DJDanMurphy

LISTENER’S QUESTION “I sought out your podcast a few days ago and have found it very helpful for the difficult situation my relationship is currently in. My partner lost his job a couple months ago due to downsizing at his company. Since then he’s also lost a lot of confidence, reignited many insecurities, become extremely negative about everything related to job searching, been unmotivated. Meanwhile, I work hard 40 hours a week so it’s really hard for me to remain positive and supportive. I would love to hear an episode that could speak to this.“ (Please listen to the podcast episode or read the transcript to hear my stories and examples to describe these points.) Getting laid off or let go from a job can be an extremely upsetting event. HERE ARE SOME THINGS TO CONSIDER AS YOU NAVIGATE THIS CHALLENGING TIME:   EGO BLOW: Losing a job can: Shake one’s identity and self-definition. Who am I? Put one’s self-worth into question. What is my value? Trigger old feelings of inadequacy and insecurities. “”At this point, I’m so terrified of rejection, I don’t know how to go back out there and try again.” As a multitasking, very verbal woman, I often inundate Dan with ideas of thisses or thats—the things he could do to get a job. And I frequently get silence in return. I’ve come to realize, finally, that it’s not that he doesn’t want to try my ideas. Instead, the problem is that Dan’s wound is deep enough that it might take awhile to heal.” By Caitlin Shetterly From “6 Things Your Unemployed Husband Might Never Say Out Loud” UPSET & LOSS: Often, there is a natural grieving period (i.e. shock, resentment, sadness). People’s process will range from a few weeks to several months. Losing a job can put serious mental and emotional strain on someone (i.e. depressive symptoms). People can feel embarrassed, ashamed, and humiliated, especially when facing loved ones, family, and friends. Losing a job may bring up feelings of failure, vulnerability, and anxiety, ““I love you; I just don’t love myself that much right now.” Your husband might be telling you this already. Only it might come out like, “May I make you a sandwich to take to work with you?”” By Caitlin Shetterly From “6 Things Your Unemployed Husband Might Never Say Out Loud” INCREASE OF STRESS: Stress is real. It is important to pay attention to the stress impact. When one person is going through a really difficult time, it often puts stress on the relationship. Stress can magnify or amplify relationship tensions or issues. Check out these two podcast episodes on the impact of stress. ERP 074: How To Combat The Damage Of Stress In Your Relationship & ERP 075: How To Combat The Damage Of Stress In Your Relationship – Part Two “But whether the reason you lost your job has everything to do with your perceived performance, or absolutely nothing, it’s how you respond in the wake of it that will set you apart from others when it comes to finding a new job.” By Margie Warrell From “Bouncing Back from Job Loss: The 7 Habits of Highly Effective Job Hunters” HERE ARE 2 (OF 8) TIPS ON HOW TO HANDLE THE STRESS, SUPPORT YOUR PARTNER, AND SUPPORT YOURSELF THROUGH THIS DIFFICULT TIME: 1. LISTEN Be silent with him. Allow him to talk and “empty the cup.” If you give him time, space, and interest, he will reveal more. Be patient. Empathize, if you can. Feel with him. Even when communication is hard, it is important to keep the lines open. 2 BELIEVE: Don’t buy into his negative story. See his strengths, resources, and capabilities, even if he can’t. Encourage him when the time is right. Attempt to have a balance between validating and hearing him (and the hardship) and believing in him (he can get through this). One of the hardest things to do is to believe in the process when it looks like a mess. Recognize the negative basis. MENTIONED: ERP 074: How To Combat The Damage Of Stress In Your Relationship (podcast) ERP 075: How To Combat The Damage Of Stress In Your Relationship – Part Two “Bouncing Back from Job Loss: The 7 Habits of Highly Effective Job Hunters” By Margie Warrell (article) “6 Things Your Unemployed Husband Might Never Say Out Loud” By Caitlin Shetterly (article) TRANSCRIPT: Click on this link to access the transcript for this episode: ERP 086: How To Handle The Stress From Your Partner’s Lost Job – Part One [Transcript] If you have a topic you would like me to discuss, please contact me by clicking on the “Ask Dr. Jessica Higgins” button here. Thank you so much for your interest in improving your relationship. Also, I would so appreciate your honest rating and review. Please leave a review by clicking here. Thank you! If you are interested in developing new skills to overcome relationship challenges, please consider taking the Empowered Relationship Course or doing relationship coaching work with me.

