Podcasts about I Wanna Know

Brand new guest mix by @juuku! Featuring lots of original music and ID's!Spotify Playlist: bitbird.lnk.to/bbradio-spotifyFull Tracklist: https://1001.tl/bjymuc1follow juukufacebook.com/juukumusictwitter.com/juuku__https://www.youtube.com/channel/UCfc7ke9NJ_jAknPs-d7XbPwinstagram.com/juuku_/@juuku

♫ More @ https://eonity.fanlink.to/HigherEmotion ❤ Support the DJ: @itsVil ▶️ Tracklist: see below ------------------------------------------------------------- Eonity | Connected by Music, United by Passion ♥ | #1 music portal for your emotions ♫ Find your Eonity content @ https://Eonity.co/all ⬅ ------------------------------------------------------------- ▶️ TRACKLIST: 1. ARTY vs. Hardwell - Mad Avalanche World 2. Be My Love (DubVision Remix) vs. Scars (Mashup) 3. Loreno Mayer - Stronger 4. Suspect 44 x Soar - Fall For You 5. Dimitri Vangelis & Wyman vs. Swedish House Mafia - Don't You Worry Penny (Whaler & Fuerte Edit) 6. Sigma - Nobody To Love (Third Party Remix) w/ I Wanna Know ft. Nico & Vinz 7. Porter Robinson vs. Seven Lions vs. Arty - Lionhearted (MisterGK Mashup) 8. Loreno Mayer & Quizzow - Who You Are (feat. Enya Angel) 9. Alesso & DubVision vs. Swedish House Mafia - Save The World One Last Time (Whaler & Fuerte Edit) 10. Arty vs. Alesso - Tim vs. Heroes (Alesso 'Tomorrowland' Mashup) 11. CHRSTN, Courts - Chasing After (ft. Akacia) 12. Kanallia - Lycoris 13. Alpha 9 - Skin vs. Audien - Wayfarer

Bass Ace - Outstanding Deep House, новый релиз от лейбла Clubmasters Records. В данную компиляцию вошли лучшие треки исполнителя за последние три года и одна новая композиция «Bass Ace - You Kill Me». Дата релиза: 28.12.2020 Трек-лист: Love Summer, Only One. Coming On, I'm Leaving You, Alone, I Wanna Know, Gucci, Don't Let Me Go, Dance With Me, Rain, You Kill Me. WEB: clubmastersrecords.com, promodj.com/bass-ace #DeepHouse #ClubmastersRecords #Deep #House #BassAce #Outstanding #Album2020 #LoveSummer #OnlyOne #ComingOn #ImLeavingYou #Alone #IWannaKnow #Gucci #DontLetMeGo #DanceWithMe #Rain #YouKillMe iTunes: music.apple.com/ru/album/outst… Spotify: open.spotify.com/album/6E9SVun… Boom: boom.ru/redirect/album/1297947…

Happy New Year everyone! We are kicking it off with an energetic guest mix by Prblm Chld who just released his first single "14U" on bitbird

Season 1 is coming soon! Wait—what about the last twelve episodes? Here's the thing: I'm considering all the previous episodes as Season 0. I've learned a ton about podcast editing since last season ended and I want to mark this as a new era of I Wanna Know. Join my Patreon for sweet bennies here: Patreon.com/IWKpodcast Catch up on last season before the new one starts: WondermentWA.com/podcast Connect with me on IG (seriously DM me any time): Instagram.com/jylle.a

Bass Ace - Outstanding Deep House, новый релиз от лейбла Clubmasters Records. В данную компиляцию вошли лучшие треки исполнителя за последние три года и одна новая композиция «Bass Ace - You Kill Me». Дата релиза: 28.12.2020 Трек-лист: Love Summer, Only One. Coming On, I'm Leaving You, Alone, I Wanna Know, Gucci, Don't Let Me Go, Dance With Me, Rain, You Kill Me. WEB: clubmastersrecords.com, promodj.com/bass-ace #DeepHouse #ClubmastersRecords #Deep #House #BassAce #Outstanding #Album2020 #LoveSummer #OnlyOne #ComingOn #ImLeavingYou #Alone #IWannaKnow #Gucci #DontLetMeGo #DanceWithMe #Rain #YouKillMe iTunes: music.apple.com/ru/album/outst… Spotify: open.spotify.com/album/6E9SVun… Boom: boom.ru/redirect/album/1297947…

Bass Ace - Outstanding Deep House, новый релиз от лейбла Clubmasters Records. В данную компиляцию вошли лучшие треки исполнителя за последние три года и одна новая композиция «Bass Ace - You Kill Me». Дата релиза: 28.12.2020 Трек-лист: Love Summer, Only One. Coming On, I'm Leaving You, Alone, I Wanna Know, Gucci, Don't Let Me Go, Dance With Me, Rain, You Kill Me. WEB: clubmastersrecords.com, promodj.com/bass-ace #DeepHouse #ClubmastersRecords #Deep #House #BassAce #Outstanding #Album2020 #LoveSummer #OnlyOne #ComingOn #ImLeavingYou #Alone #IWannaKnow #Gucci #DontLetMeGo #DanceWithMe #Rain #YouKillMe iTunes: music.apple.com/ru/album/outst… Spotify: open.spotify.com/album/6E9SVun… Boom: boom.ru/redirect/album/1297947…

It has always been an honor and privilege to be the caretaker of the vibrational sound repository known as The Music Authority LIVE STREAM Show & Podcast!  You have allowed me over SIX PLUS YEARS to share your blood, sweat, tears, ideas, collaborations, skills, talents...your art...YOU!  It is a moment in time that I will never forget.  I cannot thank you enough!  I'm not going anywhere, I just wanted to stop a moment inside the tumult and say, “THANK YOU!”  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat daily on Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! AND NOW ON MORNINGS IN CANADA!  https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening? How does and can one listen in? Let me list the ways...Listen LIVE here - https://fastcast4u.com/player/jamprell/ Podcast recorded here - https://themusicauthority.transistor.fm/ Take a moment and share this post! Share it! Share it!! Share It!!! SHARED! The Music Authority LIVE STREAM Show & Podcast! Please check out my shows special recorded hour, Tuesday, Wednesday and Thursday at 7PM UK time, 2PM ET, 11AM PT Now Rocking The KOR! www.koradio.rocks ALSO! Hear a completely different recorded hour of Power Pop, Rock, Soul, Rhythm & Blues...NO TWO LIVE SHOWS THE SAME, Friday, Saturday and Sunday on Pop Radio UK 6PM UK, 1PM ET, 10AM PT! November 3, 2020, Tuesday, chapter three…Rich Kid Express - 01_Get Outta My Life [Psychodelic]Max Stern - 09 Never Ending Equals Sign [Impossible Sum]Maureen Leeson - 02 I Wanna Know [aka Moe](Bullseye Records Of Canada)Leslie Pereira & The Lazy Heroes - 11 Not To Me [Good Karma](Big Stir Records)Jittery Jack & Amy Griffin On Guitar - See You Friday [Gonna Have A Time With...Jittery Jack & Amy Griffin On Guitar] (Rum Bar Records)Jaimie Vernon - 03 You Are To Me [So You Are A Star] (Bullseye Records Of Canada)David Brookings - Sand in the Hourglass [David Brookings Anthology]Daisy-Chain - 05 Pompetus [Tragic Magic]Heavenly - Trophy Girlfriend [A Bout De Heavenly](Damaged Goods Records)Red Caravan - 04 Yawn (Told You Before) [Split Lip – EP]The Corner Laughers - 04  The Calculating Boy [Big Stir Singles - The Seventh Wave](Big Stir Records)Jared Lekites - 01_Love That Lasts [Looking For Diamonds X]Talulah Gosh - Rubber Ball [Was It Just A Dream] (Damaged Goods Records)The Well Wishers - Be The One [Shelf Life]Mind Motel - 02 Gold Coast [Visions]Solar Twin - CD2_01_True Colors [Shane Tutmarc - Written & Produced by Shane Tutmarc] (koolkatmusik.com)The Amplifier Heads - 15 Freak [Music For Abandoned Amusement Parks]The Bookends - She's Got It [Calliope](Jem Records)The Junior League – Say Please And Thank You [Eventually Is Now] (koolkatmusik.com)

Yep, you read that title correctly. We are getting to it this week with this episode and are questioning some thangs. Von & Grundy give you all a recap on the brief hiatus while Von was away, breakdown a thought provoking TikTok video & then get into the the juicy stuff. They discuss the TRUE Fathers of Western Studies & ask some thought provoking questions in regards to the truth and origins of Christianity. So as always, sit back, relax & listen with an open mind... Social Media's: @celstial_conversations , @kingxvon_ , @thegrundyshow Featured Music: Joey Badass x The Light , The Winans x The Question Is , Lil Wayne x Let's Do It , Outkast x ATLiens , Joe x I Wanna Know , Michael Jackson x Remember The Time Background Instrumental: Jaden Smith x Labor V2 References: Young Pharaoh Videos to Watch: https://www.youtube.com/results?search_query=young+pharaoh+christanity https://link.springer.com/article/10.1057/jt.2009.16 - Theorem 1000 years before Pythagoras https://www.google.com/search?q=african+father+of+mathematics&oq=african+father+of+ma&aqs=chrome.1.69i57j33l7.13276j0j7&sourceid=chrome&ie=UTF-8 - African Father of Mathematics Other Things Mentioned to Research: Archimedes, Euclid, Hippocrates, Imhotep, Ptahhotep, Hotep, King James Bible, Horus vs Jesus,

I Wanna Know. Indie turned emo punk visionary Ryan Potter is our guest on Episode 91 of Sappenin' Podcast! The Hunna vocalist opens up on the bands incredible journey of highs and lows as they finally have the platform to express themselves. Experience their new era as he discusses their reimagined sound and heavy attitudes, record label heartache, evolving with freedom on new album 'I'd Rather Die Than Let You In', explicit backstage politics, almost breaking up to now working with a collection of his childhood heroes in Fall Out Boy, Blink-182, Twenty One Pilots and My Chemical Romance, personal struggles, video games, Hulk Hogan, weed, the future and more! Ryan and The Hunna have such a passionate, unique and movie like story that deserves to be heard, get ready to be exposed to some of the music industries best and worst elements. Such a honest conversation, we can't wait for you to hear it. Turn this up and join Sean and Morgan to find out Sappenin' this week!Follow Us on Social Media:Twitter: @sappeninpodInstagram: @sappeninpod Special thank you to our Sappenin' Podcast Patreons:Join the Sappenin' Podcast Community: Patreon.com/Sappenin.Kylie Wheeler, Mayumi Liwayway, Emma Barber, Mitch Perry, Shani-Maia Boxill-Anderson, Dayna Lasnover, Amandine Urbano, Janelle Caston, Drew Styles, Samantha Spray, Dilly Grimwood, Nathan Crawshaw, Kelly Young, Kelly Irwin, Johnny Phillips, Scarlet Charlton, Simon Amos, Jenni Munster, Cate Stevenson, Amy Campion, Emily Senogles, Lucy Deards, Martina McManus, Erin Howard, John&Emma, James Oakley, Louis Cook, Marcie Jacobson, Kieran Lewis, Sarah Stewart, Jordan Birchard, Mike Cunningham, Jamie O'Jaime, Paddy The Magnificent, Carl Pendlebury, Kelly Emma Cannon, Livvy Cropper, Paul Hirschfield, Becky Magliocco, James McNaught, Lydia Henderson, Ricky McClurg, Amy Thomas, Scott Jones, Tallulah Grant, Stuart McNaught, Tony Michael, Jenni Robinson, Jamie Bloor, Sarah James, Michael Engler, El Douglas, Mark Hendy, Loz Sanchez, Natasha Morris, Kelly Mallery, James Bowerbank, Mikey White, Becky Handy, Kevin Clarke, Jean Davies, Cerys Andrews, Michael Crosby, Let it Flow Yoga, Rhys Bernardo, Samuel Griffiths, Liam Connolly, Jordan Harris, Conor Mould, Kyle David Smith, James Page, Kat Bessant, Justin Dunn, Samantha Neville, Ash Foster, Gabby Byrne, Nora Pickler, Chris Harris, Sophie Thompson, Scott Evans, Geoff Halbherr, Danny Eaton, Jessie Hellier, Neil Reid, Emily Dixon, David Winchurch, Kelly Tyrer, Hannah Rachael, Justine Baddeley, Anthony Matthews, Nuala Clark, Owen Davies, Angharad Richards, Samantha Bowen, Sandra Kucharczyk, Gavin Butler, Jennifer Dean, Ryan Woodman, Matt Roberts, Robert Pike, Robert Byrne, Hannah Talbot, Ida Christensen, Nicola Johnson, Rebecca Harrison, Luke Wardle, Sarah Maher, Alanágh Nic Gabhann, Lewis Sluman, Andy Saxton, Snowdogg7, Helen Macbethm, Callum Oakshott, Emma Forni, Adam Tibbs, Alice Boyns, Joshua Ehrensperger-Lewis, Lucy Neill, Ollie Amesbury, Stevie Burke, Tom Owen, Jacob Turner, Nathan Matheson, Katy Brewster, Thomas James, Andrew Keech, Ben Evans, Ceri Craddock, Julia Rawicz, Sam Ledgerwood, Jason Heredia, Marc Jones, Kevin Andrew and Teri Oakshott-Marston.Diolch and Thank You x See acast.com/privacy for privacy and opt-out information.

Rising POP Artist, Iradina will officially release her single "I Wanna Know" and "Don't Be Afraid" on iTunes, Spotify, Google Play, Tidal and all platforms by December 2019. She is in a great position and open to teaming up with some great people to get to the next level. She is ready to share her talent and is open to touring, venues, and bookings feel free to . Currently, she is preparing to do shows with some big names in the industry and she will update once everything is officially confirmed. Also, she is works with a top choreographer to get her video completed. Just a little goodies to keep you on your toes. http://www.lifoti.com/2019/09/iradina-define-resonates-and-echoes-in.html

Iradina Woodley has been singing since a very young age around the country and went to the studio for the first time wanting to sing the way she felt and arise with a unique and soulful sound. “I Wanna Know” is the leading song from her discography.Topics of Discussion1.Artist Background2.How she is inspired through her writing and music3.The importance of looking up instead down during bad times4.Listening to Iradina’s music to transition and feel good5.Iradina’s TikTok promotion success6.Sticking to balanced RnB musicWhere to find Iradina Woodley:https://www.instagram.com/therealiradina/ https://www.facebook.com/officialiradina/ https://vm.tiktok.com/J8vvEg3/ https://mobile.twitter.com/iradina_loveit Show Information:https://instagram.com/kineticpemixx https://transformu.us/kineticpemixx

Rachel hosts her own episode of I Wanna Know and asks me everything I know about podcasting so far. Become a sponsor on Anchor to keep the show ad-free forever! Follow Rachel on Instagram @RachelJoyPhoto and visit her website at https://www.racheljoyphotos.com, especially if you're looking for incredible engagement + wedding photos. Mentions Airtable Spiked Theology Olan Rogers: IG @olanrogers TSF Quarantine is now known as Annie and Eddie Keep Talking The RELEVANT Podcast Everything is Alive The Bright Sessions The Goal Digger Podcast Beach Too Sandy, Water Too Wet

