Podcasts about I Want Candy

The Daily Quiz - Music Today's Questions: Question 1: Which musician won Album of the Year at the Grammys in 1979 for '52nd Street'? Question 2: Who had a hit in 1982 with I Want Candy? Question 3: Who Released The 70's Album Entitled Physical Graffiti? Question 4: Which English rock band released the album 'Revolver'? Question 5: Whose "Variations On a Theme by Paganini" is a standard part of the piano repertoire? Question 6: Which American hard rock band released the studio album 'Use Your Illusion I'? Question 7: Which French electronica duo released the studio album 'Random Access Memories'? Question 8: Which Irish rock band released the song 'Elevation'? Question 9: Which song was originally recorded by The Beatles and was later covered by Stevie Wonder? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textThis episode, we look at what Rolling Stone magazine considers to be the best songs of the 80's.  We have been critical of Rolling Stone in the past for the quality of their lists, and this time is no different.  However, there's some good stuff in this list, which we're happy to acknowledge.  Of course, we point out their failings as well – it'd be no fun if we didn't, would it?! In Rock News, we look at a new album from Coldplay (as if anybody cares!), the trials of Sean “Puffy” Combs, and The Beatles. Our “Album You Must listen to Before you Die” is 1985's The Nation's Saving Grace, by The Fall.  Mick loves it, Jeff doesn't think much of it.   So, what's new? Another fun episode.  Enjoy.  References:  Rolling Stone magazine, 80's, Coldplay, ‘Moon Music', No 1 album, Sean Diddy Coombs, Puff Daddy, Diddy, Cassie Ventura, Beatlemania, Beatles '64, David Tedeschi, Disney+, The Fall, The Nations Saving Grace, John Leckie, Mark E Smith, Can, German, krautrock, Damo Suzuki, DoubleJay, TripleJ, Prince, ‘Kiss', Madonna, ‘Like a Prayer', Grandmaster Flash and the Furious Five, ‘The Message', Michael Jackson, ‘Billie Jean', Public Enemy, ‘Bring the Noise', Whitney Houston, ‘How Will I Know?”, The Go-Gos, ‘Our Lips Are Sealed', Duran Duran, ‘Hungry Like the Wolf', Kate Bush, ‘Running Up That Hill', The Smiths, ‘There Is a Light That Never Goes Out', Husker Du, Minutemen, rap artists, Bowie, Depeche Mode, Culture Club, Clash, Neneh Cherry, U2, Joy Division, AC/DC, “Hell's Bells”, INXS, “Never Tear Us Apart”, Apple music streaming, Leonard Cohen, Tower of Song, Sisters of Mercy, “This Corrosion”, “Floodland”, Jim Steinman, “New Big Prinz”, Frankie Goes to Hollywood, “Relax", Cher, “If I Could Turn Back Time”, Missouri, Bow Wow Wow, “I Want Candy”, Haysi Fantaysee, “Shiny Shiny”, Countdown, Falco, “Rock Me, Amadeus”, A-Ha, “Take on me”, Nena,  99 Luftballon, Kim Carnes, “Bette Davis Eyes”, Shriekback, “Nemesis", parthenogenesis, Samantha Fox, Africa, Toto  Playlist – Episode This is our usual playlist, where we curate a list to play what we've talked about in the episode Playlist – Spotify's complete list  Africa – Mass band  Samantha Fox web site – purely for academic interest! 

In which Red starts a helping club and recruits Cotterpin Doozer. PLUS: Becca's the leader now! Sprocket has a license to dog. “I Want Candy” mashup! How many Rule Number Ones are there? Adam learns how Doozer puppets are operated! Are the Zappa kids Muppet fans? Featuring special guest Becca Petunia!

We are back this week and so is Melanie C! It's her cover of I Want Candy that we discuss this week, especially the fun music video and live performances!   Spice up your life!   The Sporty One, by Melanie C   Check out our friend Nicoli's Unbound series of books! Dissonance by Nicoli Gonnella Silence by Nicoli Gonnella Hunger by Nicoli Gonnella Fury by Nicoli Gonnella Threshold by Nicoli Gonnella Expanse by Nicoli Gonnella Abyss by Nicoli Gonnella Vault by Nicoli Gonnella Crown by Nicoli Gonnella   Listen to miek and Greg on Two Bandits Watching Bluey! Two Bandits Watching Bluey   miek made an album! progress-is-only-progress-when-documented   Follow us on Twitter: @TheSpiceLevel Check out our other socials: thespicelevel.com Email us: TheSpiceLevel@gmail.com

Check Playlist This episode of The Five Count featured an exclusive interview with musician Leigh Gorman. Leigh is best known as the founder and bassist for the band Bow Wow Wow. He was also a member of Adam and the Ants. During the show he discussed how he developed his playing style, the success of Bow Wow Wow's single I Want Candy, and why he still enjoys playing that music today. See Leigh Gorman with Bow Wow Wow at a venue near your!During the rest of the show we tried to decide what kind of mustard Satan likes, Ton sorted through his Disney's Cars trading cards, and we got a jump-start on the holidays with the help of Burl Ives. It's in the air, gentle listeners! https://youtu.be/JoXVYSV4Xcs?si=v661IIWaQHVC-HmV

