Podcasts about I Wanna Be Your Lover

Nueva entrega de "Back in the Day", en el que Shockadelica hace un repaso al mes de enero en Prince: lanzamientos, grabaciones, conciertos y nacimientos. Los temas que escucharéis en este capítulo son: Intro: Let's Work (1981) Canciones de fondo: In Love (1978) Canciones íntegras: 1- I Wish U Heaven (ensayo 1988). 2- Dolphin (1993) 3- Shall We Dance? (Brown Mark, 1989) 4- Jaguar (Mavis Staples, 1988) 5- Love and Sex (1986) 6- Last Heart (1986) 7- Empty Room (2002) 8- Soft and Wet y I Wanna Be Your Lover (ensayo 1988) 9- How Come U Don't Call Me Anymore? (2016) 10- Ruff Enuff (2016) 11- Electric Intercourse (1983) 12- Nasty Girl (1982) 13- On the Couch (2004) 14- Open Book (1991) 15- Anotherloverholenyohead Extended (1986) Sintonía: Mix de Musicology y Musicology NewPowerRadio Mix, mix by Shocka. Back in the Day es un spin-off de Purple Music Podcast llevado a cabo por Shockadelica. Síguenos en Instagram! (@purplemusicpodcast), Twitter (@purplemusicpod) y en Youtube (@purplemusic6489) Stay funky! The Estate of Prince Rogers Nelson is not affiliated, associated, or connected with Purple Music Podcast nor has it endorsed or sponsored Purple Music Podcast. Further, the Estate of Prince Rogers Nelson has not licensed any of its intellectual property to the producers of Purple Music Podcast. NO COPYRIGHT INFRINGEMENT INTENDED. We just want to share our love for Prince music.

If you're looking for great Heartland Rock, a great choice would be the album Against the Wind.  Depending on how you count it, it could be considered Bob Seger's eleventh studio album, but it is the third album of the iteration known as Bob Seger & the Silver Bullet Band.  Seger is joined by Drew Abbott on guitar, Chris Campbell on bass, and David Teegarden on drums.  The band became the Silver Bullet Band a bit by accident.  They were arguing about what to call themselves, and the manager got tired of it.  When they got paid the manager wrote the name "Bob Seger and the Silver Bullet Band" on the paycheck and the name stuck.  Against the Wind was an immediate success.  It went to number 2 on the Billboard 200 charts in its third week, and it sat there for 5 weeks, kepts out of the top slot by Pink Floyd's monster hit album, "The Wall."  Finally, it topped "The Wall" to take the number 1 slot and remained there for six weeks, making it Bob Seger's most successful album in his career.There are a number of well known hits on this album, and an excellent collection of musicians as well.  In addition to the Silver Bullet Band, Seger makes use of session musicians out of Muscle Shoals Sound Studios, and is joined by backing vocals from members of the Eagles as well.Seger retired at the end of 2019, but he performed in 2023 at Patty Loveless's induction in to the Country Music Hall of Fame in Nashville, so we hold out hope that there will be some occasional performances still to come.Bruce presents this folksy heartland singer songwriter for this week's podcast.. Her StrutWhile not released as a single, this song received some airplau as the B-side to "The Horizontal Bop."  Seger has been criticized for his adolescent humor in this song, but he claims that the inspiration for it was feminist activist Jane Fonda and her appearance before the Campaign for Economic Democracies.Against the WindBob Seger has written a number of songs about looking back on life, and the title track is an example of this.  Seger was a cross country runner in high school, and he uses running as a metaphor for growing old.  This song went to number 5 on the Billboard Hot 100, and he is joined by his friend and Eagles alumnus Glenn Frey for backing vocals.Fire LakeThis track is about taking risks, risking love, and just heading off with a bunch of wild people.  Seger recorded this one at Muscle Shoals Sound Studios.  If the backing vocals sounds a lot like the Eagles, there is a reason for it - those backing vocalists are Glenn Frey, Don Henley, and Timothy B. Schmit.  You'll Accomp'ny MeThis ballad is a little more country, with lyrics that basically say, "look, you may be playing the field now, but we both know in the end we'll be together."  Little Feat co-founder Bill Payne joins Seger on this track to provide organ, synth, and piano parts.  It hit number 14 on the Billboard Hot 100. ENTERTAINMENT TRACK:Sleepless Nights by Gram Parsons (from the motion picture "Cruising")Al Pacino starred in this crime thriller about a serial killer targeting gay men.   STAFF PICKS:I Like to Rock by April WineWayne rocks out to start the staff picks with this Canadian band.  April Wine formed in 1969, and have released over 20 albums.  This song may be time stamped in the early 80's but it rocks out, and you can't beat lyrics like, "journey to the stars, Rock N Roll guitars!" Take the Long Way Home by SupertrampRob brings us one of the hits off Supertramp's multi-platinum album, "Breakfast in America."  The lyrics to this one depict a couple growing apart as the husband starts staying away from home due to feeling like he's being ignored.  It can also be a reflection of missed opportunities to live in alignment with your heart, and not being at peace with yourself.Rock With You by Michael JacksonLynch features a hit from MJ's disco album, "Off the Wall."  Original lyrics were a bit more suggestive, but these were toned down to fit Jackson's wholesome image at the time.  Rod Temperton wrote "Rock with You" as his first song for Jackson, setting the stage for more collaborations, including the iconic "Thriller." I Wanna Be Your Lover by PrinceBruce's staff pick is the lead single from Prince's self-titled second album, and his first major hit, reaching number 11 on the Billboard Hot 100 in January 1980.  Prince performs lead and backing vocals, and plays all instruments on this hit.  The end of the track includes an extended instrumental jam which is edited out for the single. INSTRUMENTAL TRACK:Give It All You Got by Chuck Mangioni Flugelhorn player Mangioni wrote this song for the 1980 Winter Olympics in Lake Placid, New York.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

It's Prince in the mix to help you all Gett Off! BPM = 110 – 123 TRACKS:LOVE THY WILL BE DONE (kenwork nu disco mix)GETT OFF (classic dmc remix)KISS (party essentials remix)I WANNA BE YOUR LOVER (dj beats)THE PURPLE PARTY MIX (edit)RASPBERRY BERET (deejay fx party hype mix)CONTROVERSY (late nite tough guy remix)1999 (rod layman dmc40 very special remix) For all your mechamix needs check out:THE OFFICIAL WEBSITE:http://mechanism.podomatic.com THE OFFICIAL PATREON PAGE:patreon.com/THEOFFICIALMECHANISMPODCAST THE OFFICIAL FACEBOOK PAGE:https://www.facebook.com/theofficialmechanismpodcast  THE OFFICIAL TWITTER PAGE:https://twitter.com/MechPod THE OFFICIAL MIXCLOUD PAGE:www.mixcloud.com/Mechanism_Podcast THE OFFICIAL INSTAGRAM PAGE:https://www.instagram.com/mechanism_podcast/ GOOGLE PODCASTS:http://bit.ly/GoogleMechamix TUNE IN:http://bit.ly/TuneInMechamix APPLE PODCASTS:http://bit.ly/AppleMechamix IHEART RADIO PODCAST:http://bit.ly/IheartMechamix YOUTUBE:https://www.youtube.com/c/THEOFFICIALMECHANISMPODCAST #mechamix 

For the first of our three-part series on the High Priest of Pop, Prince, the University of Minnesota's Dr. Elliott H. Powell joins the show to discuss the rise of perhaps pop history's greatest enigma. Louie and Elliot unpack Prince's upbringing in Minneapolis, his impressive 1978 debut, For You, on which he played every instrument, and mainstream breakthrough with his self-titled sophomore album in 1979 and its smash "I Wanna Be Your Lover". Then they tackle how 1980's filthy, carnal Dirty Mind established Prince at pop's vanguard and presaged the sound of the 1980s and the cultural debate Prince wielded on 1981's Controversy. Finally, they discuss how 1982's 1999 synthesized Prince's persona and sound into something broadly appealing and set the stage for his Purple Reign that would follow in the coming years.Join us next week for Part 2 which will cover Prince's imperial phase, from 1984's Purple Rain to 1989's Batman.Listen to Pop Pantheon's Prince Essentials PlaylistJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreBuy Tickets to Pop Pantheon Live: Britney's Memoir, Music & Legacy on 11/2 In PasadenaCome to Gorgeous Gorgeous NYC on September 16Come to Gorgeous Gorgeous LA on September 29Shop Merch in Pop Pantheon's StoreFollow Dr. Elliott H. Powell on TwitterFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