Time for the Halloween Edition II.  More awesome spooky tunes from dat dragon with da shades.  Listen closely for a special appearance by Christopher Walken!  Thank you to my good friend Liz for helping out with the show.:)  Music in this episode: 1) Halloween - King Diamond  2) Worms Crawl In  3) When You're Evil - Voltaire  4) Avoid the Light - Pantera  5) Don't Fear the Reaper - Blue Oyster Cult  6) Witch Doctor  7) At the House of Frankenstein - Big Bee Kornegay  8) Ghost Of A Texas Lady Man - Concrete Blonde  9) I Put a Spell on You - Bette Midler  10) Purple People Eater - Sheb Wooley  11) The Munsters Theme  12) Thriller (Remix) - Michael Jackson  13) Monster (In My Pants) - Fred Schneider  14) They're Coming To Take Me Away - Jerry Samuels 

In this episode of the Spiraken movie review, Xan and Jaxie continue the theme Month of Family, Fantasy, and Fantastic Pixie Dust, with a magical film about fairy godmothers, glass slippers and true love. So let out your inner child and relax as we review the Walt Disney Classic, "Cinderella" directed by Clyde Geronimi and starring Ilene Woods, Eleanor Audley,Verna Felton,Rhoda Williams,James MacDonald,Luis van Rooten,Don Barclay,Mike Douglas and Lucille Bliss Our hosts talk about the origins of this masterpiece and how is compares to the source material and its predecessor, Snow White.They  also discuss Lady Tremaine's motivation and remind our listeners to check out White Duck Events "BBC Tea Party in the Park"on April 16th.   Remember this film is owned by Walt Disney Pictures, Watch and support disney  Hope you enjoy  ----more----Please send us any comments concerns and ideas on how to make this podcast better. Let us know so we can do something about it. Rate us on iTunes, check out the facebook fangroup Spiraken Movie Review, purchase some stuff from our amazon store in order to fund this podcast and finally, listen to the primary podcast, The Spiraken Manga Review Music For Episode:Background Music -Bibbidi Bobiti (Boo Karaoke Version) (Karafun Channel), Intro Music -Main Title (Cinderella) by Mack Dacid, Jerry Livingston & Al Hoffman (Cinderella OST),Background Music -When You Wish Upon a Star ( Walt Disney OST),g>Background Music -A Dream is a Wish Your Heart Makes by Ilene Woods(Cinderella OST), Background Music -The Work Song by The Mouse Chorus (Cinderella OST), Background Music -The Dress/Escape To The Garden by Mack David, Jerry Livingston, and Al Hoffman (Cinderella OST),Background Music -Where did I Put that thing/ Bibbidi Bobbidi Boo by Verna Felton (Cinderella OST), Background Music -So This is Love by Irene Woods & Mike Douglas (Cinderella OST), Background Music -The Stroke of Midnight by Mack David, Jerry Livingston, and Al Hoffman (Cinderella OST), Background Music -Locked in the Tower by Mack David, Jerry Livingston, and Al Hoffman (Cinderella OST),Background Music -Gus & Jaq To The Rescue by Mack David, Jerry Livingston, and Al Hoffman (Cinderella OST),Ending Music -Finale by Clint McCauley and other Mice (Cinderella OST) Our Website http://www.spiraken.com Our Email Spirakenmovie@gmail.com My Email xan@spiraken.com Co Host's Email lunabotan007@gmail.com Our Twitter Spirakenmovie Our facebook fangroup Spiraken Movie Review Our Amazon Store www.amazon.com/shops/Spiraken Xboxlive Gamertag Xan Spiraken Random Question of the Week: What kind of ending would you have liked to see for the wicked step sisters?