We are reviewing the 80s songs bracket. Please let us know what song should be number one. Here's the bracket: Party All the Time by Eddie Murphy (1985)Never Too Much by Luther Vandross (1981)Purple Rain by Prince (1984)Thriller by Michael Jackson (1982)Working for the Weekend by Loverboy (1981)Livin' On A Prayer by Bon Jovi (1986)Everybody Have Fun Tonight by Wang Chung (1986)Pour Some Sugar on Me by Def Leppard (1987)My Prerogative by Bobby Brown (1988)Hungry Like the Wolf by Duran Duran (1982)What I Like About You By The Romantics (1980)Billie Jean By Michael Jackson (1984)Down Under by Men at Work (1982)"When Doves Cry" by Prince (1984)"Only in My Dreams" by Debbie Gibson (1987)"I Can't Go For That (No Can Do)" by Hall & Oates (1981)"Start Me Up" by The Rolling Stones (1981)"Sweet Child O' Mine" by Guns N' Roses (1987)"Cars" by Gary Numan (1980)"Like a Virgin" by Madonna (1984)"You Got It (The Right Stuff" by New Kids on the Block (1988)"Walk This Way" by Run-D.M.C. (1986)"Walking on Sunshine" by Katrina and the Waves (1983)"You Shook Me All Night Long" by AC/DC (1980)"Wild Thing" by Tone Loc (1989)"Don't Stop Believing" by Journey (1981)"Brass in Pocket" by The Pretenders (1980)"How Will I Know" by Whitney Houston (1985)"Ain't Nobody" by Chaka Khan (1989)"With or Without You" by U2 (1987)"Rock Me Amadeus" by Falco (1986)"Walk Like an Egyptian" by The Bangles (1986)"I Want Candy" by Bow Wow Wow (1982)"Jump" by Van Halen (1984)"Addicted to Love" by Robert Palmer (1985)"Need You Tonight" by INXS (1987)"All Night Long (All Night) by Lionel Richie (1983)"Here I Go Again" by Whitesnake (1982)"Kiss" by Prince (1986)"Come on Eileen" by Dexy's Midnight Runners (1982)"Tempted" by Squeeze (1981)"Time After Time" by Cyndi Lauper (1984)"Word Up!" by Cameo (1986)"Jessie's Girl" by Rick Springfield (1981)"It Takes Two" by Rob Base & DJ E-Z Rock (1986)"Beat It" by Michael Jackson (1982)"Don't You Want Me?" by Human League (1981)"Just Like Heaven" by The Cure (1987)"Call Me" by Blondie (1980)"Girls Just Want to Have Fun" by Cyndi Lauper (1984)"Candy Girl" by New Edition (1983)"Take on Me" by A-Ha (1985)"She Blinded Me With Science" by Thomas Dolby (1982)"Our Lips Are Sealed" by The Go-Go's"Little Red Corvette" by Prince (1983)"Welcome to the Jungle" by Guns-N-Roses (1987)"Faith" by George Michael (1987)"Too Shy" by Kajagoogoo (1984)"99 Luftballons" by Nena (1983)"Wake Me Up Before You Go-Go" by Wham! (1984)One Thing Leads to Another" by The Fixx (1983)"Burning Down the House" by Talking Heads (1983)"Super Freak" by Rick James (1981)"Love Is a Battlefield" by Pat Benatar (1983)"I Love Rock N' Roll" by Joan Jett and The Black Hearts (1981)"Under Pressure" by Queen and David Bowie (1981)"It's the End of the World as We Know It (And I Feel Fine)" by R.E.M (1987)"Sister Christian" by Night Ranger (1983)"Fight the Power" by Public Enemy (1988)"Tainted Love" by Soft Cell (1981)"Keep on Loving You" by REO Speedwagon (1980)"Every Rose Has Its Thorn" by Poison (1988) "Just Can't Get Enough" by Depeche Mode (1981)"In the Air Tonight" by Phil Collins (1981)"I Want to Know What Love Is" by Foreigner (1984)"867-5309/Jenny" by Tommy Tutone (1981)"Straight Up" by Paula Abdul (1988)"Janie's Got a Gun" by Aerosmith (1989)"Whip It" by Devo (1980)She a beauty by the tubes"Take My Breath Away" by Berlin (1986)"I Melt With You" by Modern English (1982)"Mr. Roboto" by Styx (1983)"Love Shack" by The B-52's (1989)"Bust a Move" by Young M.C (1989)"Dr. Feelgood" by Mötley Crüe (1989)"Jack & Diane" by John Mellencamp (1982)"London Calling" by The Clash (1982)"Do You Really Want to Hurt Me" by Culture Club (1982)Look of Love by ABC (1982)"Mickey" by Toni Basil (1981)"Cruel Summer" by Bananarama (1984)"Total Eclipse of the Heart" by Bonnie Tyler (1983)"Nasty" by Janet Jackson (1986)"I Ran (So Far Away)" by A Flock of Seagulls (1982)"Every Breath You Take" by The Police (1983)"Push It" by Salt-N- Pepa (1986)"We're Not Gonna Take It" by Twisted Sister (1984) --- Send in a voice message: https://podcasters.spotify.com/pod/show/mass-debaters/message Support this podcast: https://podcasters.spotify.com/pod/show/mass-debaters/support