Play Pause Support the PodcastDownloadShare var srp_player_params_677258bf575e4 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258bf575e4 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258bf575e4"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258bf575e4"); } Party Favorz is back, and we're not just tiptoeing in, we're diving headfirst into the freshest Funky House Music that's electrifying dance floors as we speak! To kick things off, we're easing you into the groove with Birdee & Dr Packer's sultry number, "You Know I'm Ready." But wait, we're only warming up here. Ah, nostalgia, that sweet elixir! We've decided to bring back "Good Life" by Inner City—a timeless classic from 1989 that's still making waves in the House Music scene. It's almost like this golden oldie was destined to coexist with today's sonic landscape. So we took the origina, punched it up, and slid it right into the set. Isn't it fascinating how some anthems never lose their charm? They seamlessly meld into the fabric of contemporary Funky House Music. Just when you think you can catch your breath, we're turning up the heat. Cue the high-octane "Move That Body" by dance music legends Danny Tenaglia & Cevin Fisher. This thumping track signals a gear shift into the Big Room House realm. But don't get too comfy—some of these bangers wear the Tech House tag, a genre that's veering more toward the euphoric, peak-hour vibes we cherished in the '90s, yet it's unmistakably rooted in modern House Music. Speaking of which, let's talk about "Jealous" by Mochakk, a track that revives the iconic monologue from Loleatta Holloway's #1 Disco hit "Dreamin'." Holloway's legendary adlibs breathe life into this contemporary banger, making it an instant classic. Trust us, it's pure gold! And oh, have you heard "I Wanna Be Your Lover" by Mark Knight, Sgt Slick & Beverley Knight? It's an audacious take on Prince's 1980 hit, a song that they've rejuvenated while paying the ultimate homage. Beverley Knight's vocal finesse is just the icing on this groovy cake. Then we have Purple Disco Machine putting his unique spin on the 2001 Eurodance gem, "King of My Castle" by Wamdue Project. Trust him to take something already great and elevate it, wrapping it in his signature Funky House Music vibes while preserving the essence of the original. It's not just a remix; it's a transformation. But that's not all. Wedged between these standout tracks are other gems that are bound to make your Labor Day weekend an absolute sonic feast. Whether you're a Funky House Music aficionado or just dipping your toes in, this set promises something for everyone. Album: Good LifeGenre: House Music, NuDisco, SoulfulYear: 2023Total Time: 02:25:33 1. Birdee & Dr Packer feat. Suki Soul - You Know I'm Ready (Extended Mix) 2. Inner City - Good Life (Extended Mix) 3. Earth n Days - Lose Control (Extended Mix) 4. Housewife & Haylee Wood - Bang (Extended Mix) ...

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Songs played; NEVER CAN SAY GOODBYE Gloria Gaynor 1975 MY LOVE IS FREE Double Exposure 1976 DR. LOVE (A Tom Moulton Mix)  First Choice 1978 I WANNA BE YOUR LOVER... LEARN MORE The post TTBA Replay 2JUN2023 Pt. 1 appeared first on Turn the Beat Around.

From child piano prodigy to R&B star Patrice Rushen speaks to Colby about her amazing career including her chart topping multi generational hit “Forget Me Not” and Prince first major hit song “I Wanna Be Your Lover” being inspired by her. Follow the show @backstorypcc (Twitter)@getthebackstory (Instagram)@BackstorywithColbyColb (Facebook)@colbycolb (Twitter)@officalcolbycolb (Instagram)See omnystudio.com/listener for privacy information.

#80-76Intro/Outro: Brass in Pocket by Pretenders80. Black Dog by Led Zeppelin *79. Fire and Rain by James Taylor *78. Lean On Me by Bill Withers *77. Rock Lobster by The B-52's76. I Wanna Be Your Lover by PrinceVote on your favorite song from today's episodeVote on your favorite song from Week 4 of the 60's* - Previously played on the podcast

Two of the biggest names in pop music shared the stage for the first time in 1980 for Rick James' Fire It Up tour. Prince released his second album and the single "I Wanna Be Your Lover" was topping the charts, and it made Prince the hottest thing on the block. For Rick James, this was a threat to his spot as the king of the scene. Their shared space in the pop/funk music lane created this competitive rivalry between the two men. Today, we dive into their feud which nearly caused Rick to throw hands with Prince! Let's dive in. Follow me for more music content, and how you can support OTM :) OTM Blog: https://onthemixpodcast.wordpress.com/blog/ Instagram: https://www.instagram.com/onthemixpodcast/ Twitter: https://twitter.com/OnTheMixPodcast Discord: https://discord.com/invite/gYFNT2RjtA Patreon: https://www.patreon.com/onthemixpodcast Donation/Tip: https://www.paypal.com/paypalme/onthemixpodcast --- Support this podcast: https://anchor.fm/on-the-mix/support

Is baseball even good? Well, it hard to say, @FitzyMoPena on Twitter, follow me with my pain. Opening song is "Baseball" by Hippo Campus, closing song is "I Wanna Be Your Lover" by Prince--I needed a pick-me-up.

POD DYLAN Episode 172 - I Wanna Be Your Lover Rob welcomes fellow Bobcat Robert Reid to discuss "I Wanna Be Your Lover", an outtake from 1966's BLONDE ON BLONDE. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan You can find POD DYLAN on these platforms: Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Amazon Music Spotify Stitcher Complete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songs Buy this song on Apple Music: https://music.apple.com/us/album/biograph/158575020 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Thanks for listening!

POD DYLANEpisode 172 - I Wanna Be Your LoverRob welcomes fellow Bobcat Robert Reid to discuss "I Wanna Be Your Lover", an outtake from 1966's BLONDE ON BLONDE.Have a question or comment?E-MAIL: firewaterpodcast@comcast.netFollow POD DYLAN on Twitter: @Pod_DylanYou can find POD DYLAN on these platforms:Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228Amazon MusicSpotifyStitcherComplete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songsBuy this song on Apple Music: https://music.apple.com/us/album/biograph/158575020This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK:Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.comFollow Fire & Water on TWITTER – https://twitter.com/FWPodcastsLike our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetworkSupport The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcastsUse our HASHTAG online: #FWPodcastsThanks for listening!

Part 3 of this interview features music from the Beverley Knight album Affirmation (released in June 2004), including short excerpts from Supasonic, Tea & Sympathy and No One Ever Loves In Vain. Music used by permission. Additional music - Signs - was written, arranged and produced by Gavin Calder. Queen of British Soul Beverley Knight, has been one of the UK's most consistent artists for over two decades. She has had gold and platinum-selling albums, 14 Top 40 hits, sold-out tours, 3 MOBO Awards, Brit Award and Mercury Music Prize nominations - plus an Olivier Award nomination for musical theatre. She's also a massive Prince fan...tune in to parts 1 & 2 of this exclusive interview to hear more memories of Prince, and the influence he had on her career.