Episode eighty-one of A History of Rock Music in Five Hundred Songs looks at "Shout" by the Isley Brothers, and the beginnings of a career that would lead to six decades of hit singles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Tell Laura I Love Her" by Ray Peterson. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more----  Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley's daughter, so I've had to piece this together from literally dozens of different sources. The ones I relied on most were this section of a very long article on Richie Barrett, this interview with Ronald Isley, and Icons of R&B and Soul by Bob Gulla.  The information on Hugo and Luigi comes mostly from two books -- Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick, and  Godfather of the Music Business: Morris Levy by Richard Carlin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take one of our rare looks -- at this point in the story anyway -- at an act that is still touring today. Indeed, when I started writing this script back in February, I started by saying that I would soon be seeing them live in concert, as I have a ticket for an Isley Brothers show in a couple of months. Of course, events have overtaken that, and it's extremely unlikely that anyone will be going to any shows then, but it shows a fundamental difference between the Isley Brothers and most of the other acts we've looked at, as even those who are still active now mostly concentrate on performing locally rather than doing international tours playing major venues. Of course, the version of the Isley Brothers touring today isn't quite the same as the group from the 1950s, but Ronald Isley, the group's lead singer, remains in the group -- and, indeed, has remained artistically relevant, with collaborations with several prominent hip-hop artists. The Isleys had top forty hits in the sixties, seventies, eighties, nineties, and two thousands, and as recently as 2006 they had an album go to number one on the R&B charts. But today, we're going to look back at the group's very first hit, from 1959. [Excerpt: The Isley Brothers, "Shout"] The Isley Brothers were destined to be a vocal group even before they were born, indeed even before their parents were married. When O'Kelly Isley senior was discussing his marriage proposal with his future in-laws, he told his father-in-law-to-be that he intended to have four sons, and that they were going to be the next Mills Brothers. Isley Sr had been a vaudeville performer himself, and as with so many family groups the Isleys seem to have gone into the music business more to please their parents than because they wanted to do it themselves. As it turned out, O'Kelly and Sallye Isley had six children, all boys, and the eldest four of them did indeed form a vocal group. Like many black vocal groups in the early fifties, they were a gospel group, and O'Kelly Jr, Rudolph, Ronald, and Vernon Isley started performing around the churches in Cincinnati as teenagers, having been trained by their parents. They appeared on Ted Mack's Amateur Hour, the popular TV talent show which launched the careers of many entertainers, and won -- their prize was a jewelled watch, which the boys would take turns wearing. But then tragedy struck. Vernon, the youngest of the four singing Isleys, and the one who was generally considered to be far and away the most talented singer in the group, was hit by a car and killed while he was riding his bike, aged only thirteen. The boys were, as one would imagine, devastated by the death of their little brother, and they also thought that that should be the end of their singing career, as Vernon had been their lead singer. It would be two years before they would perform live again. By all accounts, their parents put pressure on them during that time, telling them that it would be the only way to pay respect to Vernon. Eventually a compromise was reached between parents and brothers -- Ron agreed that he would attempt to sing lead, if in turn the group could stop singing gospel music and start singing doo-wop songs, like the brothers' favourite act Billy Ward and the Dominoes. We've talked before about how Billy Ward & The Dominoes were a huge influence on the music that became soul, with hit records like "Have Mercy Baby": [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Both Ward's original lead singer Clyde McPhatter and McPhatter's later replacement Jackie Wilson sang in a style that owed a lot to the church music that the young Isleys had also been performing, and so it was natural for them to make the change to singing in the style of the Dominoes. As soon as Ronald Isley started singing lead, people started making comparisons both to McPhatter and to Wilson. Indeed, Ronald has talked about McPhatter as being something of a mentor figure for the brothers, teaching them how to sing, although it's never been clear exactly at what point in their career they got to know McPhatter. But their real mentor was a much less well-known singer, Beulah Bryant. The three eldest Isley brothers, O'Kelly, Rudolph, and Ronald, met Bryant on the bus to New York, where they were travelling to try and seek their fortunes. Bryant was one of the many professional blues shouters who never became hugely well known, but who managed to have a moderately successful career from the fifties through to the eighties, mostly in live performances, though she did make a handful of very listenable records: [Excerpt: Beulah Bryant, "What Am I Gonna Do?"] When they got to New York, while they had paid in advance for somewhere to stay, they were robbed on their second day in the city and had no money at all. But Bryant had contacts in the music industry, and started making phone calls for her young proteges, trying to get them bookings. At first she was unsuccessful, and the group just hung around the Harlem Apollo and occasionally performed at their amateur nights. Eventually, though, Bryant got Nat Nazzaro to listen to them over the phone. Nazzaro was known as "the monster agent" -- he was one of the most important booking agents in New York, but he wasn't exactly fair to his young clients. He would book a three-person act, but on the contracts the act would consist of four people -- Nazzaro would be the fourth person, and he would get an equal share of the performance money, as well as getting his normal booking agent's share. Nazzaro listened to the Isleys over the phone, and then he insisted they come and see him in person, because he was convinced that they had been playing a record down the phone rather than singing to him live. When he found out they really did sound like that, Nazzaro started getting them the kind of bookings they could only dream of -- they went from having no money at all to playing on Broadway for $750 a week, and then playing the Apollo for $950 a week, at least according to O'Kelly Isley Jr's later recollection. This was an astonishing sum of money to a bunch of teenagers in the late 1950s. But they still hadn't made a record, and their sets were based on cover versions of songs by other people, things like "Rock and Roll Waltz" by Kay Starr: [Excerpt: Kay Starr, "Rock and Roll Waltz"] It was hardly the kind of material they would later become famous for. And nor was their first record. They had signed to a label called Teenage Records, a tiny label owned by two former musicians, Bill "Bass" Gordon and Ben Smith. As you might imagine, there were a lot of musicians named Ben Smith and it's quite difficult to sort out which was which -- even Marv Goldberg, who normally knows these things, seems confused about which Ben Smith this was, describing him as a singer on one page and a sax player on another page. As Ben Smith the sax player seems to have played on some records for Teenage, it was probably him, in which case this Ben Smith probably also played alto sax for Lucky Millinder's band and wrote the hit "I Dreamed I Dwelt in Harlem" for Glenn Miller: [Excerpt: The Glenn Miller Orchestra, "I Dreamed I Dwelt in Harlem"] It's more certain exactly who Bill "Bass" Gordon was -- he was the leader of Bill "Bass" Gordon and the Colonials, who had recorded the doo-wop track "Two Loves Have I": [Excerpt: Bill "Bass" Gordon and the Colonials, "Two Loves Have I"] Smith and Gordon signed the Isley Brothers to Teenage Records, and in June 1957 the first Isley Brothers single, "Angels Cried", came out: [Excerpt: The Isley Brothers, "Angels Cried"] Unfortunately, the single didn't have any real success, and the group decided that they wanted to record for a better label. According to O'Kelly Isley they got some resistance from Teenage Records, who claimed to have them under contract -- but the Isley Brothers knew better. They had signed a contract, certainly, but then the contract had just been left on a desk after they'd signed it, rather than being filed, and they'd swiped it from the desk when no-one was looking. Teenage didn't have a copy of the contract, so had no proof that they had ever signed the Isley Brothers, and the brothers were free to move on to another label. They chose to sign to Gone Records, one of the family of labels that was owned and run by George Goldner. Goldner assigned Richie Barrett, his talent scout, producer, and arranger, to look after the Isleys, as he had previously done with Frankie Lymon and the Teenagers and the Chantels, as well as his own group the Valentines: [The Valentines, "The Woo Woo Train"] By this point, Barrett had established an almost production-line method of making records. He would block-book a studio and some backing musicians for up to twenty-four hours, get as many as ten different vocal groups into the studio, and record dozens of tracks in a row, usually songs written by either group members or by Barrett. The Isleys' first record with Barrett, "Don't Be Jealous", was a fairly standard doo-wop ballad, written by Ron Isley: [Excerpt: The Isley Brothers, "Don't Be Jealous"] There's some suggestion that Barrett is also singing on that recording with the group -- it certainly sounds like there are four voices on there, not just three. Either way, the song doesn't show much of the style that the Isley Brothers would later make their own. Much more like their later recordings was the B-side, another Ronald Isley song, which could have been a classic in the Coasters' mould had it not been for the lyrics, which were an attempt at a hip rewriting of "Old McDonald": [Excerpt: The Isley Brothers, "Rockin' McDonald"] They were nearly there, but not quite. The next single, "I Wanna Know", came closer -- you can hear they were clearly trying to incorporate elements of other people's successful records -- Ronald Isley's vocal owes a lot to Little Richard, while the piano playing has the same piano "ripping" that Jerry Lee Lewis had made his own. But you can also hear the style that would make them famous coming to the fore. But they were not selling records, and Richie Barrett was stretched very thin. A few more singles were released on Gone (often pairing a previously-released track with a new B-side) but nothing was successful enough to justify them staying on with Goldner's label. But just as they'd moved from a micro-indie label to a large indie without having had any success, now they were going to move from a large indie to a major label, still not having had a hit. They took one of their records to Hugo and Luigi at RCA records, and the duo signed them up. Hugo and Luigi were strange, strange, figures in popular music in the 1950s. They were two cousins, Hugo Peretti and Luigi Creatore, who were always known by their first names, and had started out making children's records before being hired by Mercury Records, where they would produce, among other things, the cover versions by Georgia Gibbs of black records that we've talked about previously, and which were both ethically and musically appalling: [Excerpt: Georgia Gibbs, "Dance With Me Henry"] After a couple of years of consistently producing hits, they got tempted away from Mercury by Morris Levy, who was setting up a new label, Roulette, with George Goldner and Alan Freed. Goldner and Freed quickly dropped out of the label, but Hugo and Luigi ended up having a fifty percent stake in the new label. While they were there, they showed they didn't really get rock and roll music at all -- they produced follow-up singles by a lot of acts who'd had hits before they started working with Hugo and Luigi, but stopped as soon as the duo started producing them, like Frankie Lymon: [Excerpt: Frankie Lymon, "Goodie Goodie"] But they still managed to produce a string of hits like "Honeycomb" by Jimmie Rodgers (who is not either the blues singer or the country singer of the same name), which went to number one: [Excerpt: Jimmie Rogers, "Honeycomb"] And they also recorded their own tracks for Roulette, like the instrumental Cha-Hua-Hua: [Excerpt: Hugo and Luigi, "Cha-Hua-Hua"] After a year or so with Roulette, they were in turn poached by RCA -- Morris Levy let them go so long as they gave up their shares in Roulette for far less than they were worth. At RCA they continued their own recording career, with records like "Just Come Home": [Excerpt: Hugo and Luigi, "Just Come Home"] They also produced several albums for Perry Como. So you would think that they would be precisely the wrong producers for the Isley Brothers. And the first record they made with the trio would tend to suggest that there was at least some creative difference there. "I'm Gonna Knock on Your Door" was written by Aaron Schroeder and Sid Wayne, two people who are best known for writing some of the less interesting songs for Elvis' films, and has a generic, lightweight, backing track -- apart from an interestingly meaty guitar part. The vocals have some power to them, and the record is pleasant, and in some ways even ground-breaking -- it doesn't sound like a late fifties record as much as it does an early sixties one, and one could imagine, say, Gerry and the Pacemakers making a substantially identical record. But it falls between the stools of R&B and pop, and doesn't quite convince as either: [Excerpt: The Isley Brothers, "I'm Gonna Knock on Your Door"] That combination of a poppy background and soulful vocals would soon bear a lot of fruit for another artist Hugo and Luigi were going to start working with, but it didn't quite work for the Isleys yet. But their second single for RCA was far more successful. At this point the Isleys were a more successful live act than recording act, and they would mostly perform songs by other people, and one song they performed regularly was "Lonely Teardrops", the song that Berry and Gwen Gordy and Roquel Davis had written for Jackie Wilson: [Excerpt: Jackie Wilson, "Lonely Teardrops"] The group would perform that at the end of their shows, and they started to extend it, with Ron Isley improvising as the band vamped behind him, starting with the line "say you will" from Wilson's song. He'd start doing a call and response with his brothers, singing a line and getting them to sing the response "Shout". These improvised, extended, endings to the song got longer and longer, and got the crowds more and more excited, and they started incorporating elements from Ray Charles records, too, especially "What'd I Say" and "I Got a Woman". When they got back to New York at the end of the tour, they told Hugo and Luigi how well these performances, which they still thought of as just long performances of "Lonely Teardrops", had gone. The producers suggested that if they went down that well, what they should do is cut out the part that was still "Lonely Teardrops" and just perform the extended tag. As it turned out, they kept in a little of "Lonely Teardrops" -- the "Say you will, say you will" line -- and the resulting song, like Ray Charles' similar call-and-response based "What'd I Say", was split over two sides of a single, as "Shout (Parts One and Two)": [Excerpt: The Isley Brothers, "Shout (Parts One and Two)"] That was nothing like anything that Hugo and Luigi had ever produced before, and it became the Isley Brothers' first chart hit, reaching number forty-seven. More importantly for them, the song was credited to the three brothers, so they made money from the cover versions of the song that charted much higher. In the USA, Joey Dee and the Starliters made number six in 1962 with their version: [Excerpt: Joey Dee and the Starliters, "Shout"] In the UK, Lulu and the Luvvers made number seven in 1964: [Excerpt: Lulu and the Luvvers, "Shout"] And in Australia, Johnny O'Keefe released his version only a month after the Isleys released theirs, and reached number two: [Excerpt: Johnny O'Keefe, "Shout"] Despite all these cover versions, the Isleys' version remains the definitive one, and itself ended up selling over a million copies, though it never broke into the top forty. It was certainly successful enough that it made sense to record an album. Unfortunately, for the album, also titled Shout!, the old Hugo and Luigi style came out, and apart from one new Isleys original, "Respectable", which became their next single, the rest of the album was made up of old standards, rearranged in the "Shout!" style. Sometimes, this almost worked, as on "Ring-A-Ling A-Ling (Let The Wedding Bells Ring)", whose words are close enough to Little Richard-style gibberish that Ronald Isley could scream them effectively. But when the Isleys take on Irving Berlin's "How Deep is the Ocean" or "He's Got the Whole World in His Hands", neither the song nor the group are improved by the combination. They released several more singles on RCA, but none of them repeated the success of "Shout!". At this point they moved across to Atlantic, where they started working with Leiber and Stoller. Leiber and Stoller kept them recording old standards as B-sides, but for the A-sides they went back to gospel-infused soul party songs, like the Leiber and Stoller song "Teach Me How To Shimmy" and the Isleys' own "Standing On The Dance Floor", a rewrite of an old gospel song called "Standing at the Judgment": [Excerpt: The Isley Brothers, "Standing on the Dance Floor"] But none of these songs scraped even the bottom of the charts, and the brothers ended up leaving Atlantic after a year, and signing with a tiny label, Scepter. After having moved from a tiny indie label to a large indie to a major label, they had now moved back down from their major label to a large indie to a tiny indie. They were still a great live act, but they appeared to be a one-hit wonder. But all that was about to change, when they recorded a cover version of a flop single inspired by their one hit, combined with a dance craze. The Isley Brothers were about to make one of the most important records of the 1960s, but "Twist and Shout" is a story for another time.  

Episode eighty-one of A History of Rock Music in Five Hundred Songs looks at “Shout” by the Isley Brothers, and the beginnings of a career that would lead to six decades of hit singles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Tell Laura I Love Her” by Ray Peterson. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—-  Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley’s daughter, so I’ve had to piece this together from literally dozens of different sources. The ones I relied on most were this section of a very long article on Richie Barrett, this interview with Ronald Isley, and Icons of R&B and Soul by Bob Gulla.  The information on Hugo and Luigi comes mostly from two books — Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick, and  Godfather of the Music Business: Morris Levy by Richard Carlin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take one of our rare looks — at this point in the story anyway — at an act that is still touring today. Indeed, when I started writing this script back in February, I started by saying that I would soon be seeing them live in concert, as I have a ticket for an Isley Brothers show in a couple of months. Of course, events have overtaken that, and it’s extremely unlikely that anyone will be going to any shows then, but it shows a fundamental difference between the Isley Brothers and most of the other acts we’ve looked at, as even those who are still active now mostly concentrate on performing locally rather than doing international tours playing major venues. Of course, the version of the Isley Brothers touring today isn’t quite the same as the group from the 1950s, but Ronald Isley, the group’s lead singer, remains in the group — and, indeed, has remained artistically relevant, with collaborations with several prominent hip-hop artists. The Isleys had top forty hits in the sixties, seventies, eighties, nineties, and two thousands, and as recently as 2006 they had an album go to number one on the R&B charts. But today, we’re going to look back at the group’s very first hit, from 1959. [Excerpt: The Isley Brothers, “Shout”] The Isley Brothers were destined to be a vocal group even before they were born, indeed even before their parents were married. When O’Kelly Isley senior was discussing his marriage proposal with his future in-laws, he told his father-in-law-to-be that he intended to have four sons, and that they were going to be the next Mills Brothers. Isley Sr had been a vaudeville performer himself, and as with so many family groups the Isleys seem to have gone into the music business more to please their parents than because they wanted to do it themselves. As it turned out, O’Kelly and Sallye Isley had six children, all boys, and the eldest four of them did indeed form a vocal group. Like many black vocal groups in the early fifties, they were a gospel group, and O’Kelly Jr, Rudolph, Ronald, and Vernon Isley started performing around the churches in Cincinnati as teenagers, having been trained by their parents. They appeared on Ted Mack’s Amateur Hour, the popular TV talent show which launched the careers of many entertainers, and won — their prize was a jewelled watch, which the boys would take turns wearing. But then tragedy struck. Vernon, the youngest of the four singing Isleys, and the one who was generally considered to be far and away the most talented singer in the group, was hit by a car and killed while he was riding his bike, aged only thirteen. The boys were, as one would imagine, devastated by the death of their little brother, and they also thought that that should be the end of their singing career, as Vernon had been their lead singer. It would be two years before they would perform live again. By all accounts, their parents put pressure on them during that time, telling them that it would be the only way to pay respect to Vernon. Eventually a compromise was reached between parents and brothers — Ron agreed that he would attempt to sing lead, if in turn the group could stop singing gospel music and start singing doo-wop songs, like the brothers’ favourite act Billy Ward and the Dominoes. We’ve talked before about how Billy Ward & The Dominoes were a huge influence on the music that became soul, with hit records like “Have Mercy Baby”: [Excerpt: Billy Ward and the Dominoes, “Have Mercy Baby”] Both Ward’s original lead singer Clyde McPhatter and McPhatter’s later replacement Jackie Wilson sang in a style that owed a lot to the church music that the young Isleys had also been performing, and so it was natural for them to make the change to singing in the style of the Dominoes. As soon as Ronald Isley started singing lead, people started making comparisons both to McPhatter and to Wilson. Indeed, Ronald has talked about McPhatter as being something of a mentor figure for the brothers, teaching them how to sing, although it’s never been clear exactly at what point in their career they got to know McPhatter. But their real mentor was a much less well-known singer, Beulah Bryant. The three eldest Isley brothers, O’Kelly, Rudolph, and Ronald, met Bryant on the bus to New York, where they were travelling to try and seek their fortunes. Bryant was one of the many professional blues shouters who never became hugely well known, but who managed to have a moderately successful career from the fifties through to the eighties, mostly in live performances, though she did make a handful of very listenable records: [Excerpt: Beulah Bryant, “What Am I Gonna Do?”] When they got to New York, while they had paid in advance for somewhere to stay, they were robbed on their second day in the city and had no money at all. But Bryant had contacts in the music industry, and started making phone calls for her young proteges, trying to get them bookings. At first she was unsuccessful, and the group just hung around the Harlem Apollo and occasionally performed at their amateur nights. Eventually, though, Bryant got Nat Nazzaro to listen to them over the phone. Nazzaro was known as “the monster agent” — he was one of the most important booking agents in New York, but he wasn’t exactly fair to his young clients. He would book a three-person act, but on the contracts the act would consist of four people — Nazzaro would be the fourth person, and he would get an equal share of the performance money, as well as getting his normal booking agent’s share. Nazzaro listened to the Isleys over the phone, and then he insisted they come and see him in person, because he was convinced that they had been playing a record down the phone rather than singing to him live. When he found out they really did sound like that, Nazzaro started getting them the kind of bookings they could only dream of — they went from having no money at all to playing on Broadway for $750 a week, and then playing the Apollo for $950 a week, at least according to O’Kelly Isley Jr’s later recollection. This was an astonishing sum of money to a bunch of teenagers in the late 1950s. But they still hadn’t made a record, and their sets were based on cover versions of songs by other people, things like “Rock and Roll Waltz” by Kay Starr: [Excerpt: Kay Starr, “Rock and Roll Waltz”] It was hardly the kind of material they would later become famous for. And nor was their first record. They had signed to a label called Teenage Records, a tiny label owned by two former musicians, Bill “Bass” Gordon and Ben Smith. As you might imagine, there were a lot of musicians named Ben Smith and it’s quite difficult to sort out which was which — even Marv Goldberg, who normally knows these things, seems confused about which Ben Smith this was, describing him as a singer on one page and a sax player on another page. As Ben Smith the sax player seems to have played on some records for Teenage, it was probably him, in which case this Ben Smith probably also played alto sax for Lucky Millinder’s band and wrote the hit “I Dreamed I Dwelt in Harlem” for Glenn Miller: [Excerpt: The Glenn Miller Orchestra, “I Dreamed I Dwelt in Harlem”] It’s more certain exactly who Bill “Bass” Gordon was — he was the leader of Bill “Bass” Gordon and the Colonials, who had recorded the doo-wop track “Two Loves Have I”: [Excerpt: Bill “Bass” Gordon and the Colonials, “Two Loves Have I”] Smith and Gordon signed the Isley Brothers to Teenage Records, and in June 1957 the first Isley Brothers single, “Angels Cried”, came out: [Excerpt: The Isley Brothers, “Angels Cried”] Unfortunately, the single didn’t have any real success, and the group decided that they wanted to record for a better label. According to O’Kelly Isley they got some resistance from Teenage Records, who claimed to have them under contract — but the Isley Brothers knew better. They had signed a contract, certainly, but then the contract had just been left on a desk after they’d signed it, rather than being filed, and they’d swiped it from the desk when no-one was looking. Teenage didn’t have a copy of the contract, so had no proof that they had ever signed the Isley Brothers, and the brothers were free to move on to another label. They chose to sign to Gone Records, one of the family of labels that was owned and run by George Goldner. Goldner assigned Richie Barrett, his talent scout, producer, and arranger, to look after the Isleys, as he had previously done with Frankie Lymon and the Teenagers and the Chantels, as well as his own group the Valentines: [The Valentines, “The Woo Woo Train”] By this point, Barrett had established an almost production-line method of making records. He would block-book a studio and some backing musicians for up to twenty-four hours, get as many as ten different vocal groups into the studio, and record dozens of tracks in a row, usually songs written by either group members or by Barrett. The Isleys’ first record with Barrett, “Don’t Be Jealous”, was a fairly standard doo-wop ballad, written by Ron Isley: [Excerpt: The Isley Brothers, “Don’t Be Jealous”] There’s some suggestion that Barrett is also singing on that recording with the group — it certainly sounds like there are four voices on there, not just three. Either way, the song doesn’t show much of the style that the Isley Brothers would later make their own. Much more like their later recordings was the B-side, another Ronald Isley song, which could have been a classic in the Coasters’ mould had it not been for the lyrics, which were an attempt at a hip rewriting of “Old McDonald”: [Excerpt: The Isley Brothers, “Rockin’ McDonald”] They were nearly there, but not quite. The next single, “I Wanna Know”, came closer — you can hear they were clearly trying to incorporate elements of other people’s successful records — Ronald Isley’s vocal owes a lot to Little Richard, while the piano playing has the same piano “ripping” that Jerry Lee Lewis had made his own. But you can also hear the style that would make them famous coming to the fore. But they were not selling records, and Richie Barrett was stretched very thin. A few more singles were released on Gone (often pairing a previously-released track with a new B-side) but nothing was successful enough to justify them staying on with Goldner’s label. But just as they’d moved from a micro-indie label to a large indie without having had any success, now they were going to move from a large indie to a major label, still not having had a hit. They took one of their records to Hugo and Luigi at RCA records, and the duo signed them up. Hugo and Luigi were strange, strange, figures in popular music in the 1950s. They were two cousins, Hugo Peretti and Luigi Creatore, who were always known by their first names, and had started out making children’s records before being hired by Mercury Records, where they would produce, among other things, the cover versions by Georgia Gibbs of black records that we’ve talked about previously, and which were both ethically and musically appalling: [Excerpt: Georgia Gibbs, “Dance With Me Henry”] After a couple of years of consistently producing hits, they got tempted away from Mercury by Morris Levy, who was setting up a new label, Roulette, with George Goldner and Alan Freed. Goldner and Freed quickly dropped out of the label, but Hugo and Luigi ended up having a fifty percent stake in the new label. While they were there, they showed they didn’t really get rock and roll music at all — they produced follow-up singles by a lot of acts who’d had hits before they started working with Hugo and Luigi, but stopped as soon as the duo started producing them, like Frankie Lymon: [Excerpt: Frankie Lymon, “Goodie Goodie”] But they still managed to produce a string of hits like “Honeycomb” by Jimmie Rodgers (who is not either the blues singer or the country singer of the same name), which went to number one: [Excerpt: Jimmie Rogers, “Honeycomb”] And they also recorded their own tracks for Roulette, like the instrumental Cha-Hua-Hua: [Excerpt: Hugo and Luigi, “Cha-Hua-Hua”] After a year or so with Roulette, they were in turn poached by RCA — Morris Levy let them go so long as they gave up their shares in Roulette for far less than they were worth. At RCA they continued their own recording career, with records like “Just Come Home”: [Excerpt: Hugo and Luigi, “Just Come Home”] They also produced several albums for Perry Como. So you would think that they would be precisely the wrong producers for the Isley Brothers. And the first record they made with the trio would tend to suggest that there was at least some creative difference there. “I’m Gonna Knock on Your Door” was written by Aaron Schroeder and Sid Wayne, two people who are best known for writing some of the less interesting songs for Elvis’ films, and has a generic, lightweight, backing track — apart from an interestingly meaty guitar part. The vocals have some power to them, and the record is pleasant, and in some ways even ground-breaking — it doesn’t sound like a late fifties record as much as it does an early sixties one, and one could imagine, say, Gerry and the Pacemakers making a substantially identical record. But it falls between the stools of R&B and pop, and doesn’t quite convince as either: [Excerpt: The Isley Brothers, “I’m Gonna Knock on Your Door”] That combination of a poppy background and soulful vocals would soon bear a lot of fruit for another artist Hugo and Luigi were going to start working with, but it didn’t quite work for the Isleys yet. But their second single for RCA was far more successful. At this point the Isleys were a more successful live act than recording act, and they would mostly perform songs by other people, and one song they performed regularly was “Lonely Teardrops”, the song that Berry and Gwen Gordy and Roquel Davis had written for Jackie Wilson: [Excerpt: Jackie Wilson, “Lonely Teardrops”] The group would perform that at the end of their shows, and they started to extend it, with Ron Isley improvising as the band vamped behind him, starting with the line “say you will” from Wilson’s song. He’d start doing a call and response with his brothers, singing a line and getting them to sing the response “Shout”. These improvised, extended, endings to the song got longer and longer, and got the crowds more and more excited, and they started incorporating elements from Ray Charles records, too, especially “What’d I Say” and “I Got a Woman”. When they got back to New York at the end of the tour, they told Hugo and Luigi how well these performances, which they still thought of as just long performances of “Lonely Teardrops”, had gone. The producers suggested that if they went down that well, what they should do is cut out the part that was still “Lonely Teardrops” and just perform the extended tag. As it turned out, they kept in a little of “Lonely Teardrops” — the “Say you will, say you will” line — and the resulting song, like Ray Charles’ similar call-and-response based “What’d I Say”, was split over two sides of a single, as “Shout (Parts One and Two)”: [Excerpt: The Isley Brothers, “Shout (Parts One and Two)”] That was nothing like anything that Hugo and Luigi had ever produced before, and it became the Isley Brothers’ first chart hit, reaching number forty-seven. More importantly for them, the song was credited to the three brothers, so they made money from the cover versions of the song that charted much higher. In the USA, Joey Dee and the Starliters made number six in 1962 with their version: [Excerpt: Joey Dee and the Starliters, “Shout”] In the UK, Lulu and the Luvvers made number seven in 1964: [Excerpt: Lulu and the Luvvers, “Shout”] And in Australia, Johnny O’Keefe released his version only a month after the Isleys released theirs, and reached number two: [Excerpt: Johnny O’Keefe, “Shout”] Despite all these cover versions, the Isleys’ version remains the definitive one, and itself ended up selling over a million copies, though it never broke into the top forty. It was certainly successful enough that it made sense to record an album. Unfortunately, for the album, also titled Shout!, the old Hugo and Luigi style came out, and apart from one new Isleys original, “Respectable”, which became their next single, the rest of the album was made up of old standards, rearranged in the “Shout!” style. Sometimes, this almost worked, as on “Ring-A-Ling A-Ling (Let The Wedding Bells Ring)”, whose words are close enough to Little Richard-style gibberish that Ronald Isley could scream them effectively. But when the Isleys take on Irving Berlin’s “How Deep is the Ocean” or “He’s Got the Whole World in His Hands”, neither the song nor the group are improved by the combination. They released several more singles on RCA, but none of them repeated the success of “Shout!”. At this point they moved across to Atlantic, where they started working with Leiber and Stoller. Leiber and Stoller kept them recording old standards as B-sides, but for the A-sides they went back to gospel-infused soul party songs, like the Leiber and Stoller song “Teach Me How To Shimmy” and the Isleys’ own “Standing On The Dance Floor”, a rewrite of an old gospel song called “Standing at the Judgment”: [Excerpt: The Isley Brothers, “Standing on the Dance Floor”] But none of these songs scraped even the bottom of the charts, and the brothers ended up leaving Atlantic after a year, and signing with a tiny label, Scepter. After having moved from a tiny indie label to a large indie to a major label, they had now moved back down from their major label to a large indie to a tiny indie. They were still a great live act, but they appeared to be a one-hit wonder. But all that was about to change, when they recorded a cover version of a flop single inspired by their one hit, combined with a dance craze. The Isley Brothers were about to make one of the most important records of the 1960s, but “Twist and Shout” is a story for another time.  