It's here - and we're not going with a cheap "fun-size" podcast, we're king size, baby! Turn up the sounds and turn down the lights - it's Halloween!1.) Every Day Is Halloween [Retro Electro Mix] - Ministry 2.) Every day Is Halloween - Kate Pierson 3.) I'm Gonna Haunt You - Fred Schneider 4.) No One Lives Forever - Oingo Boingo 5.) Something In My House [Mortevicar Mix] - Dead Or Alive 6.) Fear (Of The Unknown) [12" Urban Fear Mix] - Siouxsie And The Banshees 7.) Fly On The Windscreen [Death Mix] - Depeche Mode 8.) Void Eater - Hall & Nails (Mashup by ah!) 9.) Flesh For Fantasy - Billy Idol 10.) Armie Of The Night - Sparks 11.) The Howling - Babel 12.) Bates Motel - The Hitmen 13.) Norman Bates - Landscape 14.) I Want Candy [12" Remix] - Bow Wow Wow 15.) The Drowning Man - The Cure 16.) Martin - Soft Cell 17.) The Three Shadows Part III - Bauhaus 18.) Phantom Living - The Fixx 19.) Don't Pay The Ferryman - Chris De Burgh 20.) Dr, Mabuse - Propaganda 21.) Dracula's Tango [12" Mix] - Toto Coelo 22.) The Day The Devil - Laurie Anderson 23.) Dr Heckyll and Mr. Jive - Men At Work 24.) Shadow Of Fear - Madness 25.) The Devil And Darkness - Freur 26.) I Die - You Die [Alternate Version] - Gary Numan 27.) Devil Bunnies - My Life With The Thrill Kill Kult 28.) Scared - Little John 29.) Rawhead And Bloody Bones - Siouxsie And The Banshees 30.) Send Me An Angel [Extended Version] - Real Life 31.) Monster Mash - The Big O 32.) Ghoul's Night Out - Misfits 33.) Creature From The Black Leather Lagoon - The Cramps 34.) Perfect Murder - The Glove

In today's episode I take the deepest of dives into the cultural phenomenon of the song "I Want Candy". Did you know that “I Want Candy,” the strangely timeless song released by The Strangeloves in 1965 has a deep-rooted connection to tribal drumming? The Strangeloves were inspired to write "I Want Candy" in 1965 after they took a trip to the 1964 World's Fair and producers saw a performance by Candy Johnson, a dancer known as “Miss Perpetual Motion" and the rest is history. Enjoy ;)

Before his solo work, before Blind Faith, before Traffic, a 14-year old known then as Stevie Winwood joined The Spencer Davis Group as a guitarist and lead singer.  This blues-oriented British band released their first LP, conveniently called Their First LP in June of 1965 to British and European audiences.  We are covering it in August 1965, but the album itself was not released in the United States at the time.  Most of the songs would make it to the US market in compilation albums released years later.The Spencer Davis Group was Spencer Davis on vocals, guitar, and harmonica; Steve Winwood on lead vocals, harmonica, guitar, and piano; Muff Winwood (Steve's older brother) on vocals and bass; and Pete York on drums.  Additional personnel included Kenny Salmon on organ for a couple of tracks, and one track found Peter Asher on piano and Millie Small on vocals.The album didn't enter the UK albums chart until January 1966, but it would reach number 6 on that chart after a single entitled "Keep On Running" from their second album entered the UK singles charts.  "Their First LP" is blues driven, and much of the album consists of covers from blues artists.  However, there are also some original pieces composed by Spencer Davis and by Steve Winwood.  Spencer Davis went on to solo and collaborative work after The Spencer Davis Group, eventually becoming an executive for Island Records.  Steve Winwood would of course move on to a storied career as a rock musician.Bruce brings this blues-laced proto-rock album to the podcast. My BabeThis track leads off the album.  While the Spencer Davis Group did not release this as a single, it reached number 75 on the Billboard Hot 100 in October 1963 when it was originally released by its writers, Bobby Hatfield and Bill Medley.  Hatfield and Medley are better known as The Righteous Brothers.DimplesThis cover was the first single released from the album, preceding the album by almost a year.  The original was written and recorded by blues artist John Lee Hooker in 1956 as an ensemble piece.  It was the first Hooker record to appear on the British record charts, though it would take until 1964 to reach the charts.  While the Hooker single charted, the Spencer Davis Group cover did not chart.Sittin' and Thinkin'Here is an original song amongst an album dominated by covers.  Spencer Davis wrote this song.  It was released as a single, the fourth from the album, but only in the Netherlands.It Hurts Me SoThe closing track to the album was written by Steve Winwood.  It was not released as a single, but it is an example of Winwood's early blues-influenced work.  ENTERTAINMENT TRACK:The Night Before by the Beatles (from the motion picture "Help!" )This film showcased the Beatles in a comedy adventure as the group tries to protect Ringo from an eastern cult. STAFF PICKS:Agent Double-O-Soul by Edwin StarrJames Bond is the obvious inspiration for Wayne's staff pick.  Edwin Starr was singing with The Bill Dogett Combo when he went to the cinema to watch the Bond feature, "Thunderball."  He wound up watching it 3 times before going back to his hotel room to write this song.  Bill Dogett rejected his pitch to sing solo on this tune, so Starr left the group to become a solo act.I Want Candy by The StrangelovesRob brings us a tune by songwriters Bob Feldman, Jerry Goldstein, and Richard Gottehrer.  They took on the persona of Australian sheep farmer brothers turned band members Giles, Miles, and Niles Strangelove for this group.  This song with a Bo Diddley beat was inspired by dancer Candy Johnson who was seen at the 1964 Worlds Fair.  Bow Wow Wow would have a hit with a cover of this song in the 80's.Since I Lost My Baby by The Temptations Lynch's staff pick comes from Motown in the form of a lover's lament written by Smokey Robinson and Warren Moore.  It hit number 17 on the US charts.  The Temptations would be a huge hitmaker in the 60's both with David Ruffin and Dennis Edwards on lead vocals.Same Old Song by The Four TopsBruce's staff pick features an American vocal quartet from Detroit who helped to define the Motown sound.  This Holland-Dozier-Holland song hit number 5 on the Billboard Hot 100, and number 2 on the Billboard R&B chart.  Lead singer Levi Stubbs was joined by Duke Fakir, Obie Benson, and Lawrence Payton to form the quartet, and they would remain together from 1953 until 1997 without a change in personnel. INSTRUMENTAL TRACK:The "In" Crowd by The Ramsey Lewis TrioThis jazz single hit number 2 on the R&B chart and number 5 on the Billboard Hot 100.  The Ramsey Lewis Trio would receive a Grammy Award for the album of the same name in 1966.