Goal setting is a skill set that can drastically transform your life.  It is essential that you cultivate this so you get to the point where you believe you can achieve awesome things. In this episode, I outline my "I-SMART" Principle with the six things you should consider when setting your goals.  These are listed below and outlined in-depth in this episode. I - Put the "I" at the front of your goals and OWN them. S - Be Specific about exactly what you want. M - Make sure it Matters so you will fight for it. A - Make it Applicable to your highest aspirations. R - Make sure they are not Reasonable by normal expectations. T - Put a Time frame on it so you will take action. By implementing these elements in to your goal setting process, you give yourself a solid foundation to make great things happen.  But you must be willing to rock your goals out every single day to get extraordinary results. If you enjoy the episode, please be sure to share it with friends so we can help them reach their full potential and make the world a MUCH cooler place! For more information on the podcast, visit www.coytecooper.com.  Also, be sure to get a copy of my "Impressions: The Power of Personal Branding in Living an Extraordinary Life" book on Amazon.

Episode 03- I Put a Spell on You by Phaneufington Heights

Improviser, teacher and storyteller Joe Conto shares this story of early love(s), and the allure of authority. From February 2014’s I Put a Spell on You.

Сегодня мы на концерте Creedence Clearwater Revisited 1998 года, который лег в основу концертного альбома Recollection. Звучит лучшее из Creedence Clearwater Revival. На сцене: Doug „Cosmo” Clifford, Stu Cook , а так же Kurt Griffey , Steve Gunner и вокалист John „Bulldog” Tristao . Трэклист: 01. Born on the Bayou — 5:19 02. Green River — 3:23 03. Lodi — 3:19 04. Commotion — 2:41 05. Wholl Stop the Rain — 2:39 06. Suzie Q — 10:10 07. Hey Tonight — 2:36 08. Long as I Can Seen the Light — 3:40 09. Down on the Corner — 3:03 10. Looking Out My Backdoor — 2:44 11. Cotton Fields — 2:53 12. Tombstone Shadow — 4:52 01. Heard It Through the Grapevine — 15:44 02. Midnight Special — 4:14 03. Bad Moon Rising — 2:18 04. Proud Mary — 3:24 05. I Put a Spell on You — 4:36 06. Fortunate Son — 2:48 07. Have You Ever Seen the Rain? — 2:41 08. Travelin Band — 3:29 09. Run Through the Jungle — 8:07 10. Up Around the Bend — 3:52

In this episode, "Howl", recorded at West of Lenin on October 21, 2013: @2:33 "Monster Mash" by Wayne Rawley; @17:01 Poetry from Karen Finneyfrock; @22:44 "Beyond the Box Promo" by Richard Ziman; @24:48 "Cousin Katie Episode 4: Flash Mob of the Damned" by Scot Augustson; @35:53 "Zombie Flash" lyrics by Scot Augustson; @39:16 "Markheim: Episode 10" by Paul Mullin; @55:12 "We Are - The Amurrican People" by Elizabeth Heffron; @1:05:10 "I Put a Spell on You" by Jay Hawkins, performed by Jose "Juicy" Gonzales with the Sandbox Radio Orchestra (Charles Leggett on harmonica); @1:08:23 "Next Time, on Cousin Katie" by Scot Augustson; @1:09:47 "Herbert West: Reanimator" adapted from the story by H.P. Lovecraft by Leslie Law and Richard Ziman; @1:24:18 "Finale/Credits". Music Director: Jose Gonzales; Engineered by Christopher Stewart, Mixed by Dave Pascal; Directed by Leslie Law and Richard Ziman; Stage Manager: Colleen Nielsen; Sound Technician: Max Langley. Tax deductible donations to support the development of Sandbox Radio can be made online at www.sandboxradio.org

It’s October and that means a month made for Ripley’s! This week we broadcast from Orlando’s Ghoul School and kick the month off right - sitting amongst some of the creepiest creations a human can make. Ghoul School proprietor and horror make-up artist Barry Anderson and horror film writer and director Steven Shea are our in-studio guests and they tell us why people love horror and what is so intriguing about the horror genre. Additional Weird, Wild and Wacky Stories on the October 7 Episode of Ripley Radio, the official radio show of Ripley’s Believe It or Not!, includes: we hear from a San Francisco photographer who specializes in capturing frames of artistic fire while risking damage to himself as well as his camera equipment; manager of Ripley’s Believe It or Not! in St. Augustine, Fla., Kim Kiff explains how she uses a live, two-headed turtle to help teach school kids about the badness of bullying; and a man who has been honored by four presidents for his part in helping clean up inland rivers talks about the amazing collection of weird stuff he has found along the banks of those rivers – including dead bodies, bowling balls and voodoo dolls. Screamin’ Jay Hawkins provides this week’s musical egress with his classic, I Put a Spell on You!