Episode eighty-one of A History of Rock Music in Five Hundred Songs looks at “Shout” by the Isley Brothers, and the beginnings of a career that would lead to six decades of hit singles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Tell Laura I Love Her” by Ray Peterson. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—-  Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley’s daughter, so I’ve had to piece this together from literally dozens of different sources. The ones I relied on most were this section of a very long article on Richie Barrett, this interview with Ronald Isley, and Icons of R&B and Soul by Bob Gulla.  The information on Hugo and Luigi comes mostly from two books — Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick, and  Godfather of the Music Business: Morris Levy by Richard Carlin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take one of our rare looks — at this point in the story anyway — at an act that is still touring today. Indeed, when I started writing this script back in February, I started by saying that I would soon be seeing them live in concert, as I have a ticket for an Isley Brothers show in a couple of months. Of course, events have overtaken that, and it’s extremely unlikely that anyone will be going to any shows then, but it shows a fundamental difference between the Isley Brothers and most of the other acts we’ve looked at, as even those who are still active now mostly concentrate on performing locally rather than doing international tours playing major venues. Of course, the version of the Isley Brothers touring today isn’t quite the same as the group from the 1950s, but Ronald Isley, the group’s lead singer, remains in the group — and, indeed, has remained artistically relevant, with collaborations with several prominent hip-hop artists. The Isleys had top forty hits in the sixties, seventies, eighties, nineties, and two thousands, and as recently as 2006 they had an album go to number one on the R&B charts. But today, we’re going to look back at the group’s very first hit, from 1959. [Excerpt: The Isley Brothers, “Shout”] The Isley Brothers were destined to be a vocal group even before they were born, indeed even before their parents were married. When O’Kelly Isley senior was discussing his marriage proposal with his future in-laws, he told his father-in-law-to-be that he intended to have four sons, and that they were going to be the next Mills Brothers. Isley Sr had been a vaudeville performer himself, and as with so many family groups the Isleys seem to have gone into the music business more to please their parents than because they wanted to do it themselves. As it turned out, O’Kelly and Sallye Isley had six children, all boys, and the eldest four of them did indeed form a vocal group. Like many black vocal groups in the early fifties, they were a gospel group, and O’Kelly Jr, Rudolph, Ronald, and Vernon Isley started performing around the churches in Cincinnati as teenagers, having been trained by their parents. They appeared on Ted Mack’s Amateur Hour, the popular TV talent show which launched the careers of many entertainers, and won — their prize was a jewelled watch, which the boys would take turns wearing. But then tragedy struck. Vernon, the youngest of the four singing Isleys, and the one who was generally considered to be far and away the most talented singer in the group, was hit by a car and killed while he was riding his bike, aged only thirteen. The boys were, as one would imagine, devastated by the death of their little brother, and they also thought that that should be the end of their singing career, as Vernon had been their lead singer. It would be two years before they would perform live again. By all accounts, their parents put pressure on them during that time, telling them that it would be the only way to pay respect to Vernon. Eventually a compromise was reached between parents and brothers — Ron agreed that he would attempt to sing lead, if in turn the group could stop singing gospel music and start singing doo-wop songs, like the brothers’ favourite act Billy Ward and the Dominoes. We’ve talked before about how Billy Ward & The Dominoes were a huge influence on the music that became soul, with hit records like “Have Mercy Baby”: [Excerpt: Billy Ward and the Dominoes, “Have Mercy Baby”] Both Ward’s original lead singer Clyde McPhatter and McPhatter’s later replacement Jackie Wilson sang in a style that owed a lot to the church music that the young Isleys had also been performing, and so it was natural for them to make the change to singing in the style of the Dominoes. As soon as Ronald Isley started singing lead, people started making comparisons both to McPhatter and to Wilson. Indeed, Ronald has talked about McPhatter as being something of a mentor figure for the brothers, teaching them how to sing, although it’s never been clear exactly at what point in their career they got to know McPhatter. But their real mentor was a much less well-known singer, Beulah Bryant. The three eldest Isley brothers, O’Kelly, Rudolph, and Ronald, met Bryant on the bus to New York, where they were travelling to try and seek their fortunes. Bryant was one of the many professional blues shouters who never became hugely well known, but who managed to have a moderately successful career from the fifties through to the eighties, mostly in live performances, though she did make a handful of very listenable records: [Excerpt: Beulah Bryant, “What Am I Gonna Do?”] When they got to New York, while they had paid in advance for somewhere to stay, they were robbed on their second day in the city and had no money at all. But Bryant had contacts in the music industry, and started making phone calls for her young proteges, trying to get them bookings. At first she was unsuccessful, and the group just hung around the Harlem Apollo and occasionally performed at their amateur nights. Eventually, though, Bryant got Nat Nazzaro to listen to them over the phone. Nazzaro was known as “the monster agent” — he was one of the most important booking agents in New York, but he wasn’t exactly fair to his young clients. He would book a three-person act, but on the contracts the act would consist of four people — Nazzaro would be the fourth person, and he would get an equal share of the performance money, as well as getting his normal booking agent’s share. Nazzaro listened to the Isleys over the phone, and then he insisted they come and see him in person, because he was convinced that they had been playing a record down the phone rather than singing to him live. When he found out they really did sound like that, Nazzaro started getting them the kind of bookings they could only dream of — they went from having no money at all to playing on Broadway for $750 a week, and then playing the Apollo for $950 a week, at least according to O’Kelly Isley Jr’s later recollection. This was an astonishing sum of money to a bunch of teenagers in the late 1950s. But they still hadn’t made a record, and their sets were based on cover versions of songs by other people, things like “Rock and Roll Waltz” by Kay Starr: [Excerpt: Kay Starr, “Rock and Roll Waltz”] It was hardly the kind of material they would later become famous for. And nor was their first record. They had signed to a label called Teenage Records, a tiny label owned by two former musicians, Bill “Bass” Gordon and Ben Smith. As you might imagine, there were a lot of musicians named Ben Smith and it’s quite difficult to sort out which was which — even Marv Goldberg, who normally knows these things, seems confused about which Ben Smith this was, describing him as a singer on one page and a sax player on another page. As Ben Smith the sax player seems to have played on some records for Teenage, it was probably him, in which case this Ben Smith probably also played alto sax for Lucky Millinder’s band and wrote the hit “I Dreamed I Dwelt in Harlem” for Glenn Miller: [Excerpt: The Glenn Miller Orchestra, “I Dreamed I Dwelt in Harlem”] It’s more certain exactly who Bill “Bass” Gordon was — he was the leader of Bill “Bass” Gordon and the Colonials, who had recorded the doo-wop track “Two Loves Have I”: [Excerpt: Bill “Bass” Gordon and the Colonials, “Two Loves Have I”] Smith and Gordon signed the Isley Brothers to Teenage Records, and in June 1957 the first Isley Brothers single, “Angels Cried”, came out: [Excerpt: The Isley Brothers, “Angels Cried”] Unfortunately, the single didn’t have any real success, and the group decided that they wanted to record for a better label. According to O’Kelly Isley they got some resistance from Teenage Records, who claimed to have them under contract — but the Isley Brothers knew better. They had signed a contract, certainly, but then the contract had just been left on a desk after they’d signed it, rather than being filed, and they’d swiped it from the desk when no-one was looking. Teenage didn’t have a copy of the contract, so had no proof that they had ever signed the Isley Brothers, and the brothers were free to move on to another label. They chose to sign to Gone Records, one of the family of labels that was owned and run by George Goldner. Goldner assigned Richie Barrett, his talent scout, producer, and arranger, to look after the Isleys, as he had previously done with Frankie Lymon and the Teenagers and the Chantels, as well as his own group the Valentines: [The Valentines, “The Woo Woo Train”] By this point, Barrett had established an almost production-line method of making records. He would block-book a studio and some backing musicians for up to twenty-four hours, get as many as ten different vocal groups into the studio, and record dozens of tracks in a row, usually songs written by either group members or by Barrett. The Isleys’ first record with Barrett, “Don’t Be Jealous”, was a fairly standard doo-wop ballad, written by Ron Isley: [Excerpt: The Isley Brothers, “Don’t Be Jealous”] There’s some suggestion that Barrett is also singing on that recording with the group — it certainly sounds like there are four voices on there, not just three. Either way, the song doesn’t show much of the style that the Isley Brothers would later make their own. Much more like their later recordings was the B-side, another Ronald Isley song, which could have been a classic in the Coasters’ mould had it not been for the lyrics, which were an attempt at a hip rewriting of “Old McDonald”: [Excerpt: The Isley Brothers, “Rockin’ McDonald”] They were nearly there, but not quite. The next single, “I Wanna Know”, came closer — you can hear they were clearly trying to incorporate elements of other people’s successful records — Ronald Isley’s vocal owes a lot to Little Richard, while the piano playing has the same piano “ripping” that Jerry Lee Lewis had made his own. But you can also hear the style that would make them famous coming to the fore. But they were not selling records, and Richie Barrett was stretched very thin. A few more singles were released on Gone (often pairing a previously-released track with a new B-side) but nothing was successful enough to justify them staying on with Goldner’s label. But just as they’d moved from a micro-indie label to a large indie without having had any success, now they were going to move from a large indie to a major label, still not having had a hit. They took one of their records to Hugo and Luigi at RCA records, and the duo signed them up. Hugo and Luigi were strange, strange, figures in popular music in the 1950s. They were two cousins, Hugo Peretti and Luigi Creatore, who were always known by their first names, and had started out making children’s records before being hired by Mercury Records, where they would produce, among other things, the cover versions by Georgia Gibbs of black records that we’ve talked about previously, and which were both ethically and musically appalling: [Excerpt: Georgia Gibbs, “Dance With Me Henry”] After a couple of years of consistently producing hits, they got tempted away from Mercury by Morris Levy, who was setting up a new label, Roulette, with George Goldner and Alan Freed. Goldner and Freed quickly dropped out of the label, but Hugo and Luigi ended up having a fifty percent stake in the new label. While they were there, they showed they didn’t really get rock and roll music at all — they produced follow-up singles by a lot of acts who’d had hits before they started working with Hugo and Luigi, but stopped as soon as the duo started producing them, like Frankie Lymon: [Excerpt: Frankie Lymon, “Goodie Goodie”] But they still managed to produce a string of hits like “Honeycomb” by Jimmie Rodgers (who is not either the blues singer or the country singer of the same name), which went to number one: [Excerpt: Jimmie Rogers, “Honeycomb”] And they also recorded their own tracks for Roulette, like the instrumental Cha-Hua-Hua: [Excerpt: Hugo and Luigi, “Cha-Hua-Hua”] After a year or so with Roulette, they were in turn poached by RCA — Morris Levy let them go so long as they gave up their shares in Roulette for far less than they were worth. At RCA they continued their own recording career, with records like “Just Come Home”: [Excerpt: Hugo and Luigi, “Just Come Home”] They also produced several albums for Perry Como. So you would think that they would be precisely the wrong producers for the Isley Brothers. And the first record they made with the trio would tend to suggest that there was at least some creative difference there. “I’m Gonna Knock on Your Door” was written by Aaron Schroeder and Sid Wayne, two people who are best known for writing some of the less interesting songs for Elvis’ films, and has a generic, lightweight, backing track — apart from an interestingly meaty guitar part. The vocals have some power to them, and the record is pleasant, and in some ways even ground-breaking — it doesn’t sound like a late fifties record as much as it does an early sixties one, and one could imagine, say, Gerry and the Pacemakers making a substantially identical record. But it falls between the stools of R&B and pop, and doesn’t quite convince as either: [Excerpt: The Isley Brothers, “I’m Gonna Knock on Your Door”] That combination of a poppy background and soulful vocals would soon bear a lot of fruit for another artist Hugo and Luigi were going to start working with, but it didn’t quite work for the Isleys yet. But their second single for RCA was far more successful. At this point the Isleys were a more successful live act than recording act, and they would mostly perform songs by other people, and one song they performed regularly was “Lonely Teardrops”, the song that Berry and Gwen Gordy and Roquel Davis had written for Jackie Wilson: [Excerpt: Jackie Wilson, “Lonely Teardrops”] The group would perform that at the end of their shows, and they started to extend it, with Ron Isley improvising as the band vamped behind him, starting with the line “say you will” from Wilson’s song. He’d start doing a call and response with his brothers, singing a line and getting them to sing the response “Shout”. These improvised, extended, endings to the song got longer and longer, and got the crowds more and more excited, and they started incorporating elements from Ray Charles records, too, especially “What’d I Say” and “I Got a Woman”. When they got back to New York at the end of the tour, they told Hugo and Luigi how well these performances, which they still thought of as just long performances of “Lonely Teardrops”, had gone. The producers suggested that if they went down that well, what they should do is cut out the part that was still “Lonely Teardrops” and just perform the extended tag. As it turned out, they kept in a little of “Lonely Teardrops” — the “Say you will, say you will” line — and the resulting song, like Ray Charles’ similar call-and-response based “What’d I Say”, was split over two sides of a single, as “Shout (Parts One and Two)”: [Excerpt: The Isley Brothers, “Shout (Parts One and Two)”] That was nothing like anything that Hugo and Luigi had ever produced before, and it became the Isley Brothers’ first chart hit, reaching number forty-seven. More importantly for them, the song was credited to the three brothers, so they made money from the cover versions of the song that charted much higher. In the USA, Joey Dee and the Starliters made number six in 1962 with their version: [Excerpt: Joey Dee and the Starliters, “Shout”] In the UK, Lulu and the Luvvers made number seven in 1964: [Excerpt: Lulu and the Luvvers, “Shout”] And in Australia, Johnny O’Keefe released his version only a month after the Isleys released theirs, and reached number two: [Excerpt: Johnny O’Keefe, “Shout”] Despite all these cover versions, the Isleys’ version remains the definitive one, and itself ended up selling over a million copies, though it never broke into the top forty. It was certainly successful enough that it made sense to record an album. Unfortunately, for the album, also titled Shout!, the old Hugo and Luigi style came out, and apart from one new Isleys original, “Respectable”, which became their next single, the rest of the album was made up of old standards, rearranged in the “Shout!” style. Sometimes, this almost worked, as on “Ring-A-Ling A-Ling (Let The Wedding Bells Ring)”, whose words are close enough to Little Richard-style gibberish that Ronald Isley could scream them effectively. But when the Isleys take on Irving Berlin’s “How Deep is the Ocean” or “He’s Got the Whole World in His Hands”, neither the song nor the group are improved by the combination. They released several more singles on RCA, but none of them repeated the success of “Shout!”. At this point they moved across to Atlantic, where they started working with Leiber and Stoller. Leiber and Stoller kept them recording old standards as B-sides, but for the A-sides they went back to gospel-infused soul party songs, like the Leiber and Stoller song “Teach Me How To Shimmy” and the Isleys’ own “Standing On The Dance Floor”, a rewrite of an old gospel song called “Standing at the Judgment”: [Excerpt: The Isley Brothers, “Standing on the Dance Floor”] But none of these songs scraped even the bottom of the charts, and the brothers ended up leaving Atlantic after a year, and signing with a tiny label, Scepter. After having moved from a tiny indie label to a large indie to a major label, they had now moved back down from their major label to a large indie to a tiny indie. They were still a great live act, but they appeared to be a one-hit wonder. But all that was about to change, when they recorded a cover version of a flop single inspired by their one hit, combined with a dance craze. The Isley Brothers were about to make one of the most important records of the 1960s, but “Twist and Shout” is a story for another time.  

On today's episode we will talk about 15 Retirement stats that will scare the crap out of you. As usual I would like to thank Chief for the track "Motivation" make sure to follow him on YouTube @chiefbks. Thanks also to Voxdaboss for "I Wanna Know" and "Whatever I Want" make sure to follow him on YouTube @voxworldmanagement

Todd, Digs, Boston Connor, Nick, Zito, and Bailey all sit around the microphones to talk about hangover cures, marketing to babies, and hauntings. Todd tells a story about his friend getting dragged out a GLOW show, an all female space walk, and getting a small loan from Oprah. We hit I Wanna Know, a few of your Listener Questions, and the revitalized Heartland Movie Reviews with Netflix's Fractured.