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. With Easter being this past Sunday, all of the songs this week have the word “candy” in the title.  On today's episode, Andy Atherton is watching “I Want Candy” by Bow Wow Wow from 1982. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=JoXVYSV4Xcs

For this BONUS Patron-curated episode, we asked our Patrons to send in a song by a band/artist that's best known for ANOTHER song. So, there's this band. Many people know them by that one song. You know, "That band that did that song." Here's the thing, though: there's ANOTHER song they did that's just as good...or maybe even better! Songs featured in this episode: Come On Eileen - Dexys Midnight Runners; Call Me Maybe, Want You In My Room - Carly Rae Jepsen; Another Girl, Another Planet, Out There In The Night - The Only Ones; Bitter Sweet Symphony, Space and Time - The Verve; Karma Chameleon, Victims - Culture Club; There She Goes - The La's; I Am The Key - Britt Daniel (Live at The Hole In The Wall, Austin TX; I Am The Key - The La's; A Million Miles Away, Oldest Story In The World, Zero Hour (Live at The Golden Bear, 1983) - The Plimsouls; I'm So Excited, Don't It Drive You Crazy - The Pointer Sisters; Stand, Orange Crush -REM; Love Shack, Channel Z - The B-52's; All Right Now, Mr Big - Free; Wild Thing, From Home - The Troggs; I Want Candy, Chihuahua - Bow Wow Wow; The Future's So Bright, I Gotta Wear Shades, Rev Jack & His Roamin' Cadillac Church - Timbuk 3; Tainted Love, Sex Dwarf - Soft Cell; Vaya Con Dios, I Really Don't Want To Know - Les Paul & Mary Ford; Boys Are Back In Town, Dancing In The Moonlight, Jailbreak - Thin Lizzy; My Sharona, Good Girls Don't - The Knack; Louie Louie - Richard Berry; Have Love Will Travel - Richard Berry & The Paroahs; Hallelujah, Forget Her - Jeff Buckley; Jessies Girl, I've Done Everything For You - Rick Springfield; Sex and Candy, Love Bug - Marcy Playground; Come On Eileen, There There My Dear - Dexys Midnight Runners

Leigh Gorman in conversation with David Eastaugh Bow Wow Wow signed with EMI Records in July 1980. Their first single, "C·30 C·60 C·90 Go!", for which Gorman shared songwriting credit with McLaren, Ashman and Barbarossa, holds the distinction of being the world's first-ever cassette single. It reached No. 34 on the UK Singles Chart and stayed on the chart for seven weeks. In November 1980, Bow Wow Wow released the cassette-only mini-album, Your Cassette Pet. Gorman again shared songwriting credit with McLaren, Ashman and Barbarossa on seven of its eight tracks. Bow Wow Wow signed next with RCA Records and in October 1981 they released their first full-length album, See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy. It earned them their first UK top ten hit, "Go Wild in the Country". In May 1982, Bow Wow Wow released a four-track EP, The Last of the Mohicans, which contained a remake of the Strangeloves' 1965 hit, "I Want Candy". "I Want Candy" was Bow Wow Wow's biggest international hit, and has lived on as an eighties classic, thanks in part to an iconic music video in heavy rotation on MTV.    

Former teen heartthrob and rapper Aaron Carter was found dead on Saturday at the age of 34. Since the news broke, family and celebrities have publicly offered their condolences, including a touching tribute from Aaron's older brother, and Backstreet Boy, Nick. No cause of death for the “I Want Candy” singer has been determined, but it's no secret that Aaron definitely faced a lot of mental health and addiction demons during his short life. Rest in peace, Aaron.Hey, Richies - is there something you've been dying to ask us? Well, here's your chance to ask us anything. Send us your questions to eventherich@wondery.com. We'll pick our favorite ones to answer on our upcoming Even the Rich holiday episode. The deadline to submit questions is Friday, November 11.Listen ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App. Support us by supporting our sponsors!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hey Boom! fans! Welcome to the very first episode of Boom Town: The Official Podcast of Vancouver's Boom! Pro Wrestling! In our debut show, Co-Hosts Marta Wesslehoff and "Wild Eyes" Travis Woloshyn are joined by their guest, majority owner, Max Mitchell! They go over the events of their October 29th show I WANT CANDY, and are later joined by the new Vancouver City Champion, Brady Malibu! Check it out!

"I Want Candy" singer Aaron Carter dead at 34. Listen for more details.To learn more about how CNN protects listener privacy, visit cnn.com/privacy

Knowledge from the KIDZ BOP Kids shares today's KIDZ BOP Daily update for Wednesday, October 26. It's Wednesday – which means it's time for our Wednesday Workout. Today's kids' song of the day is "I Want Candy" by the KIDZ BOP Kids!