This episode of the Bachelorette features a virgin, a best lover contest, and lots of tongue tennis. Marni and Chris discuss Katie's questioning style, why it's important not to rule someone out too soon, and early predictions of the challenges Katie faces this season.    Key takeaways from this episode:  Kissing and sex on TV, good or bad? How to use open-ended questions to collect more data Dating a guy with a fetish It is refreshing to see people kiss with their eyes closed I Wanna Be Your Lover  [1:13]  In this episode, Katie played the ‘Best Lover' game with the guys. Each guy had the opportunity to turn her on and to share an example of how they would be the best lover to her if they had a future together.  Marni and Chris have different views about all of the spit swapping taking place on the show. Marni doesn't mind watching the intimate moments but Chris thinks the kissing was gross. He says it is equivalent to watching fish in a barrel fighting over food pellets. He leans into the possibility that Greg is a good kisser, but watching the cat guy suck face was more than he could bear. At least, they both agree, that everyone closed their eyes unlike Matt James of the Bachelor. Doesn't it seem like these guys are nerdier than past Bachelorette studs of previous seasons? Katie ended up giving the rose to Mike P., the virgin of the group and the honor of being tagged the greatest lover of all time.    The 3 Date Rule  [10:16] It's not for everyone, but Katie goes camping with Greg for their first date. Chris and Marni agree it is a long time to spend with someone, especially if red flags appear. But, this is the Bachelorette and not exactly real-life dating.  At Dating with Dignity, the team recommends clients go on three dates before ruling someone out. Everyone deserves a second chance and even if you are not enjoying yourself try using the date to practice and hone your dating skills. Maintain eye contact, practice listening, and be optimistic about the other person.   On the show, Katie brings up her father's death during the camping trip. Greg's reaction to what she shared was sweet but extremely subtle. Marni thought it was sweet. Chris and the guys watching the show with them thought his reaction meant Greg wasn't into Katie, saying that the way he pulled back seemed like a red flag. Then later, Greg revealed his Dad also passed, changing Chris' perception. Maybe Greg didn't want to cry on camera?  Going on three dates offers a guy the chance to open up and be vulnerable. Remember, there may be stuff below the surface we don't see at first glance.     Questions and Curiosities [29:35] Marni and Chris discuss the hard interview style Katie used when asking Cody about his character. Marni points out that ‘yes' and ‘no' questions only get you ‘yes' and ‘no' answers. So, say no to the checklist! A better dating strategy is to share a little something about yourself then ask a curious question, such as ‘Do you relate to that at all?'. Open-ended questions will extract more information and make the guy more willing to share his feelings. Early predictions about Katie on this season of the Bachelorette: She may have trouble collecting data about the guys. She may be protecting herself and have her guard up.   Make a Connection: Visit Our Website Join Our Dating Den Facebook Community Here! Learn how to attract your perfect equal...watch our latest training here! Interested in working with us? Book a Breakthrough session at DWDVIP Get a Free Coaching Session with Marni on Our Podcast - Sign up Here to Be a Guest On Our Show Download a Complimentary Copy of our Book - How to Find a Quality Guy Without Going on 200 Dates

Join Jared and Ed as they discuss "I Wanna Be Your Lover", "Why You Wanna Treat Me So Bad?" and all the other tracks on Prince's self-titled second release.

Bronx-born Craig DeLeon has been composing original music since he first heard Prince’s “I Wanna Be Your Lover” at age 8. Now, he just finished scoring Sia’s Golden Globe nominated feature film Music and the Showtime documentary Supervillian: The Making of Tekashi 6ix9ine. Craig lets us in on the creative process behind these two projects and shares insights from his professional journey. From starting his career at Propaganda films as an assistant to director Spike Jonze creating concepts for music videos, to composing music in the advertising world and winning a CLIO for his Apple TV ad campaign, to scoring numerous films and documentaries, Craig has made an incredible career out of that sweet, sweet music. --- Support this podcast: https://anchor.fm/tomgirltv/support

TRUE HOUSE STORIES W/ CARL COX SPECIAL SHOW 2021 # 004 - PART 2 In this part Carl Cox speaks about his rise in the 1980's. How he enjoyed playing R&B, Rap and reminiscing on Prince release “I Wanna Be Your Lover”. This is the moment in time he is pushing the sounds of Electro from producers such as Arthur Baker and John Jellybean Benitez. He explains the beginnings of some of his gigs in the London scene and how he was behind the scenes in the mega sound system culture. Carl also shares the start of his gig schedule and the beginnings of touring Europe as being the first to ever play in many places.

Observing World AIDS Day 2020 EPISODE PLAYLIST 1. People Get Up and Drive Your Funky Soul (INTRO) by James Brown 2. Sing (f. Madonna, Faith Hill, Angélique Kidjo, Beverley Knight, Gladys Knight, Pink, Bonnie Raitt, Shakira, Shingai Shoniwa, Joss Stone, Sugababes & Martha Wainwright) by Annie Lennox 3. Telepathy (f. Nile Rodgers) by Christina Aguilera 4. Ma Baker by Boney M. 5. Last Night A D.J. Saved My Life by Indeep 6. I Want To Thank You by Alicia Myers 7. I Wanna Be Your Lover by Prince 8. Black Man in A White World (Ghetto Gettysburg Address) (f. Nasir Jones) by Michael Kiwanuka 9. You Give Me Something by Jamiroquai 10. Come Down (f. T.I.) by Anderson .Paak 11. Bad Girls by Donna Summer 12. Theme to the Motion Picture “Cleopatra Jones” (OUTRO) by Joe Simon & Mainstreeters --- Send in a voice message: https://anchor.fm/jadestonevintagesoul/message Support this podcast: https://anchor.fm/jadestonevintagesoul/support

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ San Francisco Street by Sun Rai on Sun Rai (Pocket) 13′30″ I Wanna Be Your Lover by Prince on Prince (Warner Bros) 34′05″ Into The Blue by The Preachers on The Preachers (Believe Music) 118′06″ Sweet Dreams by Eurythmics on Sweet Dreams (Are Made Of This) (RCA) Check out the full archives on the website.

In this episode we explore the first of two chapters on the life and career of Prince. We take an in depth look at his childhood years and the moments that shaped him as a person and as a musician as he faces a number of physical, mental, financial and racial barriers growing up to releasing his debut album at just the age of 19. The highly talented multi-instrumentalist would go on to produce, write and play all the instruments on his first 5 albums, striking controversy due to his fashion sense, outlandish stage persona, his high falsetto vocals and his sexually explicit lyrics that often came under scrutiny. As he would forge an image of his own by the mid 80's with his breakthrough album 1999 and his highly successful Purple Rain film, soundtrack and single cementing him as a household name and a star of the music industry. We take a look at Prince's first 6 albums as well as exploring the meaning behind the lyrics as we take a look at songs such as I Wanna Be Your Lover, When Doves Cry, Let's Go Crazy, Purple Rain, The Beautiful One's, Little Red Corvette, 1999, I Would Die 4 U, Uptown, Controversy and many more. Join us next week for Part 2 of Prince's story as we wrap up Season 1. This episode was written, researched, narrated, edited and produced by Adam Hampton. If you enjoyed this episode feel free to subscribe for future episodes and please feel free to leave a positive review. You can also find us on Facebook, Twitter and Instagram at Lyrics of their Life Podcast and if you're feeling really generous you can support us further at Patreon, so we can continue to bring you more great episodes in the future. https://www.patreon.com/Lyricsoftheirlifepodcast Thanks for tuning in and enjoy.

A Tale of Devotion featuring the song I Wanna Be Your Lover by Prince

Welcome to my weekly podcast where I take you on a journey of what is lighting up my music library and dance floors. This week we celebrate all the LOVERS!! Track down some of the hottest bootlegs this week including my ANTHEM OF THE WEEK a remix of I Wanna Be Your Lover by Price. Turn Up Loud!! Keep Dancing!! Keep Raving!! 1. Pass The Dutch – Missy Elliott 2. Ocean Drive – Duke Dumondt 3. I Wanna Be Your Lover – Prince 4. Lights – Ellie Goulding 5. At Night – Shakedown 6. Dancing In The Moonlight – Jubel 7. Leave The World Behind – SHM 8. Bitch Box – Doja Cat 9. Empire State Of Mind – Alicia Keys 10. Clarity – Zedd 11. Daisies – Katy Perry 12. Radio Gaga – Queen 13. No Lie – Martin Solveig 14. Give It To Me – Nelly 15. Stay – Rihanna 16. Savage Love – Jason Derulo 17. Hello Red Guitar Baby – White Stripes 18. Mr Vein – Culture Beat 19. Cruel Summer – Taylor Swift 20. Deep Like Your Love – Calvin Harris 21. I Like It – Narcotic Thrust "Music is my life and love. Nothing beats seeing people smiles when I play music and watch people enjoy the events I have created. It inspires me and compliments everything that I am." Harry K #DJHARRY K #OUTRAGEOUS