Todd, Digs, Nick, Pat and Bailey held this one down and talked about mice, cats, dogs, weird food combos, miracle whip, and more. They brought back Phone Notes, I Wanna Know and the new bonus movie review segment How’s It Smell?

As promised, here's another soulful house music mix. I hope you dig the vibes, and spread the good words: Good Music Lives. Peace. (1)"Bloody Lucky" ~ Monique Bingham; (2)"I Wanna Know" ~ Smallistic, Villa; (3)"Every Word" ~ Temika Moore, Josh Milan; (4)"Hands Of Time" ~ Gino Strike, Earl W. Green; (5)"Blow My Mind" ~ George Lesley, Earl W. Green; (6)"You Give Me Love" ~ Artwork, Unqle Chriz; (7)"What Is Love" ~ Vivian Green; (8)"Dance" ~ 3 Winans Brothers ft. The Clark Sisters; (9)"It's House Music" ~ Lady Alma; (10)"The Time Is Coming" (Atjazz Love Soul Dub) ~ The Power Of Three, Vanessa Freeman; (11)"Low" ~ Cubique DJ CB, Denny Dugg; (12)"Love Of My Life" ~ Zepherin Saint & Nathan Adams

We thought last episode was our 100th but turns out we skipped an episode so we're calling this episode 100.5. The boys covered a wide gammet of topics including breakfast cereal, brunch drinks, the new apple credit card, witchcraft, fake chicken and white claw vs truly. They closed the episode with I Wanna Know, Fact or Fiction and answered some listener questions.

Pat's big announcement about his future and the future of PMI comes out today at 9:01am EST. Let's just say it was a big freaking day for him and the rest of the crew. The boys couldn't go into detail about those plans because many listeners will listen to this episode prior to 9:01am EST but they did cover in great detail how Digs' new social media handle came to be. They also talked about their weekend lives or lack there of and wrapped things up with an I Wanna Know and some Listener Questions.

Episode forty-three of A History of Rock Music in Five Hundred Songs looks at "I Gotta Know" by Wanda Jackson, and the links between rockabilly and the Bakersfield Sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Bacon Fat" by Andre Williams.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   My main source for this episode is Wanda Jackson's autobiography, Every Night is Saturday Night. I also made reference to the website Women in Rock & Roll's First Wave, and I am very likely to reference that again in future episodes on Wanda Jackson and others. I mentioned the podcast Cocaine and Rhinestones, and its episode on "Okie From Muskogee". Several other episodes of that podcast touch tangentially on people mentioned in this episode too -- the two-parter on Buck Owens and Don Rich, the episode on Ralph Mooney, and the episodes on Ralph Mooney and the Louvin Brothers all either deal with musicians who played on Wanda's records, with Ken Nelson, or both. Generally I think most people who enjoy this podcast will enjoy that one as well. And this compilation collects most of Jackson's important early work. Errata I say Jackson's career spans more than the time this podcast covers. I meant in length of time – this podcast covers sixty-two years, and Jackson's career so far has lasted seventy-one – but the ambiguity could suggest that this podcast doesn't cover anything prior to 1948. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to talk about someone whose career as a live performer spans more than the time that this podcast covers. Wanda Jackson started performing in 1948, and she finally retired from live performance in March 2019, though she has an album coming out later this year. She is only the second performer we've dealt with who is still alive and working, and she has the longest career of any of them. Wanda Jackson is, simply, the queen of rockabilly, and she's a towering figure in the genre. Jackson was born in Oklahoma, but as this was the tail-end of the great depression, she and her family migrated to California when she was small, as stragglers in the great migration that permanently changed California. The migration of the Okies in the 1930s is a huge topic, and one that I don't have the space to explain in this podcast -- if you're interested in it, I'd recommend as a starting point listening to the episode of the great country music podcast Cocaine & Rhinestones on "Okie From Muskogee", which I'll link in the show notes. The very, very, shortened version is that bad advice as to best farming practices created an environmental disaster on an almost apocalyptic scale across the whole middle of America, right at the point that the country was also going through the worst economic disaster in its history. As entire states became almost uninhabitable, three and a half million people moved from the Great Plains to elsewhere in the US, and a large number of them moved to California, where no matter what state they actually came from they became known as "Okies". But the thing to understand about the Okies for this purpose is that they were a despised underclass -- and as we've seen throughout this series, members of despised underclasses often created the most exciting and innovative music. The music the Okies who moved to California made was far more raucous than the country music that was popular in the Eastern states, and it had a huge admixture of blues and boogie woogie in it. Records like Jack Guthrie's "Oakie Boogie", for example, a clear precursor of rockabilly: [Excerpt: Jack Guthrie, "Oakie Boogie"] We talked way back in episode three about Western Swing and the distinction in the thirties and forties between country music and western music. The "Western" in that music came from the wild west, but it also referred to the west coast and the migrants from the Dust Bowl. Of the two biggest names in Western Swing, one, Bob Wills, was from Texas but moved to Oklahoma, while the other, Spade Cooley, was from Oklahoma but moved to California. It was the Western Swing that was being made by Dust Bowl migrants in California in the 1940s that, when it made its way eastwards to Tennessee, transmuted itself into rockabilly. And that is the music that young Wanda Jackson was listening to when she was tiny. Her father, who she absolutely adored, was a fan of Bob Wills, Spade Cooley, and Tex Williams, as well as of Jimmie Rodgers' hillbilly music and the blues. They lived in Greenfield, a town a few miles away from Bakersfield, where her father worked, and if any of you know anything at all about country music that will tell you a lot in itself. Bakersfield would become, in the 1950s, the place where musicians like Buck Owens, Merle Haggard, and Wynn Stewart, most of them from Dust Bowl migrant families themselves, developed a tough form of honky-tonk country and western that was influenced by hillbilly boogie and Western Swing. Wanda Jackson spent the formative years of her childhood in the same musical and social environment as those musicians, and while she and her family moved back to Oklahoma a few years later, she had already been exposed to that style of music. At the time, when anyone went out to dance, it was to live music, and since her parents couldn't afford babysitters, when they went out, as they did most weekends, they took Wanda with them, so between the ages of five and ten she seems to have seen almost every great Western band of the forties. Her first favourite as a kid was Spade Cooley, who was, along with Bob Wills, considered the greatest Western Swing bandleader of all. However, this podcast has a policy of not playing Cooley's records (the balance of musical importance to outright evil is tipped too far in his case, and I advise you not to look for details as to why), so I won't play an excerpt of him here, as I normally would. The other artist she loved though was a sibling group called The Maddox Brothers and Rose, who were a group that bridged the gap between Western Swing and the newer Bakersfield Sound: [Excerpt: The Maddox Brothers and Rose, "George's Playhouse Boogie"] The Maddox Brothers and Rose were also poor migrants who'd moved to California, though in their case they'd travelled just *before* the inrush of Okies rather than at the tail end of it. They're another of those groups who are often given the credit for having made the first rock and roll record, although as we've often discussed that's a largely meaningless claim. They were, however, one of the big influences both on the Bakersfield Sound and on the music that became rockabilly. Wanda loved the Maddox Brothers and Rose, and in particular she loved their stage presence -- the shiny costumes they wore, and the feistiness of Rose, in particular. She decided before she was even in school that she wanted to be "a girl singer", as she put it, just like Rose Maddox. When she was six, her father bought her a guitar from the Sears Roebuck catalogue and started teaching her chords. He played a little guitar and fiddle, and the two of them would play together every night. They'd sit together and try to work out the chords for songs they knew from the radio or records, and Wanda's mother would write down the chords in a notebook for them. She also taught herself to yodel, since that was something that all the country and western singers at the time would do, and had done ever since the days of Jimmie Rodgers in the late twenties and early thirties. The record she copied to learn to yodel was "Chime Bells" by Elton Britt, "Country Music's Yodelling Cowboy Crooner": [Excerpt: Elton Britt, "Chime Bells"] By the time she was in her early teens, she was regularly performing for her friends at parties, and her friends dared her to audition for a local radio show that played country music and had a local talent section. Her friends all went with her to the station, and she played Jimmie Rodgers' "Blue Yodel #6" for the DJ who ran the show. [Excerpt: Jimmie Rodgers, "Blue Yodel #6"] To her shock, but not the shock of her friends, the DJ loved her sound, and gave her a regular spot on the local talent section of his show, which in turn led to her getting her own fifteen-minute radio show, in which she would sing popular country hits of the time period. One of the people whose songs she would perform on a regular basis was Hank Thompson. Thompson was a honky-tonk singer who performed a pared-down version of the Bob Wills style of Western Swing. Thompson's music was using the same rhythms and instrumentation as Wills, but with much more focus on the vocals and the song than on instrumental solos. Thonpson's music was one of several precursors to the music that became rockabilly, though he was most successful with mid-tempo ballads like "The Wild Side of Life": [Excerpt: Hank Thompson, "The Wild Side of Life"] Thompson, like Wanda, lived in Oklahoma, and he happened to be driving one day and hear her show on the radio. He phoned her up at the station and asked her if she would come and perform with his band that Saturday night. When she told him she'd have to ask her mother, he laughed at first -- he hadn't realised she was only fourteen, because her voice made her sound so much older. At this time, it was normal for bands that toured to have multiple featured singers and to perform in a revue style, rather than to have a single lead vocalist -- there were basically two types of tour that happened: package tours featuring multiple different acts doing their own things, and revues, where one main act would introduce several featured guests to join them on stage. Johnny Otis and James Brown, for example, both ran revue shows at various points, and Hank Thompson's show seems also to have been in this style. Jackson had never played with a band before, and by her own account she wasn't very good when she guested with Thompson's band for the first time. But Thompson had faith in her. He couldn't take her on the road, because she was still so young she had to go to school, but every time he played Oklahoma he'd invite her to do a few numbers with his band, mentoring her and teaching her on stage how to perform with other musicians. Thompson also invited Jackson to appear on his local TV show, which led to her getting a TV show of her own in the Oklahoma area, and she became part of a loose group of locally-popular musicians, including the future homophobic campaigner against human rights Anita Bryant. While she was still in high school, Thompson recorded demos of her singing and took them to his producer, Ken Nelson, at Capitol Records. Nelson liked her voice, but when he found out she was under eighteen he decided to pass on recording her, just due to the legal complications and the fact that she'd not yet finished school. Instead, Jackson was signed to Decca Records, where she cut her first recordings with members of Thompson's band. Her first single was a duet with another featured singer from Thompson's band, Billy Gray. Thompson, who was running the session, basically forced Jackson to sing it against her objections. She didn't have a problem with the song itself, but she didn't want to make her name from a duet, rather than as a solo artist. [Excerpt: Billy Gray and Wanda Jackson, "You Can't Have My Love"] She might not have been happy with the recording at first, but she was feeling better about it by the time she started her senior year in High School with a top ten country single. Her followups were less successful, and she became unhappy with the way her career was going. In particular she was horrified when she first played the Grand Ole Opry. She was told she couldn't go onstage in the dress she was wearing, because her shoulders were uncovered and that was obscene -- at this time, Jackson was basically the only country singer in the business who was trying to look glamorous rather than like a farmgirl -- and then, when she did get on stage, wearing a jacket, she was mocked by a couple of the comedy acts, who stood behind her making fun of her throughout her entire set. Clearly the country establishment wasn't going to get along with her at all. But then she left school, and became a full-time musician, and she made a decision which would have an enormous effect on her. Her father was her manager, but if she was going to get more gigs and perform as a solo artist rather than just doing the occasional show with Hank Thompson, she needed a booking agent, and neither she nor her father had an idea how to get one. So they did what seemed like the most obvious thing to them, and bought a copy of Billboard and started looking through the ads. They eventually found an ad from a booking agent named Bob Neal, in Memphis, and phoned him up, explaining that Wanda was a recording artist for Decca records. Neal had heard her records, which had been locally popular in Memphis, and was particularly looking for a girl singer to fill out the bill on a tour he was promoting with a new young singer he managed, named Elvis Presley. Backstage after her support slot on the first show of the tour, she and her father heard a terrible screaming coming from the auditorium. They thought at first that there must have been a fire, and Wanda's father went out to investigate, telling her not to come with him. He came back a minute later telling her, "You've got to come see this". The screaming was, of course, at Elvis, and immediately Wanda knew that he was not any ordinary country singer. The two of them started dating, and Elvis even gave Wanda his ring, which is still in her possession, and while they eventually drifted apart, he had a profound influence on her. Her father was not impressed with Elvis' performance, saying "That boy's got to get his show in order... He's all over the stage messin' around. And he's got to stop slurrin' his words, too." Wanda, on the other hand, was incredibly impressed with him, and as the two of them toured -- on a bill which also included Bob Neal's other big act of the time, Johnny Cash -- he would teach her how to be more of a rock and roller like him. In particular, he taught her to strum the acoustic guitar with a single strum, rather than to hit each string individually, which was the style of country players at the time. Meanwhile, her recording career was flagging -- she hadn't had another hit with any of her solo recordings, and she was starting to wonder if Decca was the right place for her. She did, though, have a hit as a songwriter, with a song called "Without Your Love", which she'd written for Bobby Lord, a singer who appeared with her on the radio show Ozark Jubilee. [Excerpt: Bobby Lord, "Without Your Love"] That song had gone to the top ten in the country charts, and turned out to be Lord's only hit single. But while she could come up with a hit for him, she wasn't having hits herself, and she decided that she wanted to leave Decca. Her contract was up, and while they did have the option to extend it for another year and were initially interested in exercising the option, Decca agreed to let her go. Meanwhile, Wanda was also thinking about what kind of music she wanted to make in the future. Elvis had convinced her that she should move into rockabilly, but she didn't know how to do it. She talked about this to Thelma Blackmon, the mother of one of her schoolfriends, who had written a couple of songs for her previously, and Blackmon came back with a song called "I Gotta Know", which Jackson decided would be perfect to restart her career. At this point Hank Thompson went to Ken Nelson, and told him that that underage singer he'd liked was no longer underage, and would he be interested in signing her? He definitely was interested, and he took her into the Capitol tower to record with a group of session musicians who he employed for as many of his West Coast sessions as possible, and who were at that point just beginning to create what later became the Bakersfield Sound. The musicians on that session were some of the best in the country music field -- Jelly Sanders on fiddle, Joe Maphis on guitar, and the legendary Ralph Mooney on steel guitar, and they were perfect for recording what would become a big country hit. But "I Gotta Know" was both country and rock and roll. While the choruses are definitely country: [Excerpt: Wanda Jackson, "I Gotta Know"] the verses are firmly in the rock and roll genre: [Excerpt: Wanda Jackson, "I Gotta Know"] Now, I'm indebted to the website "Women in Rock & Roll's First Wave", which I'll link in the shownotes, for this observation, but this kind of genre-mixing was very common particularly with women, and particularly with women who had previously had careers outside rock and roll and were trying to transition into it. While male performers in that situation would generally jump in head first and come up with an embarrassment like Perry Como's version of "Ko Ko Mo", female performers would do something rather different. They would, in fact, tend to do what Jackson did here, and combine the two genres, either by having a verse in one style and a chorus in the other, as Wanda does, or in other ways, as in for example Kay Starr's "Rock and Roll Waltz": [Excerpt: Kay Starr, "Rock and Roll Waltz"] Starr is a particularly good example here, because she's doing what a lot of female performers were doing at the time, which is trying to lace the recording with enough irony and humour that it could be taken as either a record in the young persons' style parodying the old persons' music, or a record in the older style mocking the new styles. By sitting on the fence in this way and being ambiguous enough, the established stars could back down if this rock and roll music turned out to be just another temporary fad. Jackson isn't quite doing that, but with her Elvis-style hiccups on the line "I gotta know, I gotta know", she comes very close to parody, in a way that could easily be written off if the experiment had failed. The experiment didn't fail, however, and "I Gotta Know" became Jackson's biggest hit of the fifties, making its way to number fifteen on the country charts -- rather oddly, given that she was clearly repositioning herself for the rockabilly market, it seemed to sell almost solely to the country market, and didn't cross over the way that Carl Perkins or Gene Vincent did. Her next single could have been the one that cemented her reputation as the greatest female rockabilly star of all, had it not been for one simple mistake. The song "Hot Dog! That Made Him Mad!" had been a favourite in her stage act for years, and she would let out a tremendous growl on the title line when she got to it, which would always get audiences worked up. Unfortunately, she horrified Ken Nelson in the studio by taking a big drink of milk while all the session musicians were on a coffee break. She hadn't realised what milk does to a singer's throat, and when they came to record the song she couldn't get her voice to do the growl that had always worked on stage. The result was still a good record, but it wasn't the massive success it would otherwise have been: [Excerpt: Wanda Jackson, "Hot Dog! That Made Him Mad!"] After that failed, Ken Nelson floundered around for quite a while trying to find something else that could work for Jackson. She kept cutting rockabilly tracks, but they never quite had the power of her stage performances, and meanwhile Nelson was making mistakes in what material he brought in, just as he was doing at the same time with Gene Vincent. Just like with Vincent, whenever Wanda brought in her own material, or material she'd picked to cover by other people, it worked fine, but when Nelson brought in something it would go down like a lead balloon. Probably the worst example was a terrible attempt to capitalise on the current calypso craze, a song called "Don'a Wanna", which was written by Boudleaux Bryant, one of the great songwriters of the fifties, but which wouldn't have been his best effort even before it was given a racist accent at Nelson's suggestion (and which Jackson cringed at doing even at the time, let alone sixty years later): [Excerpt: Wanda Jackson, "Don'a Wanna"] Much better was "Cool Love", which Jackson co-wrote herself, with her friend Vicki Countryman, Thelma Blackmon's daughter: [Excerpt: Wanda Jackson, "Cool Love"] That one is possibly too closely modelled after Elvis' recent hits, right down to the backing vocals, but it features a great Buck Owens guitar solo, it's fun, and Jackson is clearly engaged with the material. But just like all the other records since "I Wanna Know", "Cool Love" did nothing on the charts -- and indeed it wouldn't be until 1960 that Jackson would reach the charts again in the USA. But when she did, it would be with recordings she'd made years earlier, during the time period we're talking about now. And before she did, she would have her biggest success of all, and become the first rock and roll star about whom the cliche really was true -- even though she was having no success in her home country, she was big in Japan. But that's a story for a few weeks' time...