Would you sacrifice your entire identity as a human being for a brief moment of beauty? Carl did, and he paid the ultimate price: he became a clown. In this episode of Aqua Teen, Meatwad's desire for a new termite pet destroys Carl's house and creates easy viewing for the gang to watch Carl get it on. Hayden Ward shows up in this episode voicing the first (English speaking) female character in the show-- however, Hayden has done MUCH MORE for Aqua Teen than this role. Without her the show wouldn't have been as successful as it was. We also touch on the hidden Clown lore of the ATHF world. Other topics discussed include the perspective of "I Want Candy", Britney Spears' face, Runescape 2, and the history of clowns.    References: • Aqua Teen Forever Plantasm Trailer: https://www.youtube.com/watch?v=UnYHRG0x1N0 • Ned Hastings on the Thunder Talk Podcast: https://www.thundertalk.org/ • MC Chris "I Want Candy" Interview: https://www.dancingisforbidden.com/e/mcchris/ • [Adult Swim] commercials (December 7, 2003): https://www.youtube.com/watch?v=44ZSMXzKNI8 • 2003 Forum Thread on The Clowning: https://animesuperhero.com/forums/threads/c-c-aqua-teen-hunger-force-the-clowning-12-7.3507801/   Contacts:  Support the Show: patreon.com/dancingisforbidden Leave a voice message: speakpipe.com/dancingisforbidden Discord: https://discord.gg/NpjSXPECw6 Instagram: @AquaTeenPod Twitter: @AquaTeenPod Email: DancingIsForbiddenPod@gmail.com YouTube Channel: https://www.youtube.com/channel/UC9yseLj27npIZlEnM8ooBaQ Listen on YouTube: https://www.youtube.com/channel/UCe5gFb5eAYH3nyF3DZ5jwhQ Website: dancingisforbidden.com Twitch: twitch.tv/ronnieneeley  

Annabella Lwin has seen a lot. More than she wants to talk about, honestly. We know the story - discovered at 13 and made the lead singer of a band masterminded by the outlandish Malcolm McLaren, Bow Wow Wow. They make a sound no one's ever heard before and leave behind a bunch of hits no one will ever forget (sadly, only "I Want Candy" got much traction in the States). The career she had would never fly now, not like it did then, but she's survived a lot, including the end of the band, a solo album and grinding away as an artist in a tough business. These days Annabella is mostly viewed as the icon she is and plays many shows a year, including a couple Lost 80s Live shows on 8/20 and 25. We touch on all of this, address some tough stuff, and move past others. She can still do it all and better than ever.  www.annabellalwin.com www.patreon.com/thehustlepod

Susan Jacobs won the first Emmy ever awarded for music supervision. Hosts Jim DeRogatis and Greg Kot talk with Jacobs about her work on "Big Little Lies" and other projects. They also talk with author Paul Gorman about his biography of Malcolm McLaren, the legendary manager of the Sex Pistols. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops Featured Songs:Joe Tex, "A Woman's Hands," A Woman's Hands (Single), Dial, 1967Sex Pistols, "Anarchy In the U.K.," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "God Save the Queen," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "Pretty Vacant," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Bow Wow Wow, "I Want Candy," The Last of the Mohicans, RCA, 1982Malcolm McLaren, "Buffalo Gals," Duck Rock, Virgin, 1983Bill Lee, "Nola-Vocals," She's Gotta Have It - Original Motion Picture Soundtrack, Antilles, 1991Public Image Ltd, "Public Image," Public Image: First Issue, Virgin, 1978Marvin Hamlisch, "Theme From The Swimmer (Send for Me in Summer) / Big Splash," The Swimmer, CBS, 1968Leon Bridges, "River," Coming Home, Columbia, 2015Led Zeppelin, "Whole Lotta Love," Led Zeppelin II, Atlantic, 1969Led Zeppelin, "What Is and What Should Never Be," Led Zeppelin II, Atlantic, 1969Led Zeppelin, "Thank You," Led Zeppelin II, Atlantic, 1969Charles Bradley, "Victim of Love (feat. Menahan Street Band)," Victim of Love, Daptone, 2013Michael Kiwanuka, "Cold Little Heart," Love & Hate, Interscope, 2016Sylvan Esso, "Come Down," Sylvan Esso, Partisan, 2014Chicago, "25 or 6 to 4," Chicago, Columbia, 1970Norman Greenbaum, "Spirit in the Sky," Spirit in the Sky, Reprise, 1969Dire Straits, "Romeo and Juliet," Making Movies, Warner Bros., 1980Electric Light Orchestra, "10538 Overture," The Electric Light Orchestra, United Artists, 1971Simon & Garfunkel, "Mrs. Robinson," The Graduate, Columbia Masterworks, 1968Harry Nilsson, "Everybody's Talkin'," Aerial Ballet, RCA Victor, 1968The Acid, "Tumbling Lights," Liminal, Infectious Music, 2014

• MC Chris at Lodge Room in LA, Saturday August 13th - https://tinyurl.com/mcchrisLA • MC Chris THE LAST TOUR Tickets - https://mcchris.com/pages/shows   This week I had the honor and privilege of sitting down with MC Chris while he had a day off from his LAST TOUR. We cover introducing Aqua Teen fans to MC Chris' music, how "I Want Candy" came to fruition, the future of MC Pee Pants, Chris' time at William's Street, how the tour is going, and the logistics of bringing your son on tour.    • Songs featured: MC Chris - Fett's Vette MC Chris - Nrrrd Grrrl MC Chris Is Dead Full Album   Contacts:  Support the Show: patreon.com/dancingisforbidden Leave a voice message: speakpipe.com/dancingisforbidden Discord: https://discord.gg/NpjSXPECw6 Instagram: @AquaTeenPod Twitter: @AquaTeenPod Email: DancingIsForbiddenPod@gmail.com YouTube Channel: https://www.youtube.com/channel/UC9yseLj27npIZlEnM8ooBaQ Listen on YouTube: https://www.youtube.com/channel/UCe5gFb5eAYH3nyF3DZ5jwhQ Website: dancingisforbidden.com Twitch: twitch.tv/ronnieneeley