MC：兔子 Terry有人爱养鸡，有人爱女装，有人热衷二战历史也有人热爱做面包给队友吃，都算是各种奇怪的癖好！这些癖好虽然奇怪但他们也算享受其中，但有些人就没那么幸运了，他们在球场上或者球场外离奇受伤，有身体的伤也有心灵的伤，总之伤的都不轻！这只是系列节目的开始，敬请期待后续！Songlist：《达拉崩吧（Live）》by 周深《I Wanna Be Your Lover》by Prince《仙儿（Live）》by 二手玫瑰《宜宾的董小姐》by 衣湿乐队《Young For You》by Gala乐队

MC：兔子 Terry有人爱养鸡，有人爱女装，有人热衷二战历史也有人热爱做面包给队友吃，都算是各种奇怪的癖好！这些癖好虽然奇怪但他们也算享受其中，但有些人就没那么幸运了，他们在球场上或者球场外离奇受伤，有身体的伤也有心灵的伤，总之伤的都不轻！这只是系列节目的开始，敬请期待后续！Songlist：《达拉崩吧（Live）》by 周深《I Wanna Be Your Lover》by Prince《仙儿（Live）》by 二手玫瑰《宜宾的董小姐》by 衣湿乐队《Young For You》by Gala乐队

We're talking both color theory and computer science this week on Funpoint!, as we cover our next Patreon pick, Janelle Monae's Dirty Computer! Join us as we uncover TLC's greatest crime, reminisce on some fine oegamioms, and figure out the best way to forget playing Undertale. My sound is a bit weird on this one for some raisin? It must be some setting on my mic we didn't realize but I'll look into it and make sure it actually sounds good next time Slap City picks: "All Along the Watchtower" by Jimi Hendrix, "I Wanna Be Your Lover" by Prince. Listen to our playlist here Join us in 2 weeks when we'll discuss our next pick, The Lawrence Arms' Oh! Calcutta! Our Patreon page: https://www.patreon.com/postgameofthrones Join our Discord chat: discord.gg/7sbAt9X Check out our merch here: http://www.redbubble.com/people/wehgrr/collections/647855-postgame-of-thrones-podcast

Topics: 1984 Olympics, Prince, Purple Rain (LP/Film), Cosby Show. (Bonus Artist: hidingtobefound)   1984 Notes General Snapshots 1. President: Ronald Reagan 2. Jan - US Bell System is broken up Bell System divestiture breaks AT&T into 24 independent units. 3. Jan - Wendy's "Fluffy Bun" advertisement is first broadcast, which gains Clara Peller and her "Where's the beef?" catchphrase national fame. 4. Jan - Michael Jackson's hair catches on fire during the filming of a Pepsi commercial. Michael Jackson stars in a Pepsi commercial with a young Alfonso Ribeiro, a.k.a Carlton from “The Fresh Prince.” 5. Feb - Michael Jackson wins a record eight Grammy Awards. [Prince was in the audience] 6. May - Happy Days airs its series finale, "Passages". 7. Jun – Best ever NBA draft: (1) Hakeem Olajuwon, (3) Michael Jordan, (5) Charles Barkley, and (16) John Stockton. [Sam Bowie 2nd pick] 8. Jun - Sally Ride becomes first American woman in space on the Space Shuttle Challenger. 9. Jul - The Motion Picture Association of America institutes the PG-13 rating, as a response to violent horror films such as Gremlins and Indiana Jones and the Temple of Doom. [Parental Advisory sticker for albums coming next year because of Darling Nikki by Prince] 10. Jul - ABC begins their coverage of the Summer Olympic Games from Los Angeles. 11. Sep - The first MTV Video Music Awards, featuring Madonna’s iconic breakout moment, the ‘Like a Virgin’ performance. 12. Nov - Sony and Philips introduce the first portable CD player. 13. Nov – Reagan Re-Elected 14. Top 3 Pop Songs 15. #1 - "When Doves Cry", Prince 16. #2 - "What's Love Got to Do with It", Tina Turner 17. #3 - "Say Say Say", Paul McCartney and Michael Jackson 18. Record of the Year: Tina Turner / What's Love Got To Do With It 19. Album of the Year: Lionel Richie / Can't Slow Down 20. Song of the Year: Terry Britten (songwriter) / What's Love Got To Do With 21. Best New Artist: Cyndi Lauper 22. Top 3 Movies 23. #1 - Beverly Hills Cop 24. #2 - Ghostbusters 25. #3 - Indiana Jones and the Temple of Doom 26. Other Notable Movies 27. Gremlins / Karate Kid /Footloose / Terminator / Nightmare on Elm Street / Police Academy / The Never-Ending Story / Sixteen Candles / Romancing the Stone / Breakin’ / Beat Street 28. Top 3 TV Shows 29. #1 – Dynasty 30. #2 – Dallas 31. #3 - The Cosby Show 32. Black Snapshots 33. Apr - Marvin Gaye, singer, songwriter, and musician (b. 1939) Motown legend Marvin Gaye was shot to death by his own father after a fight between them. The murder weapon was a gun he had given his father for Christmas. His reputed final words were, "I got what I wanted... I couldn't do it myself, so I made him do it." 34. Jul - Vanessa L. Williams becomes the first Miss America to resign when she surrenders her crown, after nude photos of her appear in Penthouse magazine. 35. Dec - Four African American youths board an express train in The Bronx and attempt to rob Bernhard Goetz. He shoots them. 36. Dec - The first nationally broadcast telethon for the United Negro College fund is held. - "A Mind is a Terrible Thing To Waste" 37. Best R&B Vocal Performance, Female: Chaka Khan / "I Feel for You" 38. Best R&B Vocal Performance, Male: Billy Ocean / "Caribbean Queen" 39. Best R&B Performance by a Duo or Group: James Ingram & Michael McDonald for "Yah Mo B There" 40. Best R&B Instrumental Performance: Herbie Hancock / "Sound System" 41. Best Rhythm & Blues Song: Prince, songwriter / "I Feel for You" performed by Chaka Khan 42. Economic Snapshot 43. Avg. Income = $21,600 44. House = $86,700 45. New Car = $8,700 46. Avg. Rent = $350 47. Tuition at Harvard = $9,000 48. Movie Ticket = $2.50 49. Gas = $1.10 50. Stamp = $0.20 51. Social Scene: 1984 Olympics [Jul 28th - Aug 12th] 52. Under the direction of the American entrepreneur Peter Ueberroth, the 1984 Olympics witnessed the ascension of commercialism as an integral element in the staging of the Games. Corporate sponsors, principally U.S.-based multinationals, could put Olympic symbols on their products, which were then marketed as the “official” such product of the Olympics. A spot on the torch relay team sold for $3,000 per km. The Olympics turned a profit ($225 million) for the first time since 1932. Despite concerns about growing corporate involvement ... the financial success and high worldwide television ratings raised optimism about the Olympic movement for the first time in a generation. [Due to the success of the games, Peter Ueberroth was named Time magazine's Man of the Year in 1984.] - https://www.britannica.com/event/Los-Angeles- 53. The Soviets, and 13 other countries, in retaliation for the U.S. boycott of the 1980 Olympic Games in Moscow, boycotted the 1984 Olympics. 