Episode forty-three of A History of Rock Music in Five Hundred Songs looks at “I Gotta Know” by Wanda Jackson, and the links between rockabilly and the Bakersfield Sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Bacon Fat” by Andre Williams.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   My main source for this episode is Wanda Jackson’s autobiography, Every Night is Saturday Night. I also made reference to the website Women in Rock & Roll’s First Wave, and I am very likely to reference that again in future episodes on Wanda Jackson and others. I mentioned the podcast Cocaine and Rhinestones, and its episode on “Okie From Muskogee”. Several other episodes of that podcast touch tangentially on people mentioned in this episode too — the two-parter on Buck Owens and Don Rich, the episode on Ralph Mooney, and the episodes on Ralph Mooney and the Louvin Brothers all either deal with musicians who played on Wanda’s records, with Ken Nelson, or both. Generally I think most people who enjoy this podcast will enjoy that one as well. And this compilation collects most of Jackson’s important early work. Errata I say Jackson’s career spans more than the time this podcast covers. I meant in length of time – this podcast covers sixty-two years, and Jackson’s career so far has lasted seventy-one – but the ambiguity could suggest that this podcast doesn’t cover anything prior to 1948. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to talk about someone whose career as a live performer spans more than the time that this podcast covers. Wanda Jackson started performing in 1948, and she finally retired from live performance in March 2019, though she has an album coming out later this year. She is only the second performer we’ve dealt with who is still alive and working, and she has the longest career of any of them. Wanda Jackson is, simply, the queen of rockabilly, and she’s a towering figure in the genre. Jackson was born in Oklahoma, but as this was the tail-end of the great depression, she and her family migrated to California when she was small, as stragglers in the great migration that permanently changed California. The migration of the Okies in the 1930s is a huge topic, and one that I don’t have the space to explain in this podcast — if you’re interested in it, I’d recommend as a starting point listening to the episode of the great country music podcast Cocaine & Rhinestones on “Okie From Muskogee”, which I’ll link in the show notes. The very, very, shortened version is that bad advice as to best farming practices created an environmental disaster on an almost apocalyptic scale across the whole middle of America, right at the point that the country was also going through the worst economic disaster in its history. As entire states became almost uninhabitable, three and a half million people moved from the Great Plains to elsewhere in the US, and a large number of them moved to California, where no matter what state they actually came from they became known as “Okies”. But the thing to understand about the Okies for this purpose is that they were a despised underclass — and as we’ve seen throughout this series, members of despised underclasses often created the most exciting and innovative music. The music the Okies who moved to California made was far more raucous than the country music that was popular in the Eastern states, and it had a huge admixture of blues and boogie woogie in it. Records like Jack Guthrie’s “Oakie Boogie”, for example, a clear precursor of rockabilly: [Excerpt: Jack Guthrie, “Oakie Boogie”] We talked way back in episode three about Western Swing and the distinction in the thirties and forties between country music and western music. The “Western” in that music came from the wild west, but it also referred to the west coast and the migrants from the Dust Bowl. Of the two biggest names in Western Swing, one, Bob Wills, was from Texas but moved to Oklahoma, while the other, Spade Cooley, was from Oklahoma but moved to California. It was the Western Swing that was being made by Dust Bowl migrants in California in the 1940s that, when it made its way eastwards to Tennessee, transmuted itself into rockabilly. And that is the music that young Wanda Jackson was listening to when she was tiny. Her father, who she absolutely adored, was a fan of Bob Wills, Spade Cooley, and Tex Williams, as well as of Jimmie Rodgers’ hillbilly music and the blues. They lived in Greenfield, a town a few miles away from Bakersfield, where her father worked, and if any of you know anything at all about country music that will tell you a lot in itself. Bakersfield would become, in the 1950s, the place where musicians like Buck Owens, Merle Haggard, and Wynn Stewart, most of them from Dust Bowl migrant families themselves, developed a tough form of honky-tonk country and western that was influenced by hillbilly boogie and Western Swing. Wanda Jackson spent the formative years of her childhood in the same musical and social environment as those musicians, and while she and her family moved back to Oklahoma a few years later, she had already been exposed to that style of music. At the time, when anyone went out to dance, it was to live music, and since her parents couldn’t afford babysitters, when they went out, as they did most weekends, they took Wanda with them, so between the ages of five and ten she seems to have seen almost every great Western band of the forties. Her first favourite as a kid was Spade Cooley, who was, along with Bob Wills, considered the greatest Western Swing bandleader of all. However, this podcast has a policy of not playing Cooley’s records (the balance of musical importance to outright evil is tipped too far in his case, and I advise you not to look for details as to why), so I won’t play an excerpt of him here, as I normally would. The other artist she loved though was a sibling group called The Maddox Brothers and Rose, who were a group that bridged the gap between Western Swing and the newer Bakersfield Sound: [Excerpt: The Maddox Brothers and Rose, “George’s Playhouse Boogie”] The Maddox Brothers and Rose were also poor migrants who’d moved to California, though in their case they’d travelled just *before* the inrush of Okies rather than at the tail end of it. They’re another of those groups who are often given the credit for having made the first rock and roll record, although as we’ve often discussed that’s a largely meaningless claim. They were, however, one of the big influences both on the Bakersfield Sound and on the music that became rockabilly. Wanda loved the Maddox Brothers and Rose, and in particular she loved their stage presence — the shiny costumes they wore, and the feistiness of Rose, in particular. She decided before she was even in school that she wanted to be “a girl singer”, as she put it, just like Rose Maddox. When she was six, her father bought her a guitar from the Sears Roebuck catalogue and started teaching her chords. He played a little guitar and fiddle, and the two of them would play together every night. They’d sit together and try to work out the chords for songs they knew from the radio or records, and Wanda’s mother would write down the chords in a notebook for them. She also taught herself to yodel, since that was something that all the country and western singers at the time would do, and had done ever since the days of Jimmie Rodgers in the late twenties and early thirties. The record she copied to learn to yodel was “Chime Bells” by Elton Britt, “Country Music’s Yodelling Cowboy Crooner”: [Excerpt: Elton Britt, “Chime Bells”] By the time she was in her early teens, she was regularly performing for her friends at parties, and her friends dared her to audition for a local radio show that played country music and had a local talent section. Her friends all went with her to the station, and she played Jimmie Rodgers’ “Blue Yodel #6” for the DJ who ran the show. [Excerpt: Jimmie Rodgers, “Blue Yodel #6”] To her shock, but not the shock of her friends, the DJ loved her sound, and gave her a regular spot on the local talent section of his show, which in turn led to her getting her own fifteen-minute radio show, in which she would sing popular country hits of the time period. One of the people whose songs she would perform on a regular basis was Hank Thompson. Thompson was a honky-tonk singer who performed a pared-down version of the Bob Wills style of Western Swing. Thompson’s music was using the same rhythms and instrumentation as Wills, but with much more focus on the vocals and the song than on instrumental solos. Thonpson’s music was one of several precursors to the music that became rockabilly, though he was most successful with mid-tempo ballads like “The Wild Side of Life”: [Excerpt: Hank Thompson, “The Wild Side of Life”] Thompson, like Wanda, lived in Oklahoma, and he happened to be driving one day and hear her show on the radio. He phoned her up at the station and asked her if she would come and perform with his band that Saturday night. When she told him she’d have to ask her mother, he laughed at first — he hadn’t realised she was only fourteen, because her voice made her sound so much older. At this time, it was normal for bands that toured to have multiple featured singers and to perform in a revue style, rather than to have a single lead vocalist — there were basically two types of tour that happened: package tours featuring multiple different acts doing their own things, and revues, where one main act would introduce several featured guests to join them on stage. Johnny Otis and James Brown, for example, both ran revue shows at various points, and Hank Thompson’s show seems also to have been in this style. Jackson had never played with a band before, and by her own account she wasn’t very good when she guested with Thompson’s band for the first time. But Thompson had faith in her. He couldn’t take her on the road, because she was still so young she had to go to school, but every time he played Oklahoma he’d invite her to do a few numbers with his band, mentoring her and teaching her on stage how to perform with other musicians. Thompson also invited Jackson to appear on his local TV show, which led to her getting a TV show of her own in the Oklahoma area, and she became part of a loose group of locally-popular musicians, including the future homophobic campaigner against human rights Anita Bryant. While she was still in high school, Thompson recorded demos of her singing and took them to his producer, Ken Nelson, at Capitol Records. Nelson liked her voice, but when he found out she was under eighteen he decided to pass on recording her, just due to the legal complications and the fact that she’d not yet finished school. Instead, Jackson was signed to Decca Records, where she cut her first recordings with members of Thompson’s band. Her first single was a duet with another featured singer from Thompson’s band, Billy Gray. Thompson, who was running the session, basically forced Jackson to sing it against her objections. She didn’t have a problem with the song itself, but she didn’t want to make her name from a duet, rather than as a solo artist. [Excerpt: Billy Gray and Wanda Jackson, “You Can’t Have My Love”] She might not have been happy with the recording at first, but she was feeling better about it by the time she started her senior year in High School with a top ten country single. Her followups were less successful, and she became unhappy with the way her career was going. In particular she was horrified when she first played the Grand Ole Opry. She was told she couldn’t go onstage in the dress she was wearing, because her shoulders were uncovered and that was obscene — at this time, Jackson was basically the only country singer in the business who was trying to look glamorous rather than like a farmgirl — and then, when she did get on stage, wearing a jacket, she was mocked by a couple of the comedy acts, who stood behind her making fun of her throughout her entire set. Clearly the country establishment wasn’t going to get along with her at all. But then she left school, and became a full-time musician, and she made a decision which would have an enormous effect on her. Her father was her manager, but if she was going to get more gigs and perform as a solo artist rather than just doing the occasional show with Hank Thompson, she needed a booking agent, and neither she nor her father had an idea how to get one. So they did what seemed like the most obvious thing to them, and bought a copy of Billboard and started looking through the ads. They eventually found an ad from a booking agent named Bob Neal, in Memphis, and phoned him up, explaining that Wanda was a recording artist for Decca records. Neal had heard her records, which had been locally popular in Memphis, and was particularly looking for a girl singer to fill out the bill on a tour he was promoting with a new young singer he managed, named Elvis Presley. Backstage after her support slot on the first show of the tour, she and her father heard a terrible screaming coming from the auditorium. They thought at first that there must have been a fire, and Wanda’s father went out to investigate, telling her not to come with him. He came back a minute later telling her, “You’ve got to come see this”. The screaming was, of course, at Elvis, and immediately Wanda knew that he was not any ordinary country singer. The two of them started dating, and Elvis even gave Wanda his ring, which is still in her possession, and while they eventually drifted apart, he had a profound influence on her. Her father was not impressed with Elvis’ performance, saying “That boy’s got to get his show in order… He’s all over the stage messin’ around. And he’s got to stop slurrin’ his words, too.” Wanda, on the other hand, was incredibly impressed with him, and as the two of them toured — on a bill which also included Bob Neal’s other big act of the time, Johnny Cash — he would teach her how to be more of a rock and roller like him. In particular, he taught her to strum the acoustic guitar with a single strum, rather than to hit each string individually, which was the style of country players at the time. Meanwhile, her recording career was flagging — she hadn’t had another hit with any of her solo recordings, and she was starting to wonder if Decca was the right place for her. She did, though, have a hit as a songwriter, with a song called “Without Your Love”, which she’d written for Bobby Lord, a singer who appeared with her on the radio show Ozark Jubilee. [Excerpt: Bobby Lord, “Without Your Love”] That song had gone to the top ten in the country charts, and turned out to be Lord’s only hit single. But while she could come up with a hit for him, she wasn’t having hits herself, and she decided that she wanted to leave Decca. Her contract was up, and while they did have the option to extend it for another year and were initially interested in exercising the option, Decca agreed to let her go. Meanwhile, Wanda was also thinking about what kind of music she wanted to make in the future. Elvis had convinced her that she should move into rockabilly, but she didn’t know how to do it. She talked about this to Thelma Blackmon, the mother of one of her schoolfriends, who had written a couple of songs for her previously, and Blackmon came back with a song called “I Gotta Know”, which Jackson decided would be perfect to restart her career. At this point Hank Thompson went to Ken Nelson, and told him that that underage singer he’d liked was no longer underage, and would he be interested in signing her? He definitely was interested, and he took her into the Capitol tower to record with a group of session musicians who he employed for as many of his West Coast sessions as possible, and who were at that point just beginning to create what later became the Bakersfield Sound. The musicians on that session were some of the best in the country music field — Jelly Sanders on fiddle, Joe Maphis on guitar, and the legendary Ralph Mooney on steel guitar, and they were perfect for recording what would become a big country hit. But “I Gotta Know” was both country and rock and roll. While the choruses are definitely country: [Excerpt: Wanda Jackson, “I Gotta Know”] the verses are firmly in the rock and roll genre: [Excerpt: Wanda Jackson, “I Gotta Know”] Now, I’m indebted to the website “Women in Rock & Roll’s First Wave”, which I’ll link in the shownotes, for this observation, but this kind of genre-mixing was very common particularly with women, and particularly with women who had previously had careers outside rock and roll and were trying to transition into it. While male performers in that situation would generally jump in head first and come up with an embarrassment like Perry Como’s version of “Ko Ko Mo”, female performers would do something rather different. They would, in fact, tend to do what Jackson did here, and combine the two genres, either by having a verse in one style and a chorus in the other, as Wanda does, or in other ways, as in for example Kay Starr’s “Rock and Roll Waltz”: [Excerpt: Kay Starr, “Rock and Roll Waltz”] Starr is a particularly good example here, because she’s doing what a lot of female performers were doing at the time, which is trying to lace the recording with enough irony and humour that it could be taken as either a record in the young persons’ style parodying the old persons’ music, or a record in the older style mocking the new styles. By sitting on the fence in this way and being ambiguous enough, the established stars could back down if this rock and roll music turned out to be just another temporary fad. Jackson isn’t quite doing that, but with her Elvis-style hiccups on the line “I gotta know, I gotta know”, she comes very close to parody, in a way that could easily be written off if the experiment had failed. The experiment didn’t fail, however, and “I Gotta Know” became Jackson’s biggest hit of the fifties, making its way to number fifteen on the country charts — rather oddly, given that she was clearly repositioning herself for the rockabilly market, it seemed to sell almost solely to the country market, and didn’t cross over the way that Carl Perkins or Gene Vincent did. Her next single could have been the one that cemented her reputation as the greatest female rockabilly star of all, had it not been for one simple mistake. The song “Hot Dog! That Made Him Mad!” had been a favourite in her stage act for years, and she would let out a tremendous growl on the title line when she got to it, which would always get audiences worked up. Unfortunately, she horrified Ken Nelson in the studio by taking a big drink of milk while all the session musicians were on a coffee break. She hadn’t realised what milk does to a singer’s throat, and when they came to record the song she couldn’t get her voice to do the growl that had always worked on stage. The result was still a good record, but it wasn’t the massive success it would otherwise have been: [Excerpt: Wanda Jackson, “Hot Dog! That Made Him Mad!”] After that failed, Ken Nelson floundered around for quite a while trying to find something else that could work for Jackson. She kept cutting rockabilly tracks, but they never quite had the power of her stage performances, and meanwhile Nelson was making mistakes in what material he brought in, just as he was doing at the same time with Gene Vincent. Just like with Vincent, whenever Wanda brought in her own material, or material she’d picked to cover by other people, it worked fine, but when Nelson brought in something it would go down like a lead balloon. Probably the worst example was a terrible attempt to capitalise on the current calypso craze, a song called “Don’a Wanna”, which was written by Boudleaux Bryant, one of the great songwriters of the fifties, but which wouldn’t have been his best effort even before it was given a racist accent at Nelson’s suggestion (and which Jackson cringed at doing even at the time, let alone sixty years later): [Excerpt: Wanda Jackson, “Don’a Wanna”] Much better was “Cool Love”, which Jackson co-wrote herself, with her friend Vicki Countryman, Thelma Blackmon’s daughter: [Excerpt: Wanda Jackson, “Cool Love”] That one is possibly too closely modelled after Elvis’ recent hits, right down to the backing vocals, but it features a great Buck Owens guitar solo, it’s fun, and Jackson is clearly engaged with the material. But just like all the other records since “I Wanna Know”, “Cool Love” did nothing on the charts — and indeed it wouldn’t be until 1960 that Jackson would reach the charts again in the USA. But when she did, it would be with recordings she’d made years earlier, during the time period we’re talking about now. And before she did, she would have her biggest success of all, and become the first rock and roll star about whom the cliche really was true — even though she was having no success in her home country, she was big in Japan. But that’s a story for a few weeks’ time…