Danny and Sara are back to cover the murder of Betty Gore at the hands of Candy Montgomery. They get into all the particulars of the case, and how a quiet neighborhood in Texas was the site of the gruesome murder. They also talk all about the events leading up to the murder, including the affair between Candy and Allan Gore that ultimately led to Betty's murder. They also discuss the bizarrely short trial that followed it, and the Hulu adaptation that just came out. To end the show, they play "I Want Candy!," where they try to name famous candy bars just from their slogans. RESOURCES: https://www.texasmonthly.com/news-politics/love-and-death-in-silicon-prairie-part-i-candy-montgomerys-affair/ https://www.myimperfectlife.com/features/where-is-candy-montgomery-today https://www.independent.co.uk/news/world/americas/candy-montgomery-hulu-true-story-jessica-biel-b2082120.html

Daniel and Kelly are totally listening to Bow Wow Wow one random song at a time. This episode features a familiar tune, “I Want Candy.” initial reactions (2:20) | context and episode setup (3:50) | strangeloves (5:20) | song itself (12:00) | bow wow wow (18:10) | music video (29:10) | a fine point on what it'll take going forward (35:00) | does it work today? (37:50) | playlist (42:00) | recommendations (46:30) | endings (51:10) Follow us: sotwpod.com (sounds of the wow) | twitter | instagram Playlists: see that my playlist is kept clean | episode playlist If you're inclined: patreon Next episode: Captain Love speaking, some turbulence on board

Bo Diddley transmuted the juba hambone beat into rock ‘n' roll, inspired by blues legends like Howlin Wolf and then ruthlessly plagiarised and whitewashed by everybody from Buddy Holly, Elvis Presley and the Rolling Stones to George Michael, The Smiths and Guns ‘N' Roses. ‘Bo Diddley' and ‘Go Bo Diddley' are his first and second albums, released in the late fifties and containing his biggest charting singles like the self-titled banger ‘Bo Diddley'. They're also, somehow, the 455th Greatest Album of All Time, according to Rolling Stone magazine. This week, Christopher Macarthur-Boyd and Liam Withnail listened to it, and now they're going to talk about it. Featuring good shouts and hot takes on everything from Robbie Williams, The Ed Sullivan Show, ZZ Topp, ‘I Want Candy' and the big four of eighties funereal doom. All that plus a fruitless edition of Secret Posho and a scintillating incarnation of Tattoo Woohoo/Tattoo Boohoo, on this week's episode of Enjoy An Album. Enjoy!

In Folge 51 sammelt Tobias Pakete ein, geben wir uns einen Shot und ziehen an der Strippe. Unser offizieller Music-Act, den wir in dieser Folge NICHT spielen durften, vorgestellt von Mario: Bow Wow Wow mit "I Want Candy" (https://youtu.be/zGqV89o0L18) Kritik, Lob, Anregungen, Lob, Glückwünsche und Lob bitte an: post@tohuwapodcast.de Entschuldigungen an: entschuldigung@tohuwapodcast.de In diesem Podcast wurden keine Tiere gequält. Sondern ausschließlich Hörer. - TOHUWAPODCAST - Ein Audiocast von RG 28 Productions im Auftrag von TELESIBIRSK - #bowwowwow #schuhbandl #klospülung #toilettenspülung #klo #toilette #paket #dhl #sperrmüll #kurkuma #yeti-ketchup #parkerlewis #softeis #magdala #fluxfm #podcastallergie #podcast #Tohuwapodcast #Erding #Berlin #Humorpodcast #Talkpodcast #Laberpodcast #Gesprächspodcast #Talk #Schildkröten #hugo --- Send in a voice message: https://anchor.fm/tohuwapodcast/message

God and Mary sing all your favorite holiday songs and change the words. Moses tells us a conspiracy theory about Scooby Doo. We remember our favorite movies. Then we debate the songs ‘Mickey' by Toni Basil vs. ‘I Want Candy' by Bow Wow Wow. Later we discuss whether Nancy Reagan really is the ‘throat goat' and an explosive powerpoint presentation.

Alana from the KIDZ BOP Kids shares today's KIDZ BOP Daily update for Friday, October 29. It's Friday – which means it's time for Friday Favorites! Today's kids' song of the day is "I Want Candy" by the KIDZ BOP Kids!

Welcome to the 2nd annual Discographology Halloween Ex-SPOOK-a-goon-za! The Season of the Mix is nearly upon us. Four Wednesdays in October. Four Halloween-flavored episodes. We get things started this week with SONGS ABOUT CANDY! We go beyond the Bow Wow Wows and find some deep, sweet cuts for you all to savor. What's the best candy song ever written? You'll have to hit us up on socials and let us know because I don't think we figured it out here. But these picks are still pretty good! Our opening song is "Never Say Never Again" by us, More Of That. You can listen to us on all major streaming platforms and on Bandcamp. Closing music was "I Want Candy" by mc chris aka mc pee pants. Check out our YouTube channel Twitter: @discographpod Instragram: @moreofthatpresents Logan has cool stuff on YouTube at Logan Williams Music Brought to you by the AUX podcast network. You can support us and get bonus content at our Patreon! DISCOGRAPHOLOGY T-SHIRTS are available now and they're awesome. Hit us up anywhere online to buy one now!

Lisa and Jen discuss the school skipping Ferris Bueller inspired I Want Candy!