54. Highlights: 55. Carl Lewis Ties Jesse Owens: At the 1936 Olympics, Jesse Owens won four gold medals — the 100-meter dash, the 200-meter, the long jump, and the 400-meter relay. Nearly five decades later, Carl Lewis also won four gold medals, in the same events as Jesse. 56. Edwin Moses won the gold medal in the 400m hurdles 8 years after winning in 1976. 57. Mary Lou Retton: The U.S. became enthralled with the short (4' 9"), exuberant Mary Lou Retton in her attempt to win gold in gymnastics, a sport that had long been dominated by the Soviet Union. When Retton received perfect scores in her final two events, she became the first American woman to win an individual gold medal in gymnastics. 58. A marathon for women was held for the first time at the Olympics (won by Joan Benoit of the U.S.) 59. Michael Jordan, Patrick Ewing, and Chris Mullin were on the team that won the gold medal in basketball. 60. The United States topped the medal count for the first time since 1968. 61. Music Scene 62. Black Songs from the Top 40 63. #1 - "When Doves Cry", Prince 64. #2 - "What's Love Got to Do with It", Tina Turner 65. #3 - "Say Say Say", Paul McCartney and Michael Jackson 66. #7 – “Hello", Lionel Richie 67. #9 - "Ghostbusters", Ray Parker Jr. 68. #12 - "All Night Long (All Night)", Lionel Richie 69. #13 - "Let's Hear It for the Boy", Deniece Williams 70. #18 - "Jump (For My Love)", The Pointer Sisters 71. #21 - "Let's Go Crazy", Prince and The Revolution 72. #22 - "Say It Isn't So", Hall & Oates 73. #24 - "Joanna", Kool & The Gang 74. #25 - "I Just Called to Say I Love You", Stevie Wonder 75. #30 - "The Glamorous Life", Sheila E. 76. #32 - "Stuck on You", Lionel Richie 77. Vote: 78. Top R&B Albums 79. Jan - Can't Slow Down, Lionel Richie 80. Mar – Thriller, Michael Jackson 81. Apr - Busy Body, Luther Vandross 82. Apr - She's Strange, Cameo 83. May - Can't Slow Down, Lionel Richie 84. Jul - Jermaine Jackson, Jermaine Jackson 85. Jul – Lady, One Way 86. Jul - Private Dancer, Tina Turner 87. Jul - Purple Rain [Soundtrack], Prince and The Revolution 88. Dec - The Woman in Red [Soundtrack], Stevie Wonder 89. Vote: 90. Featured Artist: Prince Rogers Nelson, a.k.a. Prince, The Purple One. American singer, songwriter, actor, and multi-instrumentalist. (@ 26 yrs. old) 91. Famous for his flamboyance, powerful voice, and eclectic behavior, he boasted of a career that spanned four long decades, a rarity in the music world where success is fickle. With worldwide sales of 100 million records, he is counted amongst the best-selling artists of all time. The son of a pianist and a jazz singer, Prince inherited his musical talents from his parents who encouraged him from a young age to pursue music as a career. Under his parents’ guidance he developed a deep love for music and began creating tunes when he was just seven. He also taught himself how to play the piano, guitar and drums. He became a professional singer and performer as a young man and earned much popularity with his eponymous album ‘Prince.’ His highly sexualized lyrics, creative compositions, and incorporation of elements of funk, dance, and rock music made him stand out from others of his generation. He enjoyed a very successful career that was cut short by his untimely death at the age of 57. 92. Childhood & Early Life: 93. Born in Minneapolis, Minnesota, on June 7, 1958 to an African American couple Mattie Della and John Lewis Nelson. His father was a pianist and songwriter and his mother was a jazz singer. He suffered from epileptic seizures as a young child. He became interested in music at a young age and was encouraged by his parents. He taught himself how to play the piano, guitar and drums, and wrote his first tune when he was seven. His parents separated when he was ten, and the next few years were spent repeatedly switching homes, sometimes living with his father and sometimes with his other. He formed his first band, Grand Central (later known as Champagne), when he was 14. 94. Career: 95. Debut album ‘For You’, (1978) / ‘Prince’, (1979) - Hit singles ‘Why You Wanna Treat Me So Bad?’ and ‘I Wanna Be Your Lover’. Went platinum, effectively establishing Prince’s career. / ‘Dirty Mind’ (1980) / ’Controversy’ (1981), and ‘1999’ (1982) 96. 1984, he released ‘Purple Rain’. Sold more than 13 million copies in the US and spent 24 consecutive weeks at No. 1. The same year he appeared in a rock musical drama film of the same name, making his film debut. The film became a cult classic. 97. Following Albums: ‘Parade’ (1986) / ‘Sign o' the Times’ (1987) / ‘Lovesexy’ (1988) / ‘Batman’ (1989) 98. In the 1990s he started performing with a new backing band, the New Power Generation. 99. In 1993 he changed his stage name to, an unpronounceable symbol which was a combination of the symbols for male (♂) and female (♀). 100. ‘Purple Rain’ is consistently ranked among the best albums in music history and is widely regarded as Prince's magnum opus. It has sold over 22 million copies worldwide, becoming the sixth best-selling soundtrack album of all time. His album ‘Sign o' the Times’, which had elements of funk, soul, psychedelic pop, and rock music, and featured tracks like ‘If I Was Your Girlfriend’, ‘Housequake’ and ‘It’ was another one of his mega hits. In 1989, ‘Time Out’ magazine ranked it as the greatest album of all time. 101. In early April 2016 he reported that he was not feeling well and postponed his performances. It was also said that he was being treated for drug overdose. On April 21, 2016, he was found dead in an elevator. He was 57 years old. 102. Open Comments: Do you know what Purple Rain is? 103. TV Scene: 110. Open Comments: 111. Question: Evans or Huxtables? 112. Vote:

Topics: Reaganomics, MJ vis-a-vis Prince, 48 Hrs. (Film). (Bonus Artist: hidingtobefound)     1.    1982 Notes   2.    General Snapshots   3.    Ronald Reagan President   4.    Oct – The 1982 Chicago Tylenol murders occur when 7 people in the Chicago area die after ingesting capsules laced with potassium cyanide.   5.    November – The unemployment rate peaks at 10.8%.   6.    November 2 – United States elections, 1982. The Republican Party loses 27 seats to the majority Democratic Party in the House.   7.    November 30 – Michael Jackson releases Thriller, the biggest-selling album of all time.   8.    Open Comments   9.    Popular Music Scene   10.    Top 3 Singles   11.    1 - "Physical", Olivia Newton-John   12.    2 - "Eye of the Tiger", Survivor   13.    3 - "I Love Rock 'n Roll", Joan Jett & The Blackhearts   14.    Record of the Year - "Rosanna", Toto   15.    Album of the Year - Toto IV, Toto   16.    Song of the Year - "Always on My Mind", Willie Nelson   17.    Best New Artist - Men at Work   18.    Open Comments   19.    Popular Movies   20.    Top 3 Grossing Movies   21.    1 - E.T. the Extra-Terrestrial   22.    2 – Tootsie   23.    3 - An Officer and a Gentleman   24.    Notables: Fast Times at Ridgemont High, First Blood, Poltergeist, Rocky III, Porky's, Star Trek II: The Wrath of Khan   25.    Open Comments   26.    Popular TV   27.    1 - 60 Minutes   28.    2 – Dallas   29.    3 - M*A*S*H / Magnum, P.I.   30.    Black Snapshots   31.    Jan - Fame debuts on TV   32.    Mar - Teddy Pendergrass is severely injured in a car accident in Philadelphia. Pendergrass's injuries result in him being paralyzed from the chest down.   33.    Andrew Jackson Young Jr., pastor, politician, diplomat, activist, former executive director of the Southern Christian Leadership Conference (SCLC), and a close confidant to Martin Luther King Jr. becomes Mayor of Atlanta.   34.    Best R&B Vocal Performance, Female: Jennifer Holliday for "And I Am Telling You (I'm Not Going)"Best R&B Vocal Performance, Male: Marvin Gaye for "Sexual Healing"   35.    Best R&B Performance by a Duo or Group with Vocal: (tie) Dazz Band for "Let It Whip" 36.    Earth, Wind & Fire for "Wanna Be with You"   37.    Best Rhythm & Blues Song: "Turn Your Love Around" performed by George Benson   38.    Best Comedy Recording: Richard Pryor for Live on the Sunset Strip   39.    Economic Snapshots   40.    New House - 82.5k   41.    Avg Income - 21k   42.    New Car - 8k   43.    Avg Rent – 320   44.    Harvard Tuition - 7k per year   45.    Movie Ticket - 2.50   46.    Stamp - .20   47.    Open Comments   48.    Social Scene: Reaganomics   49.    Reaganomics is a popular term used to refer to the economic policies of Ronald Reagan   50.    During the campaign of 1980, Ronald Reagan announced a recipe to fix the nation's economic mess. He claimed an undue tax burden, excessive government regulation, and massive social spending programs hampered growth.   51.    Reagan's 1981 Program for Economic Recovery had four major policy objectives: (1) reduce the growth of government spending, (2) reduce the marginal tax rates on income from both labor and capital, (3) reduce regulation, and (4) reduce inflation by controlling the growth of the money supply. The economic theory behind the plan was called Supply-Side, or Trickle-Down economics, or voodoo economics by political opponents.   52.    Did It Work?   53.    President Reagan delivered on each of his four major policy objectives., although not to the extent that he and his supporters had hoped.   54.    Government spending wasn't lowered, just shifted from domestic programs to defense. The result? The federal debt almost tripled, from $997 billion in 1981 to $2.857 trillion in 1989.   55.    Reagan cut tax rates enough to stimulate consumer demand. By Reagan's last year in office, the top income tax rate was 28 percent for single people making $18,550 or more. Anyone making less paid no taxes at all. That was much less than the 1980 top tax rate of 70 percent for individuals earning $108,000 or more. Reagan offset these tax cuts with tax increases elsewhere. He raised Social Security payroll taxes and some excise taxes. Reagan cut the corporate tax rate from 46 percent to 40 percent.   56.    Reagan deregulated: Domestic oil and gas, cable TV, long-distance telephone service, interstate bus service, and ocean shipping. He eased bank regulations, but that helped create the Savings and Loan Crisis in 1989. Reagan increased, not decreased, import barriers. He did little to reduce other regulations affecting health, safety, and the environment. Carter had reduced regulations at a faster pace.   57.    Tame Inflation. Reagan was fortunate Federal Reserve Chairman Paul Volcker was already in place. Volcker vigorously attacked the double-digit inflation of the 1970s.   58.    Legacy   59.    Reagan’s indifference to urban problems was legendary. For example, early in his presidency, at a White House reception, Reagan greeted the only black member of his Cabinet, Housing and Urban Development (HUD) Secretary Samuel Pierce, saying: “How are you, Mr. Mayor? I’m glad to meet you. How are things in your city?” He had failed to recognize his own HUD Secretary.   60.    And his dislike for public school education is still with us.   61.    MAY 06, 2013 LANCE T. IZUMI: SACRAMENTO, CA – While Ronald Reagan’s foreign policy changed the face of the world, it shouldn’t be forgotten that his leadership also dramatically changed the face of issues at home. Top among those was education. In 1983, the Reagan administration released the groundbreaking report A Nation at Risk.  Using a wealth of statistical data, the report demonstrated in detail the failings of America’s education system and the impact of those failings on the country’s children. The report recommended greater emphasis on basic subjects such as math and English, more rigorous and measurable standards, higher expectations for student performance and conduct, lengthening the school year, and improving teacher quality through, for example, increasing standards for teacher training programs. It’s no coincidence that the report’s recommendations form the basis for much of today’s agenda for education reform.   62.    According to Dick Carpenter, professor of education leadership at the University of Colorado at Colorado Springs, in the two years after the release of “A Nation at Risk”,  Reagan delivered more than 50 education-related speeches. Prof. Carpenter found, In speech after speech, Reagan articulated his educational beliefs and ideas, including parental responsibility in education; school choice, including tax credits and vouchers; rigorous academic content focused on basics such as reading, writing, arithmetic, history, and government; religious freedom in schools; high standards of conduct and discipline; character education; and a federal responsibility in helping the disadvantaged.    63.    Gary K. Clabaugh The Cutting Edge 259: Most presupposed that the charges made by Mr. Reagan’s handpicked panel were true. Oddly, throughout this entire clamor parents’ confidence in the schools their children attended remained remarkably high.9Meanwhile Mr. Reagan was quietly halving federal aid to education.   64.    That sums up Mr. Reagan’s educational legacy. As governor and president he demagogically fanned discontent with public education,then made political hay of it. As governor and president he bashed educators and slashed education spending while professing to value it. And as governor and president, he left the nation’s educators dispirited and demoralized.   65.    Open Comments   66.    Question: What are some of the changes you have noticed in schools since you were a child? Good & Bad.   67.    Music Scene   68.    Black Songs from the Top 40   69.    4 - "Ebony and Ivory", Paul McCartney and Stevie Wonder   70.    15 - "I Can't Go for That (No Can Do)", Hall & Oates   71.    24 - "Let It Whip", Dazz Band   72.    26 - "The Other Woman", Ray Parker Jr.27 - "Turn Your Love Around", George Benson   73.    33 - "Let's Groove”, Earth, Wind & Fire   74.    Vote Top R&B Albums   75.    Jan - Raise!, Earth, Wind and Fire   76.    Feb - Skyy Line, Skyy   77.    Feb - The Poet, Bobby Womack   78.    Apr - Love Is Where You Find It, The Whispers   79.    Apr - Friends, Shalamar   80.    May - Brilliance, Atlantic Starr   81.    May - The Other Woman, Ray Parker, Jr.   82.    Jun - Stevie Wonder's Original Musiquarium I, Stevie Wonder   83.    Jun - Keep It Live, Dazz Band   84.    Jul - Gap Band IV, The Gap Band   85.    Sep - Jump to It, Aretha Franklin   86.    Oct - Get Loose, Evelyn "Champagne" King   87.    Nov - Forever, For Always, For Love, Luther Vandross   88.    Nov - Lionel Richie, Lionel Richie   89.    Dec - Midnight Love, Marvin Gaye   90.    Key Artists: Michael Jackson, vis-a-vis Prince, and Quincy   91.    Let's just peek into the "underground" scene and see what Prince has been up to since Off The Wall   92.    (1979)"Thriller" is the sixth studio album by American singer Michael Jackson, released on November 30, 1982   93.    "1999" is the fifth studio album by American recording artist Prince, and the first to feature his band the Revolution. It was released on October 27, 1982.   94.    Previous Albums by Prince: For You (1978), Prince (1979), Dirty Mind (1980), Controversy (1981), 1999 (1982) - Peak Chart Position for "1999" was #5   95.    Singles from Prince since 1978:   96.    June 7, 1978 - "Just as Long as We're Together"   97.    November 21, 1978 - "I Wanna Be Your Lover"   98.    August 24, 1979"Why You Wanna Treat Me So Bad?"   99.    January 23, 1980"Still Waiting"   100.    March 25, 1980"Sexy Dancer"   101.    April 1980 (non-US single)"Uptown"   102.    September 10, 1980"Dirty Mind"   103.    November 26, 1980"Do It All Night"   104.    March 6, 1981"Controversy"   105.    September 2, 1981"Sexuality"   106.    October 1981 (non-US single)"Let's Work"   107.    January 6, 1982"Do Me, Baby"   108.    July 16, 1982Singles from "1999""1999"   109.    September 24, 1982"Little Red Corvette"   110.    February 9, 1983"D.M.S.R."   111.    Vote: Prince vs. MJ   112.    Quincy Delight Jones Jr., aka The Dude (@ 49 yrs. old): Producer, musician, composer, and film producer.   113.    Born on the South Side of Chicago   114.    Parents divorced at a young age. At 10 yrs. old, family moved to the state of Washington.   115.    At 14, began playing the trumpet, arranging music, and hanging out with 16-year-old Ray Charles.   116.    At 19, left college to become a professional musician with the Lionel Hampton band. While with the band he did arrangements for Sarah Vaughan, Dinah Washington, Count Basie, Duke Ellington, Dizzy Gillespie, and other prominent artists of the day.   117.    For the next 8 years he traveled the world performing with Hampton, arranging music, and building possibly the best contacts list in music history.   118.    At 27, he started his own band. It was a financial failure and left him in serious debt.   119.    Irving Green, friend and head of Mercury records gave him a personal loan, and an executive job. Quincy was off to the races.   120.    Highlights:   121.    One 1 year later, friend Sidney Lumet, one of the most prolific filmmakers of the era: 12 Angry Men (1957), Dog Day Afternoon (1975), Network (1976), and The Verdict (1982), asked him to score his film The Pawnbroker. He would go one to score 40+ films.   122.    In 1964, at age 31, he was the arranger/conductor for Frank Sinatra's 2nd album with Count Basie, It Might As Well Be Swing, which contained the classic hit Fly Me to The Moon. It became the first music heard on the Moon when played on a portable cassette player by Apollo 11 astronaut Buzz Aldrin after he stepped onto the Moon.    123.    In addition, he composed the theme music for the TV shows, Sanford and Son, Ironside, Banacek, The Bill Cosby Show, the opening episode of Roots, Mad TV and the game show Now You See It.   124.    He was co-producer for the 1985 film The Color Purple. He convinced Steven Spielberg to direct, and was responsible for discovering and casting Oprah.   125.    In 1990, he began production for The Fresh Prince of Bel-Air, with Will Smith, and In the House, with LL Cool J.   126.    He launched Vibe magazine in 1993.He is second in the list of all-time Grammy award wins with 28. (31 is 1st)   127.    Absolute Legend.   128.    Bonus Song: Grandmaster Flash  and The Furious Five   129.    "The Message" is the best-known track by legendary hip-hop innovators Grandmaster Flash and the Furious Five, and is a song that, without exaggeration, changed rap music's tone and content forever.   130.    Movie Scene: 48 Hrs., starring Eddie Murphy   131.    TV Scene: N/A   132.    Vote: Favorite/Most Important Pop Culture thing for the year?