Episode forty-three of A History of Rock Music in Five Hundred Songs looks at “I Gotta Know” by Wanda Jackson, and the links between rockabilly and the Bakersfield Sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Bacon Fat” by Andre Williams.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   My main source for this episode is Wanda Jackson’s autobiography, Every Night is Saturday Night. I also made reference to the website Women in Rock & Roll’s First Wave, and I am very likely to reference that again in future episodes on Wanda Jackson and others. I mentioned the podcast Cocaine and Rhinestones, and its episode on “Okie From Muskogee”. Several other episodes of that podcast touch tangentially on people mentioned in this episode too — the two-parter on Buck Owens and Don Rich, the episode on Ralph Mooney, and the episodes on Ralph Mooney and the Louvin Brothers all either deal with musicians who played on Wanda’s records, with Ken Nelson, or both. Generally I think most people who enjoy this podcast will enjoy that one as well. And this compilation collects most of Jackson’s important early work. Errata I say Jackson’s career spans more than the time this podcast covers. I meant in length of time – this podcast covers sixty-two years, and Jackson’s career so far has lasted seventy-one – but the ambiguity could suggest that this podcast doesn’t cover anything prior to 1948. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to talk about someone whose career as a live performer spans more than the time that this podcast covers. Wanda Jackson started performing in 1948, and she finally retired from live performance in March 2019, though she has an album coming out later this year. She is only the second performer we’ve dealt with who is still alive and working, and she has the longest career of any of them. Wanda Jackson is, simply, the queen of rockabilly, and she’s a towering figure in the genre. Jackson was born in Oklahoma, but as this was the tail-end of the great depression, she and her family migrated to California when she was small, as stragglers in the great migration that permanently changed California. The migration of the Okies in the 1930s is a huge topic, and one that I don’t have the space to explain in this podcast — if you’re interested in it, I’d recommend as a starting point listening to the episode of the great country music podcast Cocaine & Rhinestones on “Okie From Muskogee”, which I’ll link in the show notes. The very, very, shortened version is that bad advice as to best farming practices created an environmental disaster on an almost apocalyptic scale across the whole middle of America, right at the point that the country was also going through the worst economic disaster in its history. As entire states became almost uninhabitable, three and a half million people moved from the Great Plains to elsewhere in the US, and a large number of them moved to California, where no matter what state they actually came from they became known as “Okies”. But the thing to understand about the Okies for this purpose is that they were a despised underclass — and as we’ve seen throughout this series, members of despised underclasses often created the most exciting and innovative music. The music the Okies who moved to California made was far more raucous than the country music that was popular in the Eastern states, and it had a huge admixture of blues and boogie woogie in it. Records like Jack Guthrie’s “Oakie Boogie”, for example, a clear precursor of rockabilly: [Excerpt: Jack Guthrie, “Oakie Boogie”] We talked way back in episode three about Western Swing and the distinction in the thirties and forties between country music and western music. The “Western” in that music came from the wild west, but it also referred to the west coast and the migrants from the Dust Bowl. Of the two biggest names in Western Swing, one, Bob Wills, was from Texas but moved to Oklahoma, while the other, Spade Cooley, was from Oklahoma but moved to California. It was the Western Swing that was being made by Dust Bowl migrants in California in the 1940s that, when it made its way eastwards to Tennessee, transmuted itself into rockabilly. And that is the music that young Wanda Jackson was listening to when she was tiny. Her father, who she absolutely adored, was a fan of Bob Wills, Spade Cooley, and Tex Williams, as well as of Jimmie Rodgers’ hillbilly music and the blues. They lived in Greenfield, a town a few miles away from Bakersfield, where her father worked, and if any of you know anything at all about country music that will tell you a lot in itself. Bakersfield would become, in the 1950s, the place where musicians like Buck Owens, Merle Haggard, and Wynn Stewart, most of them from Dust Bowl migrant families themselves, developed a tough form of honky-tonk country and western that was influenced by hillbilly boogie and Western Swing. Wanda Jackson spent the formative years of her childhood in the same musical and social environment as those musicians, and while she and her family moved back to Oklahoma a few years later, she had already been exposed to that style of music. At the time, when anyone went out to dance, it was to live music, and since her parents couldn’t afford babysitters, when they went out, as they did most weekends, they took Wanda with them, so between the ages of five and ten she seems to have seen almost every great Western band of the forties. Her first favourite as a kid was Spade Cooley, who was, along with Bob Wills, considered the greatest Western Swing bandleader of all. However, this podcast has a policy of not playing Cooley’s records (the balance of musical importance to outright evil is tipped too far in his case, and I advise you not to look for details as to why), so I won’t play an excerpt of him here, as I normally would. The other artist she loved though was a sibling group called The Maddox Brothers and Rose, who were a group that bridged the gap between Western Swing and the newer Bakersfield Sound: [Excerpt: The Maddox Brothers and Rose, “George’s Playhouse Boogie”] The Maddox Brothers and Rose were also poor migrants who’d moved to California, though in their case they’d travelled just *before* the inrush of Okies rather than at the tail end of it. They’re another of those groups who are often given the credit for having made the first rock and roll record, although as we’ve often discussed that’s a largely meaningless claim. They were, however, one of the big influences both on the Bakersfield Sound and on the music that became rockabilly. Wanda loved the Maddox Brothers and Rose, and in particular she loved their stage presence — the shiny costumes they wore, and the feistiness of Rose, in particular. She decided before she was even in school that she wanted to be “a girl singer”, as she put it, just like Rose Maddox. When she was six, her father bought her a guitar from the Sears Roebuck catalogue and started teaching her chords. He played a little guitar and fiddle, and the two of them would play together every night. They’d sit together and try to work out the chords for songs they knew from the radio or records, and Wanda’s mother would write down the chords in a notebook for them. She also taught herself to yodel, since that was something that all the country and western singers at the time would do, and had done ever since the days of Jimmie Rodgers in the late twenties and early thirties. The record she copied to learn to yodel was “Chime Bells” by Elton Britt, “Country Music’s Yodelling Cowboy Crooner”: [Excerpt: Elton Britt, “Chime Bells”] By the time she was in her early teens, she was regularly performing for her friends at parties, and her friends dared her to audition for a local radio show that played country music and had a local talent section. Her friends all went with her to the station, and she played Jimmie Rodgers’ “Blue Yodel #6” for the DJ who ran the show. [Excerpt: Jimmie Rodgers, “Blue Yodel #6”] To her shock, but not the shock of her friends, the DJ loved her sound, and gave her a regular spot on the local talent section of his show, which in turn led to her getting her own fifteen-minute radio show, in which she would sing popular country hits of the time period. One of the people whose songs she would perform on a regular basis was Hank Thompson. Thompson was a honky-tonk singer who performed a pared-down version of the Bob Wills style of Western Swing. Thompson’s music was using the same rhythms and instrumentation as Wills, but with much more focus on the vocals and the song than on instrumental solos. Thonpson’s music was one of several precursors to the music that became rockabilly, though he was most successful with mid-tempo ballads like “The Wild Side of Life”: [Excerpt: Hank Thompson, “The Wild Side of Life”] Thompson, like Wanda, lived in Oklahoma, and he happened to be driving one day and hear her show on the radio. He phoned her up at the station and asked her if she would come and perform with his band that Saturday night. When she told him she’d have to ask her mother, he laughed at first — he hadn’t realised she was only fourteen, because her voice made her sound so much older. At this time, it was normal for bands that toured to have multiple featured singers and to perform in a revue style, rather than to have a single lead vocalist — there were basically two types of tour that happened: package tours featuring multiple different acts doing their own things, and revues, where one main act would introduce several featured guests to join them on stage. Johnny Otis and James Brown, for example, both ran revue shows at various points, and Hank Thompson’s show seems also to have been in this style. Jackson had never played with a band before, and by her own account she wasn’t very good when she guested with Thompson’s band for the first time. But Thompson had faith in her. He couldn’t take her on the road, because she was still so young she had to go to school, but every time he played Oklahoma he’d invite her to do a few numbers with his band, mentoring her and teaching her on stage how to perform with other musicians. Thompson also invited Jackson to appear on his local TV show, which led to her getting a TV show of her own in the Oklahoma area, and she became part of a loose group of locally-popular musicians, including the future homophobic campaigner against human rights Anita Bryant. While she was still in high school, Thompson recorded demos of her singing and took them to his producer, Ken Nelson, at Capitol Records. Nelson liked her voice, but when he found out she was under eighteen he decided to pass on recording her, just due to the legal complications and the fact that she’d not yet finished school. Instead, Jackson was signed to Decca Records, where she cut her first recordings with members of Thompson’s band. Her first single was a duet with another featured singer from Thompson’s band, Billy Gray. Thompson, who was running the session, basically forced Jackson to sing it against her objections. She didn’t have a problem with the song itself, but she didn’t want to make her name from a duet, rather than as a solo artist. [Excerpt: Billy Gray and Wanda Jackson, “You Can’t Have My Love”] She might not have been happy with the recording at first, but she was feeling better about it by the time she started her senior year in High School with a top ten country single. Her followups were less successful, and she became unhappy with the way her career was going. In particular she was horrified when she first played the Grand Ole Opry. She was told she couldn’t go onstage in the dress she was wearing, because her shoulders were uncovered and that was obscene — at this time, Jackson was basically the only country singer in the business who was trying to look glamorous rather than like a farmgirl — and then, when she did get on stage, wearing a jacket, she was mocked by a couple of the comedy acts, who stood behind her making fun of her throughout her entire set. Clearly the country establishment wasn’t going to get along with her at all. But then she left school, and became a full-time musician, and she made a decision which would have an enormous effect on her. Her father was her manager, but if she was going to get more gigs and perform as a solo artist rather than just doing the occasional show with Hank Thompson, she needed a booking agent, and neither she nor her father had an idea how to get one. So they did what seemed like the most obvious thing to them, and bought a copy of Billboard and started looking through the ads. They eventually found an ad from a booking agent named Bob Neal, in Memphis, and phoned him up, explaining that Wanda was a recording artist for Decca records. Neal had heard her records, which had been locally popular in Memphis, and was particularly looking for a girl singer to fill out the bill on a tour he was promoting with a new young singer he managed, named Elvis Presley. Backstage after her support slot on the first show of the tour, she and her father heard a terrible screaming coming from the auditorium. They thought at first that there must have been a fire, and Wanda’s father went out to investigate, telling her not to come with him. He came back a minute later telling her, “You’ve got to come see this”. The screaming was, of course, at Elvis, and immediately Wanda knew that he was not any ordinary country singer. The two of them started dating, and Elvis even gave Wanda his ring, which is still in her possession, and while they eventually drifted apart, he had a profound influence on her. Her father was not impressed with Elvis’ performance, saying “That boy’s got to get his show in order… He’s all over the stage messin’ around. And he’s got to stop slurrin’ his words, too.” Wanda, on the other hand, was incredibly impressed with him, and as the two of them toured — on a bill which also included Bob Neal’s other big act of the time, Johnny Cash — he would teach her how to be more of a rock and roller like him. In particular, he taught her to strum the acoustic guitar with a single strum, rather than to hit each string individually, which was the style of country players at the time. Meanwhile, her recording career was flagging — she hadn’t had another hit with any of her solo recordings, and she was starting to wonder if Decca was the right place for her. She did, though, have a hit as a songwriter, with a song called “Without Your Love”, which she’d written for Bobby Lord, a singer who appeared with her on the radio show Ozark Jubilee. [Excerpt: Bobby Lord, “Without Your Love”] That song had gone to the top ten in the country charts, and turned out to be Lord’s only hit single. But while she could come up with a hit for him, she wasn’t having hits herself, and she decided that she wanted to leave Decca. Her contract was up, and while they did have the option to extend it for another year and were initially interested in exercising the option, Decca agreed to let her go. Meanwhile, Wanda was also thinking about what kind of music she wanted to make in the future. Elvis had convinced her that she should move into rockabilly, but she didn’t know how to do it. She talked about this to Thelma Blackmon, the mother of one of her schoolfriends, who had written a couple of songs for her previously, and Blackmon came back with a song called “I Gotta Know”, which Jackson decided would be perfect to restart her career. At this point Hank Thompson went to Ken Nelson, and told him that that underage singer he’d liked was no longer underage, and would he be interested in signing her? He definitely was interested, and he took her into the Capitol tower to record with a group of session musicians who he employed for as many of his West Coast sessions as possible, and who were at that point just beginning to create what later became the Bakersfield Sound. The musicians on that session were some of the best in the country music field — Jelly Sanders on fiddle, Joe Maphis on guitar, and the legendary Ralph Mooney on steel guitar, and they were perfect for recording what would become a big country hit. But “I Gotta Know” was both country and rock and roll. While the choruses are definitely country: [Excerpt: Wanda Jackson, “I Gotta Know”] the verses are firmly in the rock and roll genre: [Excerpt: Wanda Jackson, “I Gotta Know”] Now, I’m indebted to the website “Women in Rock & Roll’s First Wave”, which I’ll link in the shownotes, for this observation, but this kind of genre-mixing was very common particularly with women, and particularly with women who had previously had careers outside rock and roll and were trying to transition into it. While male performers in that situation would generally jump in head first and come up with an embarrassment like Perry Como’s version of “Ko Ko Mo”, female performers would do something rather different. They would, in fact, tend to do what Jackson did here, and combine the two genres, either by having a verse in one style and a chorus in the other, as Wanda does, or in other ways, as in for example Kay Starr’s “Rock and Roll Waltz”: [Excerpt: Kay Starr, “Rock and Roll Waltz”] Starr is a particularly good example here, because she’s doing what a lot of female performers were doing at the time, which is trying to lace the recording with enough irony and humour that it could be taken as either a record in the young persons’ style parodying the old persons’ music, or a record in the older style mocking the new styles. By sitting on the fence in this way and being ambiguous enough, the established stars could back down if this rock and roll music turned out to be just another temporary fad. Jackson isn’t quite doing that, but with her Elvis-style hiccups on the line “I gotta know, I gotta know”, she comes very close to parody, in a way that could easily be written off if the experiment had failed. The experiment didn’t fail, however, and “I Gotta Know” became Jackson’s biggest hit of the fifties, making its way to number fifteen on the country charts — rather oddly, given that she was clearly repositioning herself for the rockabilly market, it seemed to sell almost solely to the country market, and didn’t cross over the way that Carl Perkins or Gene Vincent did. Her next single could have been the one that cemented her reputation as the greatest female rockabilly star of all, had it not been for one simple mistake. The song “Hot Dog! That Made Him Mad!” had been a favourite in her stage act for years, and she would let out a tremendous growl on the title line when she got to it, which would always get audiences worked up. Unfortunately, she horrified Ken Nelson in the studio by taking a big drink of milk while all the session musicians were on a coffee break. She hadn’t realised what milk does to a singer’s throat, and when they came to record the song she couldn’t get her voice to do the growl that had always worked on stage. The result was still a good record, but it wasn’t the massive success it would otherwise have been: [Excerpt: Wanda Jackson, “Hot Dog! That Made Him Mad!”] After that failed, Ken Nelson floundered around for quite a while trying to find something else that could work for Jackson. She kept cutting rockabilly tracks, but they never quite had the power of her stage performances, and meanwhile Nelson was making mistakes in what material he brought in, just as he was doing at the same time with Gene Vincent. Just like with Vincent, whenever Wanda brought in her own material, or material she’d picked to cover by other people, it worked fine, but when Nelson brought in something it would go down like a lead balloon. Probably the worst example was a terrible attempt to capitalise on the current calypso craze, a song called “Don’a Wanna”, which was written by Boudleaux Bryant, one of the great songwriters of the fifties, but which wouldn’t have been his best effort even before it was given a racist accent at Nelson’s suggestion (and which Jackson cringed at doing even at the time, let alone sixty years later): [Excerpt: Wanda Jackson, “Don’a Wanna”] Much better was “Cool Love”, which Jackson co-wrote herself, with her friend Vicki Countryman, Thelma Blackmon’s daughter: [Excerpt: Wanda Jackson, “Cool Love”] That one is possibly too closely modelled after Elvis’ recent hits, right down to the backing vocals, but it features a great Buck Owens guitar solo, it’s fun, and Jackson is clearly engaged with the material. But just like all the other records since “I Wanna Know”, “Cool Love” did nothing on the charts — and indeed it wouldn’t be until 1960 that Jackson would reach the charts again in the USA. But when she did, it would be with recordings she’d made years earlier, during the time period we’re talking about now. And before she did, she would have her biggest success of all, and become the first rock and roll star about whom the cliche really was true — even though she was having no success in her home country, she was big in Japan. But that’s a story for a few weeks’ time…

Pat was out of town on important business but the rest of the crew sat down and shot the shit about moving, landscaping, Area 51, vintage video games, chainsaws, Pepsi Blue, New Coke, the MoonKist, amusement parks and more. This episode also features the following segments; Today In History, I Wanna Know and Fact or Fiction. Episode Sponsors and Discounts: SeatGeek - Download the SeatGeek app and enter the promo code HEARTLAND and get 10% off your first purchase. If you've already used this code once then just keep buying your tickets there without a promo code because they're our friends and they're the best. 23andMe - See what your genes can say about your health, traits and more. Buy your Health+Ancestry kit at 23andMe.com/HEARTLAND so they know we sent you. Dashlane - The only one-stop-shop security app that secures every aspect of your online life. Go to Dashlane.com/HEARTLAND for a 30-day free trial of Dashlane Premium and -THIS SUMMER ONLY- you'll get 10% off when you sign up.

Todd, Digs, Nick, Ty, Gumpy, Zito and Bailey recorded this vacation episode because they didn't want to spend the effort it takes to mix together a Best-Of. So, they cam into the studio and discussed climate change, how animals are plotting to take over the planet, the power of grapefruit, the latest innovations from GoPro, twins in prison, Ben Afleck and a lot of Russell Crowe. They did a new Fact or Fiction segment, brought back I Wanna Know and ended with Friday Bangerz. We hope you had a great 4th of July. Episode Sponsors and Discounts: Quip - The greatest electric toothbrush on the market. Quip starts at just $25 and if you go to getquip.com/HEARTLAND, you can get your first refill pack for free. Indochino - Get any premium Indochino suit for just $359 with free shipping at Indochino.com when you enter the promo code HEARTLAND at checkout. Babbel - The language learning app that will get you speaking a new language quickly and with confidence. Go to Babbel.com/HEARTLAND and get a whole year of access to Babbel for as low as $3.50 a month.

Sooo if you haven't caught on yet...ain't no podcast this week bih. However, we didn't want to leave yall empty-handed. See yall next week! Last Name Good Bruh Where: Joe - "I Wanna Know" https://www.youtube.com/watch?v=dJ8VjyPw0qY Chiane XO's Shout Out Of The Week: Issa Rae - www.instagram.com/IssaRae Lingo Steve's Word Of The Week: Prodigious - causing amazement or wonder. Catch The No Buffer Podcast live every Monday night at 7pm on LiveHipHopDaily.tv Be sure to subscribe to The No Buffer Podcast on Apple Podcast itunes.apple.com/us/podcast/the-n…ast/id1360907766 Want a Culturally Ratchet t-shirt? Grab one at nobufferpodcast.com/shop Follow the crew on social: IG www.instagram.com/nobufferpodcast www.instagram.com/lastnamegood/ www.instagram.com/chianexo www.instagram.com/thelingosteve www.instagram.com/jabariblackmond www.instagram.com/h_imperial763

On today's show, the guys debate some of the biggest issues facing us today while Pat is in an incredibly important meeting. They cover whether or not the Wendy's Cookie Dough Frosty is a game changer and the pecking order of Little Debby Snack's. They also dive into some Derby chat and give out their favorites (one of which has already been scratched), and resident olds, Todd and Gorms, walk the rest of the crew through a list of their mom's go-to dishes that have gone extinct. The guys also discuss the list of "Top Ten Most Obscure College Degrees" offered today, the possible existence of the abominable snowman in Nepal, the world's worst son, computer mishaps at the Geek Squad, they bring back a great question for I Wanna Know, answer a few listener questions, and of course, help propel you into the weekend with another edition of Friday Bangerz. It's a fun one, come and have a good time with us. This episode features @toddmccomas, @Digz, @nickmaraldo, @tyschmit, @HeyGorman, @evanfoxy, and @baileymccomas.

There's always time to talk. Content warning for this episode: at timestamp 45:25, there is a brief description of domestic abuse. If that's a sensitive topic for you, you can skip ahead to 45:45. Take care! In addition to our original music, this season used Creative Commons licensed music by the fabulous Josh Woodward. In particular, this episode featured the tracks: "Little Tomcat," "Untitled," "River Went Dry," "I Wanna Know," and "Don't Close Your Eyes." These and other tracks are available at www.joshwoodward.com Find out more about the show at our website: www.vre.show Support us on Patreon: www.patreon.com/VRE Follow us @VRECast

Noella researches Greek mythology. Leo rallies children to dive into the sewer. Jade bullies a kid! All while The Big Game looms ever closer. This episode featured "I Wanna Know" by Creative Commons songwriter Josh Woodward. You can find Josh's work here: freemusicarchive.org/music/Josh_Woo…210-IWannaKnow Find out more about the show at our website: www.vre.show Support us on Patreon: www.patreon.com/VRE Follow us @VRECast

Talented LA producer RL Grime opens up on the hit that saw him pen lyrics for the first time. In this episode of Inspired, the EDM powerhouse explains how he took sonic cues from his own back catalogue - revisiting his remix of The Weeknd's 2015 hit 'The Hills' for inspiration. Subscribe to the Inspired podcast for weekly episodes.

Talented LA producer RL Grime opens up on the hit that saw him pen lyrics for the first time. In this episode of Inspired, the EDM powerhouse explains how he took sonic cues from his own back catalogue - revisiting his remix of The Weeknd's 2015 hit 'The Hills' for inspiration. Subscribe to the Inspired podcast for weekly episodes.

On today's show, the guys discuss the controversy surrounding Brazil's Miss BumBum pageant and some solutions to fix it, a 69 year old man engaging in a legal battle in the Netherlands to change his age to 49 so he can get more Tinder matches, and people dumping their deceased loved ones ashes at Disneyland. In another installment of "I Wanna Know," Todd asks what the guys would do if they had an unlimited amount of money to pull a large scale prank. The guys also pick someone to take a shot with or at, they answer some listener questions involving naming each others self help books, and help send you into the weekend with some new Friday Bangerz. It's a great time, come and join us. This episode features @toddmccomas, @PatMcAfeeShow, @Digz, @nickmaraldo, @tyschmit, @BostonConnr, @VivalaZito, @evanfoxy, and @baileymccomas

Nathan Ali is a Hip Hop artist currently residing in Toronto, originally from London Ont.  We discuss Nathan’s new release “I Wanna Know”, and his refocusing towards a new sound.  We talk about Nathan’s original foray into music where he made a name for himself with quick writing work and confidence, which landed him a song in a commercial.  We also go into the dark side of the music business, how to avoid being taken advantage of and staying true to your voice.  Website: https://nathanali.com IG: https://tinyurl.com/y7x4c7xt FB: https://tinyurl.com/y7fx338n

Ep. 30. "I Wanna Know" is one of Weezer's most forgettable songs, which is why John and his guest Scott Auth (I Miss the Old Weezer) spend most of the episode talking about their Top 5 songs that evoke the classic 1990s Weezer sound. LISTEN: 1. "I Wanna Know" on YouTube 2. "Passion Fruit Tea" on Spotify | Apple Music | YouTube 3. "Rivers" on Spotify | Apple Music | YouTube 4. "Nervous as I'll Ever Be" on Spotify | Apple Music | YouTube 5. "Demon to Lean On" on Spotify | Apple Music | YouTube 6. "Ruby" on Spotify | Apple Music | YouTube 7. "Shooting Stars" on Spotify | YouTube 8. "Novelty Sweater" on Spotify | Apple Music | YouTube 9. "Can't Believe" on Spotify | Apple Music | YouTube 10. "Kangaroo Pocket" on Spotify | Apple Music | YouTube 11. "Commerce, TX" on Spotify | Apple Music | YouTube LYRICS: 1. "I Wanna Know" at Weezerpedia MORE INFO: 1. "I Wanna Know" at Weezerpedia 2. Maladroit Demos at Weezerpedia 3. SnS Demos at Weezerpedia 4. Spotify playlist of each song discussed in today's show 5. Scott Auth's Spotify playlist I Miss the Old Weezer 6. I Miss the Old Weezer (Scott's blog) 7. Scott Auth on Twitter

We have our first player guests on The Short Porch! Hubbs and Tommy are pleased to be joined by top Yankees pitching prospects Justus Sheffield and Josh Rogers. They hop on for a fun half hour interview and cover trade speculation, life in the minors, throwing at hitters, Nick Swisher, and a bunch of random (dumb) questions. After that, Hubbs and Tommy discuss Machado, the All-Star Break, and are then joined by Frankie Borelli who tells us about his weekend partying with JD Martinez, Chris Sale, and Luis Severino. (Outro song: "I Wanna Know" by RL Grime and Daya)      

Bea Miller & NOTD stopped by the studio to chat with us about their new single, I Wanna Know, the potential for an Emo resurgence & Bea's new album, Aurora! Brought to you by ►► http://getquip.com/sang Follow us: Twitter ►►https://twitter.com/zachsangshow Facebook ►►https://www.facebook.com/ZachSangShow/ Instagram ►►https://www.instagram.com/zachsangshow/ Snapchat ►►https://www.snapchat.com/add/ZachSang... www.zachsangshow.com

This week the gang talks about hotdog water and the crowdfunded Star Wars remake. They are also joined by Hillsong Young & Free to talk about their new album III.   EPISODE MUSIC RL Grime, “I Wanna Know feat. Daya” nobigdyl., “anime” Rhye, “Phoenix (Little Dragon Remix)”

Ali and Amanda talk to vocalist and recording artist Olivia Castriota about her career, performing at the world-famous Apollo Theater, how the music industry works, rockstar beauty and more. Stay tuned for her song “I Wanna Know” at the end of the podcast. Stalk Olivia: https://www.oliviacastriota.com https://twitter.com/oliviacastriota https://www.instagram.com/oliviacastriota/ https://open.spotify.com/album/0dVAWF62mCe8K7vOWn2Ws5 Don’t forget, you can EARN EXTRA KARMA POINTS by subscribing and leaving us a five-star review on iTunes. All you have to do is click the Ratings and Reviews tab. Then, Click Write A Review. Then actually write a review. In the Podcasts App, search for the podcast even though you already subscribe, then click Ratings and Reviews. Click Write A Review. Write about how much you love being a Bloguette. It might not show up immediately, but just Ali going to an event, she’ll get there eventually. Stalk Robby https://www.robbylariviere.com https://www.instagram.com/robbylariviere/ Suck My Wick Candles Promo Code: SUCKMYWICKMAS for $10 off. https://www.instagram.com/SuckMyWickCandles/ https://www.facebook.com/SMWCandles Ali’s Website http://alilevine.com/ Get Styled By Ali http://alilevinestyling.com Amanda’s Blog http://www.itsamandalauren.com/ Follow Ali on Social Media https://twitter.com/AliLevineDesign https://www.instagram.com/alilevinedesign Follow Amanda on Social Media https://twitter.com/AmandaLauren https://www.instagram.com/itsamandalauren Consider this your invitation to join our closed Facebook Group https://www.facebook.com/groups/122231558366329/ Want to collab? Write us love letters? Please email thingsweretoolazytoblogabout@gmail.com Like us on Facebook because we really want to be liked. https://www.facebook.com/thingsweretoolazytoblogaboutpodcast --- Support this podcast: https://anchor.fm/lazypod/support

We will talk about the epic fight between Floyd "Money" Mayweather and Conor McGregor.  Issa Rae's Insecure, top 5 televison shows of the summer.  We will reveal the new cast of Love and Hip Hop Miami.  Also we will be introducing a new segment called "I Wanna Know" where the men will ask the women why they do the things they do and vice versa.  So tune in for an entertaining episode.