While many bands of the 80's were focusing on the synth-heavy New Wave or screaming guitars of Hard Rock, one band was taking their inspiration from the 50's roots of Rock.  The Stray Cats came out of New York  in 1979 and developed a devoted following quickly, but moved to the UK after hearing of a revival of the 50's subculture there.  Inspired by the Sun Records artists of the 50's, the Stray Cats combined Rockabilly and Punk genres to form their sound.The Stray Cats were a trio with Brian Setzer on guitar and lead vocals, Lee Rocker on double bass, and Slim Jim Phantom on drums.  They continued to tour and record in the UK, and released two albums there in 1981 before turning their interest back to the States.  Their debut American album, Built for Speed, was comprised of songs selected from their first two albums released in England, plus the previously unreleased title track.The group benefitted from having both a unique sound and air play on the then-new MTV.  Unlike most music of the time, songs were short and tight, without synthesizers or more modern sensibilities.  Also, unlike the music of the time, everything was stripped down to the bare essence in this group.  Phantom's drum set consisted of just a few pieces, worlds away from the massive sets fielded by prog rock groups like Asia and Rush.  Brian Setzer wrote most of the songs, and had the distinctive look that would become associated with the group. Unfortunately, Setzer also tired of the group quickly, and the Stray Cats broke up in 1984.  Setzer would go on to be the concert guitarist for the Honeydrippers (with Robert Plant as front man).  The group would reunite frequently over the years, and each member continued to tour either with their own bands or in support of other musicians.The group continues to tour off and on today, and released a new album in 2021. Built for SpeedThis is the title track and the only song on the album previously unreleased.  It is about cars, and hot rodding on the road.  “Well I'm cruising low and I'm cruising mean, well I'm cruising slow in my dream machine.  You're my hot rod mama and you're really built for speed.”Rock This TownAn easily recognizable hit, “Rock This Town” cracked the top 10.  This song was the introduction to Rockabilly to many people.  It is about hitting the clubs at night, dancing the night away.  The Rock and Roll Hall of Fame lists this song as one of the 500 songs that shaped rock and roll.  “We're gonna rock this town, rock it inside out.”  Baby Blue EyesA deeper cut from the album, this tells the struggle of a guy in love with a pretty girl he just doesn't trust.  While in England, the Stray Cats attracted the attention of many famous artists including members of the Rolling Stones, the Who, and Led Zeppelin.Stray Cat StrutThis track is the most famous of the Stray Cat's tunes, and received significant airplay on both radio and MTV.  It reached number 3 on the charts.  “I'm flat broke but I don't care.  I strut right by with my tail in the air.”  Setzer's songs are original but carry the sound of a 50's cover. ENTERTAINMENT TRACK:Flying Theme from the motion picture “E.T. the Extraterrestrial”The film that made Steven Spielberg a household name was released this month. STAFF PICKS:Space Age Love Song by A Flock of SeagullsRob's staff pick peaked at number 30 on the Billboard charts.  This New Wave group is out of Liverpool.  When they couldn't come up with a name for the track, guitarist Paul Reynolds suggested the name because he thought it sounded like a space age love song.  Mike Score's well-known hairdo was the result of a mistake after his hair was accidentally pushed down in the center before going onstage.Tainted Love/Where Did Our Love Go? by Soft CellBruce features the first hit from vocalist Marc Almond and instrumentalist David Ball, better known as Soft Cell.  Tainted Love was originally recorded as a B-side in 1964 by Gloria Jones, but it didn't chart.  Almond heard it when working in a cloakroom, and the duo started performing it with synthesizers instead of guitars.  It was a big hit in the U.S. as part of the Second British Invasion.  The extended dance version combined Tainted Love with the Supremes' hit “Where Did Our Love Go?”Wake Up Little Susie by Simon and GarfunkelBrian's staff pick hearkens back to the early days of rock with a cover of the Everly Brothers song recorded at Simon and Garfunkel's live concert from Central Park.  The song did well and was part of the inspiration for Simon and Garfunkel's tour in 1983.I Want Candy by Bow Wow WowWayne's staff pick features a cover originally performed in 1965.  Bow Wow Wow's version had both a rockabilly and punk feel to it.  The lead singer was underage at the time, and the risque pictures on the album created considerable controversy. COMEDY TRACK:She Got the Goldmine (I Got the Shaft) by Jerry ReedJerry Reed's cautionary tale reminds us that it is better to learn how to cook than to marry for food as we close out the podcast.

Are you ready for the best damn Summer of your life?? Buckle up captain! We're headed to fat camp! Beneath the paunchy layer of weight jokes lies a classic Disney moral lesson and a Ben Stiller performance that still haunts us in a good way. Is Camp Hope actually a con for parents? Is Tony just misunderstood for trying to help kids get healthy? Did we really need another montage to “I Want Candy”? Grab your body partner, help us get these salamis off our backs and step on the scale! DO IT TO IT, LARS!•0:00:00-  Introductions/Reviews/Chats•0:11:00- Pertinent movie details  •0:17:15- Memories of first viewing  •0:21:15- Critical and fan reviews •0:31:00- Scene by scene breakdown  •1:30:45- Modern day ratings——————————————————————**Cedar Ridge Distillery-  All the info you could need and more.  http://cedarridgewhiskey.com——————————————————————**Link to our friend Kyle Wyatt, who did the Mortal Kombat/Confused Breakfast yell.  Get more info on him and order a Mortal Kombat related cameo https://linktr.ee/ruffian20——————————————————————**Give us a call and leave a voicemail about your thoughts of the show!  319.804.9596——————————————————————**Also, we have a Patreon.  If you are enjoying the podcast, want to support us and enjoy some extra perks and bonus content, check it out at http://patreon.com/confusedbreakfast and speaking of Patreon, our highest tier supporters get mentioned in the actual episode and in the liner notes. Dane, Joel, Tony B, Jordon, Nick Merulla, Elisha, Camden Griffith, Francisco Rivera, Cameron Jay, Keerlana, BigBigAndy, Bud Larsen, Anita Richard, Travis Hunziker, Bryan Hernandez, Nick Fulkerson, Cale James, Senior Frog, Mr and Mrs Roommate, Greg Jackson, Jason Davis and Daniel Skaggs.. you are the best.  You will always be number 1 in our hearts.   Thank you.   ——————————————————————**Every link you could need from us.   Http://confusedbreakfast.com