On Episode 10 of the Press Rewind – Prince Lyrics Podcast, I cover Prince’s biggest hit from the 70s, “I Wanna Be Your Lover”. The goal of each episode of Press Rewind is to: Take a track by track look at the lyrical content of Prince’s discography Discuss my own interpretation of each song’s lyrics … Continue reading I Wanna Be Your Lover: Press Rewind – Prince Lyrics Podcast →

Listened to the Prince live version of "I Wanna Be Your Lover" and was inspired to create a fast mix of an eclectic mixture of music:-) I hope you guys enjoy it as much as I did. Dj Shizz

The Muffs a side: "I Need You" b side: "Beat Your Heart Out" Sub Pop SP157 1992 Super rad Sub Pop single on splatter aqua with a bitchin' Bomp classic b-side cover of a smash by The Zeros (https://youtu.be/Nk8CyJGqB6A). Aretha Franlin a side: "I Never Loved a Man (the Way I Love You)" b side: "Do Right Woman - Do Right Man" Atlantic Records 45-2386 1967 Simmering hot stuff. Careful, don't scald yourself! Roy Head & the Traits a side: "I Pass the Day" b side: "Apple of My Eye" Back Beat 555 1965 Whoops... got the a-side/b-side swapped around. Which now seems obvious. Prince a side: "I Wanna Be Your Lover" b side: "My Love Is Forever" Warner Bros. Records WBS 49050 1979 The best Prince single, or The. Best. Prince. Single. ? The Dwarves a side: "I Wanna Kill Your Boyfriend" Sympathy for the Record Industry SFTRI 132 1992 Uh, well the 45 is a cool translucent purple. Bonus A-Side: The Dave Clark Five a side: "I Like It Like That" Epic Records 5-9811 1965 A nice little Chris Kenner/Allen Toussaint cover (https://youtu.be/vKb8GhdOepk). The Strangeloves a side: "I Want Candy" b side: "It's About My Baby" Bang Records B-501 1965 The classic. Sure I love Bow Wow Wow's version (https://youtu.be/JoXVYSV4Xcs) too. Also, if you haven't seen Bang! The Bert Berns Story (https://youtu.be/ZwMu1IGwJK4), I highly recommend it if you're into that sort of thing. Belle and Sebastian a side: "I'm a Cuckoo" b side: "(I Believe in) Travellin' Light" Rough Trade Records RTRADS157 2004 No that is how you lift a riff. So catchy too. And the video (https://youtu.be/GuKuw71YBbI) almost makes me want to take up jogging again. The Spencer Davis Group a side: "I'm a Man" b side: "Can't Get Enough of It" United Artists Records UA 50144 1967 Ah yeah, hit me with that Hammond. Also a rad b-side. Music behind the DJ: "Black Magic Woman" by Terry Baxter & his Orchestra.

October 19, 2018 marks the 39th anniversary of Prince's self-titled second album--not the most glamorous occasion, perhaps, but reason enough to reassemble the review panel from our For You podcast for a reappraisal. Once again, Zach is joined by Harold and KaNisa for a track-by-track discussion of this underappreciated album, its resonances throughout Prince's career, and why it still matters. 00:00:00   Ray "Eye Patch" Sawyer and Dennis Locorriere of Dr. Hook Introduce Prince--and Prince Performs "I Wanna Be Your Lover”--on The Midnight Special, 1980 00:01:08   KaNisa's Muse 2 the Pharaoh Podcast 00:01:30   Harold's First Appearance on d / m / s / r 00:01:39   Harold's Presentation from the Lovesexy 30 Symposium at NYU https://vimeo.com/282043757 00:02:49   Our First Review Podcast of For You 00:08:33   For You's Album Cover vs. Prince's Photo by Joe Giannetti, © Warner Bros. Photo by Jurgen Reisch, © Warner Bros. 00:14:15   The Infamous Dick Clark Interview from American Bandstand, 1980 https://youtu.be/vvpjhVzv7EM 00:20:25   d / m / s / r Post on the Capri Theatre Show 00:23:34   Definitely Nude: The Back Cover of Prince Photo by Chris Callis, © Warner Bros. 00:23:51 "Sexy Dancer” (Live at Carolina Coliseum, 1980) 00:26:22   Prince Live 1979-1980: The First Tour 00:28:03   "I Wanna Be Your Lover" (from Prince, 1979) 00:34:38   The "I Wanna Be Your Lover" Music Video https://youtu.be/Rp8WL621uGM 00:41:10   "Disco Away” by the Rebels (1979 recording) 00:43:15   "I Wanna Be Your Lover" (Live in Dortmund, 1988) 00:46:25   "I Wanna Be Your Lover" in "Purple Medley," 1995 00:47:47   The Alternate "Band Version" of the "I Wanna Be Your Lover" Video, with... Remastered Audio https://youtu.be/MitvKAuDUwU 00:49:07   The More Convincing Band Videos for "Dirty Mind," "Controversy," and "1999” https://youtu.be/c3GPPnVz1fw https://youtu.be/4gazNwzC4H0 https://youtu.be/rblt2EtFfC4 00:54:20   "Why You Wanna Treat Me So Bad?” (from Prince) 01:00:30   Dez, André, and Prince, 1980 Photo by Richard E. Aaron 01:01:12   "Why You Wanna Treat Me So Bad?" (Live in Lakeland, Florida, 1980) 01:15:04   "Why You Wanna Treat Me So Bad?" (Live in Vancouver, 2013) 01:17:13   "Sexy Dancer” (from Prince) 01:24:52   "Livin' on the Nile (Extended Club Re-mix)" by Egyptian Lover (1987 single) 01:30:15   "Sexy Dancer (Long Version)" (1980 single) 01:33:34   "When We're Dancing Close and Slow” (from Prince) 01:43:55   d / m / s / r Podcast with Erica Thompson 01:45:22   "When We're Dancing Close and Slow" (Live in Seattle, 2013) 01:52:33   "When We're Dancing Close and Slow" with Andy Allo (Live at North Sea Jazz, 2011) 01:55:17   "With You” (from Prince) 02:00:41   The Instrumental "With You" Interlude (Live at Denver Auditorium Arena, 1983) 02:03:33   "With You" (Live at Xenophobia Celebration, 2002) 02:08:13   "Bambi” (from Prince) 02:17:16   The Unaired "Bambi" Performance on The Ellen Degeneres Show, 2004 https://youtu.be/powjAdIpdxQ 02:19:39   "Still Waiting” (from Prince) 02:24:13   "Still Waiting" (Live at First Avenue, 1982) 02:30:05   "I Feel for You” (from Prince) 02:37:25   "I Feel for You" by Chaka Khan (from I Feel for You, 1984) 02:38:28   "It's Gonna Be Lonely” (from Prince) 02:44:55   Zach's Original Ranking of the Songs from Prince 03:04:25   "Bambi (Rap)" by T.C. Ellis (from True Confessions, 1991)