Sentimentality about Cool Hand Luke, indomitable spirit, the Great Mechanick, living above board and having a laugh and an esteemable regard, or disregard for death as defeat or vice-versa.  The tracks selected, hidden between samples, reflect my living.Lyrics in m4a ID3 tag for lyrics, and tracklist below:1,"Sometimes Nothing Can Be a Real Cool Hand","Cool Hand Luke","Cool Hand Luke"2,"Intro to ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37","Giosue Etranger","ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37"3,"Just Passing Time, Captain","Cool Hand Luke","Cool Hand Luke"4,"Castles Made of Sand","The Jimi Hendrix Experience","Axis: Bold as Love"5,"Plastic Jesus","The Goldcoast Singers","Here They Are! The Goldcoast Singers"6,"Baba O'Riley","The Who","Who's Next"7,"Fish in the Jailhouse","Tom Waits","Orphans: Brawlers"8,"What Good Is It","Screamin' Jay Hawkins","I Put a Spell On You"9,"With Nothing","Cool Hand Luke","Cool Hand Luke"10,"You Can Get It If You Really Want","Jimmy Cliff","The Harder They Come"11,"Eat 50 Eggs","Cool Hand Luke","Cool Hand Luke"12,"Love Me Hate Me Kill Me Anything Just LET ME KNOW IT","Cool Hand Luke","Cool Hand Luke"13,"New York, I Love You but You're Bringing Me Down","LCD Soundsystem","Sound of Silver"14,"Plastic Jesus","Cool Hand Luke","Cool Hand Luke"15,"Just Doing My Job","Cool Hand Luke","Cool Hand Luke"16,"Alec Eiffel","Pixies","Trompe le Monde"17,"Gouge Away","Pixies","Doolittle"18,"How Do You Take Your Pants Off?","Cool Hand Luke","Cool Hand Luke"19,"Inglan Is a Bitch","Linton Kwesi Johnson","Bass Culture"20,"You Gotta Move","The Rolling Stones","Sticky Fingers"21,"Dear Boys Playing It Cool","Cool Hand Luke","Cool Hand Luke"22,"Florida","Modest Mouse","We Were Dead Before the Ship Even Sank"23,"Easy Eats or Dirty Doctor Galapagos","Man Man","Rabbit Habits"24,"Midnight Special","Lead Belly","The Very Best of Leadbelly"25,"Over And Over Again (Lost And Found)","Clap Your Hands Say Yeah","Clap Your Hands Say Yeah"26,"Never Make It (What're You Talking About?)","Cool Hand Luke","Cool Hand Luke"27,"Approximate Sunlight","Bright Eyes","The People's Key"28,"Never Planned Anything in My Life","Cool Hand Luke","Cool Hand Luke"29,"My Back Pages","Bob Dylan","Another Side of Bob Dylan"30,"Plastic Jesus","The Flaming Lips","Transmissions From the Satellite Heart"31,"Conclusion (So Good)","Cool Hand Luke","Cool Hand Luke"32,"End Title","Lalo Schifrin","Cool Hand Luke"33,"Goodbye","Giosue Etranger","ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37"That's It.ᎦᎵᏉᎩ (galiquogi) 7ᏦᎢᏍᎪ ᎦᎵᏉᎩ (tsoisgo galiquogi) 37An Endorsement for Nobyl Skateboards (I'm not an actor):#37: The What For (Buy something from them. Maybe it's a good idea.)

Alyn Shipton and Gwyneth Herbert select highlights from the recorded catalogue of the jazz singer and pianist known as the High Priestess of Soul. The programme includes part of an archive interview by Alyn with Nina herself, recorded on her last visit to Britain, as well as her best songs ranging from Porgy through Mississippi Goddam to I Put a Spell on You.