Join us this week as we welcome country pop music singer songwriter, Whitney Lusk. Hailing from Spanish Fork, UT., Whitney has been vocally trained since the age of 8 by industry professionals. Whitney’s dream is for her songs to bring back the Music to the music industry and touch people’s lives through the stories she tells. At the age of 14 Whitney performed with a national country cover band who opened at music festivals for major artists, such as Kellie Pickler, LeAnn Rimes, and Billy Currington. At age 16 Whitney took on the stage herself with her own music and opened for the Country Duo Maddie & Tae. Since then she has opened for YouTube sensation Andie Case with a sold out show in Salt Lake City, Utah. She has been featured on several Utah Radio Stations for being one of Utah’s up-and-coming singers. Whitney recently released her new EP, self-titled “Whitney Lusk,” which is already getting national recognition for her song, “I Wanna Know,” which was used in the movie “A Light In The Woods,” produced by K. Vernon Castleton. Whitney’s original Song “Picasso” won her a trip to Nashville where she wrote with top industry singer-songwriters on Music Row and performed at the famous Bluebird Café. Whitney recently had the opportunity of filming a New Reality TV Show The Song which will premier on National TV in 2017. We will talk to Whitney about her upcoming schedule, get a behind the scenes look at her new album, feature songs from the new album, and ask her to share her message for the troops. Please be sure to visit Whitney Lusk at http://whitneyluskmusic.com/ and spread the word. Fans are welcome to call in and speak live with Whitney during the show (718) 766-4193. And as always we will give shout outs to our deployed military listeners. Our message to the troops: WE do what we do, because YOU do what you do.

1. Solomon Grey - Miradors (Lane 8 Remix) [00:00-08:18] 2. Mivase – Wait for You [08:19-11:10] 3. Spencer Brown - Don't You Know (Original Mix) [11:11-13:38] 4. Deadmau5 - Strobe (Lane 8 Remix) [13:39-16:42] 5. Dusky Feat. Solomon Grey - Long Wait [16:43-18:45] 6. Clancy feat. Eli & Fur – I Wanna Know [18:46-21:51] 7. Luttrell – Need You [21:52-23:53] 8. Weepee - Slow (Original Mix) [23:54-28:50] 9. Lifelike – Sexodrome [28:51-31:00] 10. Patric La Funk – Hasensprung [31:01-33:12] 11. Fat Sushi - Menage A Trois (Original Mix) [33:13-37:03] 12. Armin van Buuren vs Rank 1 feat. Kush - This World Is Watching Me (Solid Stone Extended Remix) [37:04-40:31] 13. Pryda - Lillo (Original Mix) [40:32-44:51] 14. Eric Prydz - Liberate (Eric Prydz 2017 Remix) [44:52-48:01] 15. Cirez D - Backlash (Original Mix) [48:02-50:26] 16. Jeremy Olander - Mustela (Original Mix) [50:27-51:57] 17. Oxia - Domino (Matador Remix) [51:58-55:01] 18. Yotto – The Owl [55:02-58:04] ---- CLASSIC ---- 19. Eric Prydz & Steve Angello - Bedtime Stories [58:05-1:00:06] ---- COOLDOWN ---- 20. The 1975 - Somebody Else (EMBRZ Remix) [1:00:25-1:04:56]

A Soulful, Deep, Sexy offering of House music, with some uplifting Gospel House tracks that will get you moving from start to finish. Featuring these tracks: Sheree Hicks "Living All Alone" Adam Rios and Mike City "We Keep Going" Adri Block "Find A Way" Alfred Azzetto ft Vincent Valler "Pianissimo" Alicia Myers "Right Here Right Now" Anthony David "Let Me In" B.F.A.M "No Sleep Dub" Aspire Sound "I'll Be Out" Black Magic "Dance (Do That Thing)" Blaze "Wishing You Were Here" 3 Winans Brothers, Karen Clark Sheard, Louie Vega "I Choose You" Timmy Regisford "I Wanna Know"

Botteghi presents "Botteghi ON AIR" The brand new Podcast selected & mixed by Botteghi Facebook: www.facebook.com/botteghiofficial Instagram: www.instagram.com/botteghiofficial YouTube: www.youtube.com/botteghiofficial Twitter: www.twitter.com/mattebotteghi Official Website: www.mattebotteghi.com Botteghi ON AIR - Episode 01 - Tracklist: 01. Alesso feat. Nico & Vinz vs. Sebastian Ingrosso x Bob Marley - I Wanna Know, Jammin’ Dark River (Botteghi & Luciano Barletta Mash-Up) 02. TUJAMO - Boom! (Extended Mix) 03. Deorro feat. Elvis Crespo - Bailar (Original Mix) 04. Merk & Kremont - CIAO (Extended Mix) 05. Calvin Harris ft. Rihanna vs. SNAP! - This Is What You Came For (Botteghi & Luciano Barletta 90’s Edit) 06. Kryder & Eddie Thoneick - The Chant (Extended Mix) 07. Sunnery James & Ryan Marciano - Horny Bounce (Original Mix) 08. Hiisak - La Fanfarra (Tom Swoon Extended Edit) 09. Chicco Secci & CRISTIAN MARCHI - Remata (Chicco Secci Tribe Extended Mix) 10. Kungs vs. Cookin On 3 Burners - This Girl (Botteghi & Luciano Barletta Remix) 11. TWOLOUD & Konih - Gimme Some More (Extended Mix) 12. Galantis vs. Eric Prydz vs Garmian - Bomb On A Opus Money Drop (Djs From Mars Bootleg) 13. KSHMR & Tigerlily - Invisible Children (Extended Mix) 14. Timmy Trumpet & ANGEMI - Collab Bro (Extended Mix) 15. Axwell & Shapov - Belong (Axwell & Years Remode) 16. Jay Hardway - Somnia (Extended Mix) - Feed Rss iTunes Podcast created by Botteghi

Découvrez le nouveau son de DEE END : I WANNA KNOW

Claudia Angela Jordan  is an American actress, model, reality television and radio personality. She is known for appearing as a model on the U.S. version of Deal or No Deal and The Price Is Right, and for competing on seasons 2 and 6 ofCelebrity Apprentice. Jordan appeared on the Bravo reality television series The Real Housewives of Atlanta for its seventh season. Currently Claudia can be seen on TV One's The Next 15. Jordan was born in Providence, Rhode Island, to a mother from Italy and an African-American father. Claudia's parents met when her father was in the U.S. Air Force, stationed in Brindisi, Italy. Claudia Jordan was a sprinter and earned all-state honors in track and field while in high school in Rhode Island. Claudia Jordan competed in three Junior Olympics and in college became an All-American sprinter in the 400-meter relay. In addition to the sprints she finished third in the long jump at the East Coast Invitational. Jordan held the Miss Rhode Island Teen USA 1990 title and represented Rhode Island at the Miss Teen USA 1990 pageant. In 1997, she won the Miss Rhode Island USA title, becoming the second African-American woman ever to hold that title. She competed at Miss USA 1997 where she placed in the top 10. She has worked at the Providence American newspaper and at the Boston television station WHDH-TV. She has appeared in television commercials for Coors Light, Sears, Pepsi and Visa. She appeared as a contestant on Dog Eat Dog and in Joe's music video for "I Wanna Know". Prior to appearing on Deal or No Deal, Jordan was known as a former Barker's Beauty on the CBS game show The Price Is Right from 2001 to 2003.

Enjoy a brand new episode of #DJKayC #podcast. Tracks from artist like @Rihanna, @MichaelCalfan, @Alesso and many more. Subscribe: http://bit.ly/15XUILD 1. Close My Eyes (Don Diablo Edit) - Corderoy2. Needed Me (Liam Keegan Explicit Remix) - Rihanna3. Make It Right (Extended Mix) - Lucas & Steve4. Pump Up The Jam (Extended Mix) - Keanu Silva5. Make Me Feel Better (Don Diablo & CID Remix) - Alex Adair6. Don't Be So Hard On Yourself (KREAM Remix) - Jess Glynne7. Freak (Extended Vocal Mix) - Quintino, R3hab8. Keep This Party Rockin (Original Mix) - Luca Debonaire9. Rougage (Original Mix) - Dario Nunez10. Nobody Does It Better (Extended Mix) - Michael Calfan11. Sound Of Silence (Extended Mix) - Tom Ferro & Gil Sanders feat. Sean Declase12. Tonight (Extended Mix) - Don Diablo13. Mirrors (Extended Mix) - Tom Budin feat. Stevyn14. Back To 94 (Extended Mix) - Daddy's Groove feat. Cimo Frankel15. Love The One You With (Extended Mix) - Pep & Rash16. September (Original Mix) - Earth, Wind & Fire, Throttle17. I Wanna Know (feat. Nico & Vinz) - Alesso

Приветствую всех на волнах радио Musical Decadence. В эфире ежемесячный радиопроект MAXIMUM и его постоянный ведущий Dreamer.С большим удовольствием хочу сообщить приятную новость. Теперь для владельцев мобильных телефонов iPhone (да и всей продукции Apple в целом) моя музыка становится еще ближе, еще доступнее. Я представляю свой официальный подкаст в iTunes - Dreamer. Последние миксы, компиляции и любимое радиошоу MAXIMUM теперь на Вашем мобильном, всего в один клик.Подкаст конечно же абсолютно бесплатный. Название подкаста в приложении Podcasts - DreamerВообщем слушаем, качаем и подписываемся, дорогие друзья!Подписаться на подкаст:itunes.apple.com/ru/podcast/dr…bit.ly/1GmefEtКасательно же #62 выпуска радиошоу MAXIMUM, то он как всегда не похожий на предыдущие. Сегодня он получился очень "epic" :) Вы услышите вдумчивую, мелодичную и глубокую музыку от рекорд-компаний Sudbeat, Reworck, Lost & Found, SexOnWax и других, не менее важных игроков на музыкальном рынке. Вдумчивый хаус с уклоном в прогрессив - Maximum House как я его называю.Открывает эфир очень серьезная работа от Pole Folder под названием "душевный рассвет". У Бена всегда названия авторских треков со смыслом. Каждый трек несет в себе идею, ровно как и наполнен "умными" нотами и вдумчивой мелодией. Трек конечно же релизился на его лейбле Reworck. "Повторяющуюся историю" Marc Poppcke взялся ремикшировать всем известный музыкант из Мальты Deepfunk. История он совсем не повторил, так как написал ее собственным пером, своим неповторимым почерком. Ziger отдает свою душу в одноименном треке, при чем абсолютно бесплатно. Какая она у него, вы можете узнать послушав его релиз на 3rd Avenue и в моем шоу. Дальше у нас релиз рекординга всем известного и любимого Гая Джея, а именно Navar с треком Le Paradigme. На пластинке три трека и на этот раз мне пришелся по вкусу ремикс от сладкой парочки Hernan Cattaneo & Soundexile. Ремикс как бы служит неким экватором для перехода во вторую часть программы.Ну а дальше звучит джокер сегодняшнего радиошоу. Встречаем Saccao Anturage с треком Remember When в ремиксе кудесника из Швейцарии Patrick Podage. Судя по названию трека, "помнить" и напевать под нос вы его будете очень долго. Качать эфир у нас сегодня будет Simon Vuarambon своей работой Bahia на обожаемом Sudbeat. Как же переливается мелодия данного творения. Это тот случай, когда я называю музыку "живой" по своему настроению, живой по своей сути. Это не больше десятка тактов одного и того же лупа в треке, это работа со смыслом.За Омидом соскучились? Я да, но еще больше я соскучился за стариками Echomen. Предлагаю два в одном - трек от любимчика Omid 16B и ремикс на него Echomen. Что из этого получилось, вы можете услышать в MAXIMUM. Мне очень понравилось звучание, где плотная бочка делает свое дело танцполе. Релиз состоялся на детище Омида SexOnWax. В завершении программы релиз всеми любимого британского лейбла Anjunadeep. На этот раз у нас ожидаемый мною релиз I Wanna Know  от Clancy совместно с Eli & Fur, который кстати вошел в ежегодную компиляцию Anjunadeep 06. Могу сказать только одно - потрясающая работа.В рубрике Бонус трек/Хроника винила у меня сегодня Moguai и затертая в свое время до дыр пластинка U Know Y. Описывать этот трек особо не стоит, первые аккорды сами все скажут. Хочу только напомнить что пластинку печатал в свое время лейбл Hope. Слушаем, вспоминаем, напеваем и конечно же танцуем! :)Приятного прослушивания и до новой порции МАКСИМУМА! Искренне ваш Lemon 4 aka Dreamer.promodj.com/dreameriTunes: bit.ly/1GmefEt1. Pole Folder - The Soulful Dawn (Original Mix) [Reworck]2. Marc Poppcke - History Repeating (Deepfunk Sunset Mix) [Sudbeat]3. Ziger - Free My Soul (Original Mix) [3rd Avenue]4. Navar - Le Paradigme (Hernan Cattaneo & Soundexile Remix) [Lost & Found]5. Saccao Anturage - Remember When (Patrick Podage Remix) [Fukai]6. Simon Vuarambon - Bahia (Original Mix) [Sudbeat]7. Omid 16B - On The Outside (Echomen Remix) [SexOnWax]8. Clancy feat. Eli & Fur - I Wanna Know (Original Mix) [Anjunadeep]9. Bonus Track Moguai - U Know Y (Original Mix) [Hope]

Приветствую всех на волнах радио Musical Decadence. В эфире ежемесячный радиопроект MAXIMUM и его постоянный ведущий Dreamer.С большим удовольствием хочу сообщить приятную новость. Теперь для владельцев мобильных телефонов iPhone (да и всей продукции Apple в целом) моя музыка становится еще ближе, еще доступнее. Я представляю свой официальный подкаст в iTunes - Dreamer. Последние миксы, компиляции и любимое радиошоу MAXIMUM теперь на Вашем мобильном, всего в один клик.Подкаст конечно же абсолютно бесплатный. Название подкаста в приложении Podcasts - DreamerВообщем слушаем, качаем и подписываемся, дорогие друзья!Подписаться на подкаст:itunes.apple.com/ru/podcast/dr…bit.ly/1GmefEtКасательно же #62 выпуска радиошоу MAXIMUM, то он как всегда не похожий на предыдущие. Сегодня он получился очень "epic" :) Вы услышите вдумчивую, мелодичную и глубокую музыку от рекорд-компаний Sudbeat, Reworck, Lost & Found, SexOnWax и других, не менее важных игроков на музыкальном рынке. Вдумчивый хаус с уклоном в прогрессив - Maximum House как я его называю.Открывает эфир очень серьезная работа от Pole Folder под названием "душевный рассвет". У Бена всегда названия авторских треков со смыслом. Каждый трек несет в себе идею, ровно как и наполнен "умными" нотами и вдумчивой мелодией. Трек конечно же релизился на его лейбле Reworck. "Повторяющуюся историю" Marc Poppcke взялся ремикшировать всем известный музыкант из Мальты Deepfunk. История он совсем не повторил, так как написал ее собственным пером, своим неповторимым почерком. Ziger отдает свою душу в одноименном треке, при чем абсолютно бесплатно. Какая она у него, вы можете узнать послушав его релиз на 3rd Avenue и в моем шоу. Дальше у нас релиз рекординга всем известного и любимого Гая Джея, а именно Navar с треком Le Paradigme. На пластинке три трека и на этот раз мне пришелся по вкусу ремикс от сладкой парочки Hernan Cattaneo & Soundexile. Ремикс как бы служит неким экватором для перехода во вторую часть программы.Ну а дальше звучит джокер сегодняшнего радиошоу. Встречаем Saccao Anturage с треком Remember When в ремиксе кудесника из Швейцарии Patrick Podage. Судя по названию трека, "помнить" и напевать под нос вы его будете очень долго. Качать эфир у нас сегодня будет Simon Vuarambon своей работой Bahia на обожаемом Sudbeat. Как же переливается мелодия данного творения. Это тот случай, когда я называю музыку "живой" по своему настроению, живой по своей сути. Это не больше десятка тактов одного и того же лупа в треке, это работа со смыслом.За Омидом соскучились? Я да, но еще больше я соскучился за стариками Echomen. Предлагаю два в одном - трек от любимчика Omid 16B и ремикс на него Echomen. Что из этого получилось, вы можете услышать в MAXIMUM. Мне очень понравилось звучание, где плотная бочка делает свое дело танцполе. Релиз состоялся на детище Омида SexOnWax. В завершении программы релиз всеми любимого британского лейбла Anjunadeep. На этот раз у нас ожидаемый мною релиз I Wanna Know  от Clancy совместно с Eli & Fur, который кстати вошел в ежегодную компиляцию Anjunadeep 06. Могу сказать только одно - потрясающая работа.В рубрике Бонус трек/Хроника винила у меня сегодня Moguai и затертая в свое время до дыр пластинка U Know Y. Описывать этот трек особо не стоит, первые аккорды сами все скажут. Хочу только напомнить что пластинку печатал в свое время лейбл Hope. Слушаем, вспоминаем, напеваем и конечно же танцуем! :)Приятного прослушивания и до новой порции МАКСИМУМА! Искренне ваш Lemon 4 aka Dreamer.promodj.com/dreameriTunes: bit.ly/1GmefEt1. Pole Folder - The Soulful Dawn (Original Mix) [Reworck]2. Marc Poppcke - History Repeating (Deepfunk Sunset Mix) [Sudbeat]3. Ziger - Free My Soul (Original Mix) [3rd Avenue]4. Navar - Le Paradigme (Hernan Cattaneo & Soundexile Remix) [Lost & Found]5. Saccao Anturage - Remember When (Patrick Podage Remix) [Fukai]6. Simon Vuarambon - Bahia (Original Mix) [Sudbeat]7. Omid 16B - On The Outside (Echomen Remix) [SexOnWax]8. Clancy feat. Eli & Fur - I Wanna Know (Original Mix) [Anjunadeep]9. Bonus Track Moguai - U Know Y (Original Mix) [Hope]