Our topic for this month is scary knits. If it frightens us, we talk about it. Regular content is here like Finished Objects, WIPs, Cast Ons, Stash Enhancements, and The UnFuck It Along! Unfuckit-along prizes Boo Knits Collection Oink Pigments FOs Namesake Sweater Beddington Boot Cuffs Bag of Holding WIP's Ber's Tosh Shawl Em's Tosh Shawl Erin's Tosh Shawl Scrap Blanket Ber's Veritaserum Ber's Geodesic Cowl House Cup Socks So Faded Sweater Malabrigo Mittens Braid Hills Sweater Erin's Taboo Vanilla Sock Hitchhiker New Projects Paon Stripes Granny Done Did't Another bag of holding Stash Enhancement Knit Picks City Tweed Aran in "Blueblood" CatSandwichFibers Trustie in "I Eat Shades of Red" Three Irish Girls Luxe Adorn in "I Wanna Be Your Lover", "When Doves Cry", and "Day Glo" Brooklyn Tweed Shelter in "Snowbound"

May 2017 – On this super moon we are serving up a souper extended episode, featuring the stories of super mothers of all kinds, including: Alex Behr, a Portland mother & writer who adopted her son, Eli, from China. http://alexbehr.com and @Alex_Behr on twitter Robyn Twomey, a Brooklyn mother & photographer that recently gave birth to her 2nd child. http://www.robyntwomey.com Dolores Delaney, a Boston mother and grandmother, reflects on her life having survived bringing up 4 boys! (including our very own co-host Brian) Huggy aka Janice Evalin Johnson, a West Coast single grandmother and mom (to our other co-host Tave) shares what it was like bucking the system as a young creative woman in the 60s and 70s. Tave gets a peace, love and PLUS travel talk in with her brother, Niko Bono (afterthought… he was adopted) @travelsofbeauty on Instagram We’ve sprinkled in some music to dish, dine and (if you’re feeling it) dance to, too! Featuring: “Mars” by The Double U, “Seven Nation Army” by The Mt Tabor Middle School Band, “I Wanna Be Your Lover” by Fenech Soler, “Take Your Momma Out Tonight” by Scissor Sisters, “Does Your Mother Know” by ABBA and “Chicken Noddle Soup” by DJ Webstar performed by Young B & The Voice of Harlem and in the kitchen this month we’ll be making the “Mother of All Soups”… CHICKEN NOODLE SOUP! A Toast To All Mothers Everywhere! Peace, Love and (of course) Soup, Brian & Tavé

1.I Wanna Be Your Lover by Fenech-Soler2.I Love U More (Original Mix) by Mr. Jools3.Rolling Stone (Original Mix) by Dawn Ahenk4.In The Air (Original Mix) by Deepmaniak5.Go Deep (Shoe Scene Symphony, M.See Remix) by Janet Jackson6.The Edge (Original Mix) by Robosonic7.Feeling For you (Original Mix) by Sugar Hill8.That Funky Music (Original Mix) by Angelo Ferreri & Simon Adams9.Everybody Does (Original Mix) by Natema10.Remember Me (Club Mix) by Souxsoul11.Please Dont Go (Deep Dog Bootleg remix) by Double You12.Groove Is In The Heart (Rework) by DINKS

1.I Wanna Be Your Lover by Fenech-Soler

All Power To The Positive! Vol#6, Episode #11 “First and foremost, you do not have to live up to or emulate the lives of any of your predecessors. But at the very least, you should know about them. You will have your own life, interests, and ideas of what you want or do not want in life. Do what you enjoy doing. Be honest with yourself and others. Don’t think of satisfying anyone: your elders, peers, government, religion, or children who will come after you. Develop meaningful ideals, and become conscious of others, their existence, and their lives.” – Yuri Kochiyama Beats: “Start The Revolution” – Marcel Cartier “Dead Or In Prison” – Lil Bibby “Luv Dem Gun Sounds” – Wocka Flocka Flames “Curve Ball” – Honey Cocaine “Hip To Da Game” – Lord Finesse “Right Now” – Celph Titled   Cuts: “I Wanna Be Your Lover” – Prince “This Is America” – Spekulation, ft. Michele Khazak (EXPLICIT) “Do The Digs Dug” – The Goats (EXPLICIT) “A Change Is Gonna Come” – Sam Cooke   Vocals: Mumia Abu-Jamal (prisonradio.org), Throwback remix: “F–K You Judge” (EXPLICIT), Sensei Lewis, Jacob Brown, and a lot more. Click here for a “Steal This House!” supplemental.

Download Stream Tracklisting: I Wanna Be Your Lover Sexy Dancer Uptown Head Positivity When 2R In Love Girls & Boys Another Lover Like A Hole In Your Head The Ballad of Dorothy Parker Strange Relationship Sign Of The Times Thieves In The Temple Rainbow Children (edit) Mr Man Call My Name Alphabet Street RSS Feed: JJ's Smoking Sessions

Prince has left the building and he leaves behind some of the best music in recorded history. This is a 3-hour set of his best music from his most prolific period. Because none of his catalog has been digitally remastered I tried my best to do it myself. Song List Let's Go Crazy Mountains Hot Thing Let's Pretend We're Married When Doves Cry Controversy I Could Never Take The Place of Your Man Gett Off Alphabet Street Pink Cashmere Delirious I Wanna Be Your Lover Thieves In The Temple Kiss Dirty Mind DMSR Housequake Pop Life The Most Beautiful Girl In The World Sometimes It Snows In April Nothing Compares To You Sign 'O The Times I Would Die For You Little Red Corvette 7 Raspberry Beret Starfish & Coffee If I Was Your Girlfriend Head Cream Sexy MF Batdance Erotic City U Got The Look 1999 The Cross Purple Rain

www.amppod.com AMPpod Podcast - Episode 91 - Guest Special! Here is the track listing for the ninety first episode of AMPpod. Enjoy! 1. “I Wanna Be Your Lover” by Prince 2. “Changelings” by Gazelle Twin 3. “Work It Out” by Jurassic 5 ft. Dave Matthews Band 4. “Da Funk” by Daft Punk 5. “Have You Seen My Son?” by Benjamin Booker 6. “Know How” by Young MC 7. “minipops 67 [120.2][source field mix]" by Aphex Twin 8. “Gooey” by Glass Animals 9. “Egypt Egypt” by Egyptian Lover 10. “Kunta Kinte” by The Revolutionaries 11. “About Her” by Malcolm McLaren

"Got To Give it Up" - Marvin Gaye "I'll Always Love My Mama" (long version) - The Intruders "That Lady" - The Isley Brothers "Rockin' Robin' - Michael Jackson "My Guy" - Mary Wells "Sex Machine" - James Brown "Bustin' Loose" - Chuck Brown & The Soul Searchers "Candy" - Cameo "We Are Family" - Sister Sledge "Square Biz" - Teena Marie "Ain't Nobody" - Rufus featuring Chaka Khan "Juicy Fruit" - Mtume "Don't Look Any Further" - Dennis Edwards and Siedah Garrett "Ladies Night" - Kool & The Gang "Got To Be Real" - Cheryl Lynn "Fantastic Voyage" - Lakeside "We Got The Funk" (Danny Krivit Re-Edit) - Positive Force "Never Too Much" - Luther Vandross "Flashlight" - Parliament "More Bounce To The Ounce" - Zapp "Upside Down" - Diana Ross "Rock With You" - Michael Jackson "I Wanna Be Your Lover" - Prince "Electric Slide" "Cha Cha Slide" - Mr. C "One Nation Under a Groove" - Funkadelic "Family Affair" - Sly & The Family Stone "That's The Way Of The World" - Earth, Wind & Fire