This month's BBMLive.com Radio show is brought to you by Dave Minns, one half of our resident DJ duo So Called Scumbags. This month Dave delves into his record box and pulls together a very special show featuring non other than house legend Carl Cox. Warm Up 1. Maya Jane Coles and Gaps ­- Never Walk Away ­- I/AM/ME 2. Etienne De Crecy ­- Hashtag My Arse ­- Pixadelic 3. Moon Boots -­ Don't Ask Why ft. Kyiki (HNNY Remix) -­ Cr2 4. I Am Oak ­- On Trees And Birds And Fire (Sam Feldt vs Bloombox Remix) 5. Clancy ­- Revolutions (Original) ­- Anjunadeep Pick Of The Promos 1. Max Manie -­ The Ocean ­- Hysterical 2. Clancy ­- I Wanna Know ft. Eli and Fur (Original) ­- Anjunadeep 3. Robosonic -­ Between Us ft. Ashibah (Purple Disco Machine Remix) -­ OFF 4. Choir Of Young Believers ­- Hollow Talk (Jody Wisternoff, James Grant & Lane 8 Remix) -­ Anjunadeep 5. Jessie Ware -­ Say You Love Me (Gorgon City Remix) ­- PMR Island Future Classic SRTW ­- We Were Young (Sascha Kloeber Remix) -­ Spinnin’ Dancefloor Destroyer Sigma -­ Changing (Purple Disco Machine Remix) Free Download Of The Month Lance Herbstrong ­- Finally Moving (Pretty Lights x Jimi Hendrix x Lance Herbstrong Remix) https://soundcloud.com/lance_herbstrong/pretty­lights­finally­moving­jimi­hendrix Featured Artist http://www.carlcox.com 1. Carl Cox -­ Time For House Music (Original Mix) 2. Bad Cabbage ­- You're Rude (Get Fucked) (Carl Cox's Not so Rude Mix) 3. The Scumfrog ­- If I Ever Lose My Faith feat. Sting (Carl Cox Remix) One from the Vault: Carl Cox -­ Let The Bass Kick BBM Bassheads 1. London Grammar ­- If You Wait (Shy FX Remix) -­ Ministry 2. Jacob Banks ­- Move With You (High Contrast Remix) ­- Atlantic 3. Pablo Nouvelle ­- You Don't Understand (Calibre Remix) -­ Black Butter 4. Billon -­ Special ft. Maxine Ashley (Nu:Tone Remix) ­- Rinse 5. Carl Cox ­- Chemistry ­- Intec So Called Club Mix 1. 8Ball ft. Bam ­- Going Down ­- Misshapen 2. Distro ­- Deep Down ­- RKS 3. Seven Lions, Myon and Shane 54 ­- Strangers ft. Tove Lo (My Digital Enemy Remix) ­- ID 4. MUTINY UK ­- Take It Slow Ft. Amber Jolene (Original Mix) ­- Sunflower Records 5. Mat.Joe -­ Nothings Left ft. Freya (Kruse & Nuernberg Remix) ­- OFF One More Tune Cadenza ­- How Many Times ft. Kiko Bun (Original Mix) Bonus Track: Moderat ­- Bad Kingdom (DJ Koze Remix) -­ Monkeytown Records

2 hour set recorded live on 2012.11.15 by Robby Black This session features some of the best AfroDeep tracks that South Africa has to offer. There are DeepHouse and SoulfulHouse tracks from other parts of the world as well. TAGS: AfroDeep, DeepHouse, SoulfulHouse, AfroHouse, Deep and Soulful House Music, DJ Set(Tracklist embedded in lyrics section of each MP3)IDTitleArtistLabelDate1When Summer Comes (Deep Art Project Mix)Black Jazz ft Twiggy DollsNu Jazz Music 20122What I Might Do (Harry Wolfman Remix)Ben PearceMTA Records 20123Never Coming Down (Trancemicsoul Remix)Clemens Rumpf And David A TobinHouse Afrika Records 20124We Not Afraid (Main Mix)Lestic SoulshakerSoul Knights Music 20125Love Is The Message (Danny Krivit Re-Edit)MFSB & The Salsoul OrchestraSalsoul Records 19736Jazz (Christiaan Kouijzer Mix)Marco Soundee feat. Eric Van AroBeats For Life 20107Spoken Before (Soulful Jazz House Mix)Soultique VineGolden Stone Entertainment 20128Summin Bout Drums (Original)Arttu4Lux Black 20129The Flash (Da Funk's Lightning Strike Mix)Lukas GreenbergPlastic City 200810Better Days (Original Mix)Danny Clark & Jay Benham Ft Annette TaylorSolid Ground Recordings 201111Deeper Thoughts (Original Mix)ChujoCliqueAMP 201212I Wanna KnowDavid GordonBassic Records 199113Oomph (Original Mix)Grigory FatyanovUM Records 201214Zulu Woman (Mzala Wa Afrika Mix)Uzzi Kay ft Thando MbeleBreed Music 201215Just Believe (Alternative Mix)LandyDeeper Side Records 201216Rhythm and Soul(Main Mix)Soultique Vine 201217So Long (Original Mix)LarseBargrooves 201118Travelled So Far (Martin's Rocking Dub)Martin East & Sisco Feat. SnowMulti Racial Records 201019Free MyselfThomas Toccafondi ft MJ WhiteSoundmen On Wax 200920Prevailed JoySoultique Vine 201221Keep OnD TrainPrelude 198322NY Dreamer (Alix Alvarez Remix)Shlomi AberPlastic City 201223Lovery (Tuccillo Nu Deep Dub Mix)Tuccillo & Kiko Navarro feat. AmorKing Street 201224Nubian Prayer (Organic Mix)Patrick GreenSofitone Recordings 201225Life In The City (Original Mix)Dee MacSeasons Recordings 201226Its Over (Soultique Vine Soulful Mix)DJ Xtreme ft KwetsiGolden Stone Entertainment 2012Follow on Twitter @BassicDeepHouseDownload BADS006

2 hour set recorded live on 2012.11.15 by Robby Black This session features some of the best AfroDeep tracks that South Africa has to offer. There are DeepHouse and SoulfulHouse tracks from other parts of the world as well. TAGS: AfroDeep, DeepHouse, SoulfulHouse, AfroHouse, Deep and Soulful House Music, DJ Set(Tracklist embedded in lyrics section of each MP3)IDTitleArtistLabelDate1When Summer Comes (Deep Art Project Mix)Black Jazz ft Twiggy DollsNu Jazz Music 20122What I Might Do (Harry Wolfman Remix)Ben PearceMTA Records 20123Never Coming Down (Trancemicsoul Remix)Clemens Rumpf And David A TobinHouse Afrika Records 20124We Not Afraid (Main Mix)Lestic SoulshakerSoul Knights Music 20125Love Is The Message (Danny Krivit Re-Edit)MFSB & The Salsoul OrchestraSalsoul Records 19736Jazz (Christiaan Kouijzer Mix)Marco Soundee feat. Eric Van AroBeats For Life 20107Spoken Before (Soulful Jazz House Mix)Soultique VineGolden Stone Entertainment 20128Summin Bout Drums (Original)Arttu4Lux Black 20129The Flash (Da Funk's Lightning Strike Mix)Lukas GreenbergPlastic City 200810Better Days (Original Mix)Danny Clark & Jay Benham Ft Annette TaylorSolid Ground Recordings 201111Deeper Thoughts (Original Mix)ChujoCliqueAMP 201212I Wanna KnowDavid GordonBassic Records 199113Oomph (Original Mix)Grigory FatyanovUM Records 201214Zulu Woman (Mzala Wa Afrika Mix)Uzzi Kay ft Thando MbeleBreed Music 201215Just Believe (Alternative Mix)LandyDeeper Side Records 201216Rhythm and Soul(Main Mix)Soultique Vine 201217So Long (Original Mix)LarseBargrooves 201118Travelled So Far (Martin's Rocking Dub)Martin East & Sisco Feat. SnowMulti Racial Records 201019Free MyselfThomas Toccafondi ft MJ WhiteSoundmen On Wax 200920Prevailed JoySoultique Vine 201221Keep OnD TrainPrelude 198322NY Dreamer (Alix Alvarez Remix)Shlomi AberPlastic City 201223Lovery (Tuccillo Nu Deep Dub Mix)Tuccillo & Kiko Navarro feat. AmorKing Street 201224Nubian Prayer (Organic Mix)Patrick GreenSofitone Recordings 201225Life In The City (Original Mix)Dee MacSeasons Recordings 201226Its Over (Soultique Vine Soulful Mix)DJ Xtreme ft KwetsiGolden Stone Entertainment 2012Follow on Twitter @BassicDeepHouseDownload BADS006

2 hour set recorded live on 2012.11.15 by Robby Black This session features some of the best AfroDeep tracks that South Africa has to offer. There are DeepHouse and SoulfulHouse tracks from other parts of the world as well. TAGS: AfroDeep, DeepHouse, SoulfulHouse, AfroHouse, Deep and Soulful House Music, DJ Set(Tracklist embedded in lyrics section of each MP3)IDTitleArtistLabelDate1When Summer Comes (Deep Art Project Mix)Black Jazz ft Twiggy DollsNu Jazz Music 20122What I Might Do (Harry Wolfman Remix)Ben PearceMTA Records 20123Never Coming Down (Trancemicsoul Remix)Clemens Rumpf And David A TobinHouse Afrika Records 20124We Not Afraid (Main Mix)Lestic SoulshakerSoul Knights Music 20125Love Is The Message (Danny Krivit Re-Edit)MFSB & The Salsoul OrchestraSalsoul Records 19736Jazz (Christiaan Kouijzer Mix)Marco Soundee feat. Eric Van AroBeats For Life 20107Spoken Before (Soulful Jazz House Mix)Soultique VineGolden Stone Entertainment 20128Summin Bout Drums (Original)Arttu4Lux Black 20129The Flash (Da Funk's Lightning Strike Mix)Lukas GreenbergPlastic City 200810Better Days (Original Mix)Danny Clark & Jay Benham Ft Annette TaylorSolid Ground Recordings 201111Deeper Thoughts (Original Mix)ChujoCliqueAMP 201212I Wanna KnowDavid GordonBassic Records 199113Oomph (Original Mix)Grigory FatyanovUM Records 201214Zulu Woman (Mzala Wa Afrika Mix)Uzzi Kay ft Thando MbeleBreed Music 201215Just Believe (Alternative Mix)LandyDeeper Side Records 201216Rhythm and Soul(Main Mix)Soultique Vine 201217So Long (Original Mix)LarseBargrooves 201118Travelled So Far (Martin's Rocking Dub)Martin East & Sisco Feat. SnowMulti Racial Records 201019Free MyselfThomas Toccafondi ft MJ WhiteSoundmen On Wax 200920Prevailed JoySoultique Vine 201221Keep OnD TrainPrelude 198322NY Dreamer (Alix Alvarez Remix)Shlomi AberPlastic City 201223Lovery (Tuccillo Nu Deep Dub Mix)Tuccillo & Kiko Navarro feat. AmorKing Street 201224Nubian Prayer (Organic Mix)Patrick GreenSofitone Recordings 201225Life In The City (Original Mix)Dee MacSeasons Recordings 201226Its Over (Soultique Vine Soulful Mix)DJ Xtreme ft KwetsiGolden Stone Entertainment 2012Follow on Twitter @BassicDeepHouseDownload BADS006

The Life ft Styles P - Rashad Back To Love - Anthony Hamilton Coco-Nut ft Rapper Big Pooh - Keri Hilson We Get It On ft Omarion - Red Cafe Be Your Man ft Darien Brockington - Zo! My Last ft Chris Brown - Big Sean Hummin ft Lloyd Banks - Bobby V X's & O's - Jeremih Greatest Weapon of All Time ft Sy Smith - Zo! Greater Than The Sun ft Phonte - Zo! I Can't ft Anthony Hamilton - Heavy D Flashing Lights ft Dwele - Kanye West Stay Together ft Jaheim - Ledisi Love No Limit (Remix) - Mary J Blige If You Want To ft Lloyd Dwayne & J.Tait - Dwele Hangover - Dwele Won't Do - J. DIlla Fly Away - Goapele Just Can't Get Enough - Black Eyed Peas You Be Killin Em (DJ Tedsmooth Remix) - Fabolous Only Wanna Give It To You ft J Cole - Elle Varner Novacane ft Fred The Godson - Frank Ocean I Wanna Know ft Paris Jones - Naira Superwoman ft Fabolous - Lil' Mo   Jah Prince also is the host/dj of 'Love Ultra', RnB Show Tuesday Nights from 11:00pm to 1:00am, the 'Fire Fridays' Hip Hop Show Friday Afternoons from 3:00pm to 5:00pm, and now the 'One Hour Workout' Uptempo Mix Tuesday Afternoons from 3:00pm to 4:00pm. Listen weekly on www.DaFlavaRadio.com for the 'Sunsplash Mix Show' Saturday Mornings from 10:00am to 1:00pm (Eastern). This show is also heard in the streets of Gambia on Vibes FM 106.1, Radio West Indies (Philly, MD) and Traffic Jam Radio (CT). Sponsored by: Caribbean International Shipping Services Inc. - 'Just Pack It, We'll Ship It' www.caribbeanshippingservice.com (( and )) Startime Computers - 'Your Roadmap to Technology' www.startimecomputers.com (( and )) JayForce.com - Urban Music Blog (( and )) Four Seasons Music Store - www.4seasonsrecords.com Sunsplash Media, Inc.,CY Clothing Inc. - www.cyevolution.com, Smokin Needles Records & Riddim Kidz  -  www.SmokinShells.com

A good mix of what happens every Tuesday on Love Ultra including Lloyd's new single and a hot joint from Naira who just won the NEA (Nigerian Entertainment Awards) 2011's "Best U.S. Based Female Artist" award. My Last ft Chris Brown - Big SeanHummin ft Lloyd Banks - Bobby VAfter Party ft Jeremih - Sheek LouchDrop It Low ft Lil Wayne - Ester DeanGot 2 Luv U ft Alexis Jordan - Sean PaulSay Aah ft Fabolous - Trey SongzSaturday Night - LloydRadio ft Fabolous - CassieI Wanna Know ft Paris Jones - Naira   Jah Prince also is the host/dj of 'Love Ultra', RnB Show Tuesday Nights from 11:00pm to 1:00am, the 'Fire Fridays' Hip Hop Show Friday Afternoons from 3:00pm to 5:00pm, and now the 'One Hour Workout' Uptempo Mix Tuesday Afternoons from 3:00pm to 4:00pm. Listen weekly on www.DaFlavaRadio.com for the 'Sunsplash Mix Show' Saturday Mornings from 10:00am to 1:00pm (Eastern). This show is also heard in the streets of Gambia on Vibes FM 106.1, Radio West Indies (Philly, MD) and Traffic Jam Radio (CT). Sponsored by: Caribbean International Shipping Services Inc. - 'Just Pack It, We'll Ship It' www.caribbeanshippingservice.com (( and )) Startime Computers - 'Your Roadmap to Technology' www.startimecomputers.com (( and )) JayForce.com - Urban Music Blog Sunsplash Media, Inc.,CY Clothing Inc. - www.cyevolution.com, Smokin Needles Records & Riddim Kidz  -  www.SmokinShells.com

This week's playlist: • I Wanna Know (7:38) by Nick Moss & The Flip Tops, from Live At Chan's Combo Platter No. 2 (2009); available from Blue Bella Records, CD Baby and the iTunes Music Store. Visit this page at the Blue Bella site for more information. • I Love 'Em (3:58) by Big James & The Chicago Playboys, from Right Here Right Now (2009); available from BlindPigRecords.com and the iTMS. Visit BigJames.com for more information. • No Mercy (4:20) by The Snake Charmers, from Been Gone Too Long (2008), available from CD Baby and the iTMS. Visit TheSnakeCharmers.net and The Snake Charmers' MySpace page for more information. • I Can't Go On This Way (4:05) by A.C. Reed, from I'm In The Wrong Business (1987), available from Alligator Records and the iTMS. Thanks also to AirplayDirect for helping make this track available. Visit this page at the Alligator site for more infomation. • 18, 18 Wheeler (3:59), Should Have Done More (4:07) and Caterpillar Whine (Long Line Skinner) (4:14), all by Watermelon Slim and all from Escape From The Chicken Coop (2009), available from NorthernBlues Music and the iTMS. Visit for more information. • I'll Find Someone Who Will (5:10) by by Teresa James & the Rhythm Tramps, from Oh Yeah (2003), available from the music page of her Web site, CD Baby and the iTMS. Visit TeresaJames.com for more information. • I Don't Believe (5:09) by David Herrero, from Austin To Chicago (2007); available from and the iTMS. Visit for more information. • Built For Comfort (3:40) by Big Twits & The Mellow Fellows, from Live From Chicago! Bigger Than Life! (1987); available from Alligator Records and the iTMS. Thanks also to AirplayDirect for helping make this track available. Visit this page at the Alligator site for more information. Mentioned during this show: Great Northern Blues Society's Blues ala Carte 2009. To contact me: in addition to email - murphyssaloon(at)gmail(dot)com - you can contact me through: Facebook, MySpace and Twitter. You can check out my Flickr photo collection here. My Google profile is here, and you can read the items I share in Google Reader here. You are also welcome to write reviews of Murphy's Saloon Blues Podcast in iTunes. Excellent sources of information about the blues: The Blues Foundation and the Delta Blues Museum; be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues; BluesRevue.com, the online home of Blues Revue magazine; BigCityBluesMag.com, the online home of Big City Blues magazine; BluesCritic.com. Be sure to read Today's Chicago Blues by Karen Hanson, an excellent guide to all things blues in present-day Chicago. For up-to-the-minute news about things to do in Chicago: TheLocalTourist.com. (Something noteworthy being done by a remarkable long-ago friend of mine: Flamenco Chicago) (Music on Murphy's Saloon #166 courtesy of the artists and the Podsafe Music Network, IODA PROMONET, Download.com or Garageband.com)

This week's playlist: • Steal Me Away (3:32) by Ana Popovic, from Blind for Love (2009), available from Eclecto Groove Records and the iTunes Music Store. Visit this page for more information. • Walkin Blues (2:44) by Steve Guyger from Last Train To Dover (1997); available from Blues Leaf Records' page at CD Universe and the iTMS. Visit SteveGuyger.com for more information. • She What? by The Bad Influence Band, from Tastes Like Chicken (2001), available from CD Baby and the iTMS. For more information, visit BadInfluenceBand.com or their MySpace page. • Let Me Love You by Boo Boo Davis, from Drew, Mississippi (2006), available from Black & Tan Records and the iTMS. Visit BooBooDavis.com for more information. • The Boogie Man (3:08) by Papa Don McMinn, from Boogie Man (2009); available from LocoBop.com and the iTMS. Visit DonMcMinn.com for more information. • Brick (4:36)by Albert Collins, from Frostbite (1980); available from Alligator Records and the iTMS. Visit the Wikipedia's entry about Albert and Albert's page at Alligator.com for more information. • Fill 'Er Up (9:23), Try To Treat You Right (8:05) and I Wanna Know (7:38), all by Nick Moss & The Flip Tops and all from Live At Chan's Combo Platter No. 2 (2009); available from Blue Bella Records, CD Baby and the iTMS. Visit this page at the Blue Bella site for more information. • Color-Blind Angel (5:16) by Robin Rogers, from Treat Me Right (2008); available from the store at Robin's site, Blind Pig Records and the iTMS. Visit RobinRogers.com for more information. • Fool For The Ladies by EB Davis & The Superband, from I Want To Talk About You (1999). EB sells his own CDs through his online store. Visit EB Davis.com and his MySpace page for more information. • Brown Angel by Nerak Roth Patterson, from Brown Angel (2008), on the Blues Leaf Records label. Visit Nerak's MySpace page and this page at BluesBoys.com for more information. • Let's Boogie (4:27) by Charles "Big Daddy" Stallings, from Blues Evolution (2007); available from CDBaby and the iTMS. Visit BigDaddyStallings.com for more information. • Dark Horses by Billy Goodman, from Dark Horses (2005), available from ItsAboutMusic.com and the iTMS. Visit BillyGoodman.com for more information. • All For Business by Byther Smith, from his album Throw Away The Book (2004), available from Black & Tan Records. Visit Byther's page at TheBlueHighway.com for more information. To contact me: in addition to email - murphyssaloon(at)gmail(dot)com - you can contact me through: Facebook, MySpace and Twitter. You can check out my Flickr photo collection here. My Google profile is here, and you can read the items I share in Google Reader here. You are also welcome to write reviews of Murphy's Saloon Blues Podcast in iTunes. Excellent sources of information about the blues: The Blues Foundation and the Delta Blues Museum; be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues; BluesRevue.com, the online home of Blues Revue magazine; BigCityBluesMag.com, the online home of Big City Blues magazine; BluesCritic.com. Be sure to read Today's Chicago Blues by Karen Hanson, an excellent guide to all things blues in present-day Chicago. For up-to-the-minute news about things to do in Chicago: TheLocalTourist.com. (Music on Murphy's Saloon #165 courtesy of the artists, their labels and, possibly, one of the following: Podsafe Music Network, IODA PROMONET, Download.com or Garageband.com)

Intro:Struttin' - TryadNews:240 Free mash-up albums and songsXM and Sirius merger nearing approval?Featured Artist:Josh Woodward - The Simple LifeHeritage Place - 1The Parade - 4On Brevity - 13I Wanna Know - 21Link to episode