Following up the guitar masterpiece of OK Computer, Radiohead threw the music world for a loop with Kid A. More than twenty years after it's release hosts Jim DeRogatis and Greg Kot talk with author Steven Hyden about how the album was made and its lasting impact. Plus Jim and Greg talk with author Paul Gorman about the subversive life of Malcolm McLaren, the manager of the Sex Pistols. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Radiohead, "Idioteque," Kid A, Parlophone, 2000Radiohead, "How To Disappear Completely," Kid A, Parlophone, 2000Radiohead, "Subterranean Homesick Alien," OK Computer, Parlophone, 1997Travis, "Writing To Reach You," The Man Who, Independiente, 1999Autechre, "Rae," LP5, Warp, 1999Radiohead, "Fake Plastic Trees," The Bends, Parlophone, 1995Radiohead, "Everything In Its Right Place," Kid A, Parlophone, 2000Radiohead, "Kid A (Live)," Unreleased, N/A, 2001Radiohead, "Kid A," Kid A, Parlophone, 2000Radiohead, "Treefingers," Kid A, Parlophone, 2000Radiohead, "The National Anthem (Live)," Unreleased, N/A, 2001Radiohead, "15 Step," In Rainbows, Parlophone, 2007Radiohead, "The National Anthem," Kid A, Parlophone, 2000Sex Pistols, "Anarchy In the U.K.," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "God Save the Queen," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "Pretty Vacant," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Bow Wow Wow, "I Want Candy," The Last of the Mohicans, RCA, 1982Malcolm McLaren, "Buffalo Gals," Duck Rock, Virgin, 1983Dawn Richard, "Bussifame," Second Line, Merge, 2021

Episode 125 of A History of Rock Music in Five Hundred Songs looks at “Here Comes the Night", Them, the early career of Van Morrison, and the continuing success of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Dirty Water" by the Standells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used two biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word "hagiography" would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. I also used information from the liner notes to The Complete Them 1964-1967, which as the title suggests is a collection of all the recordings the group made while Van Morrison was in the band. 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 a look at a band whose lead singer, sadly, is more controversial now than he was at the period we're looking at. I would normally not want to explicitly talk about current events upfront at the start of an episode, but Van Morrison has been in the headlines in the last few weeks for promoting dangerous conspiracy theories about covid, and has also been accused of perpetuating antisemitic stereotypes with a recent single.  So I would like to take this opportunity just to say that no positive comments I make about the Van Morrison of 1965 in this episode should be taken as any kind of approval of the Van Morrison of 2021 -- and this should also be taken as read for one of the similarly-controversial subjects of next week's episode...   Anyway, that aside, today we're going to take a look at the first classic rock and roll records made by a band from Northern Ireland, and at the links between the British R&B scene and the American Brill Building. We're going to look at Van Morrison, Bert Berns, and "Here Comes the Night" by Them:   [Excerpt: Them, "Here Comes the Night"]   When we last looked at Bert Berns, he was just starting to gain some prominence in the East Coast recording scene with his productions for artists like Solomon Burke and the Isley Brothers. We've also, though it wasn't always made explicit, come across several of his productions when talking about other artists -- when Leiber and Stoller stopped working for Atlantic, Berns took over production of their artists, as well as all the other recordings he was making, and so many of the mid-sixties Drifters records we looked at in the episode on "Stand By Me" were Berns productions. But while he was producing soul classics in New York, Berns was also becoming aware of the new music coming from the United Kingdom -- in early 1963 he started receiving large royalty cheques for a cover version of his song "Twist and Shout" by some English band he'd never heard of. He decided that there was a market here for his songs, and made a trip to the UK, where he linked up with Dick Rowe at Decca.    While most of the money Berns had been making from "Twist and Shout" had been from the Beatles' version, a big chunk of it had also come from Brian Poole and the Tremeloes, the band that Rowe had signed to Decca instead of the Beatles. After the Beatles became big, the Tremeloes used the Beatles' arrangement of "Twist and Shout", which had been released on an album and an EP but not a single, and had a top ten hit with their own version of it:   [Excerpt: Brian Poole and the Tremeloes, "Twist and Shout"]   Rowe was someone who kept an eye on the American market, and saw that Berns was a great source of potential hits. He brought Berns over to the UK, and linked him up with Larry Page, the manager who gave Rowe an endless supply of teen idols, and with Phil Solomon, an Irish manager who had been the publicist for the crooner Ruby Murray, and had recently brought Rowe the group The Bachelors, who had had a string of hits like "Charmaine":   [Excerpt: The Bachelors, "Charmaine"]   Page, Solomon, and Rowe were currently trying to promote something called "Brum Beat", as a Birmingham rival to Mersey beat, and so all the acts Berns worked with were from Birmingham. The most notable of these acts was one called Gerry Levene and the Avengers. Berns wrote and produced the B-side of that group's only single, with Levene backed by session musicians, but I've been unable to find a copy of that B-side anywhere in the digital domain. However, the A-side, which does exist and wasn't produced by Berns, is of some interest:   [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"]   The lineup of the band playing on that included guitarist Roy Wood, who would go on to be one of the most important and interesting British musicians of the later sixties and early seventies, and drummer Graeme Edge, who went on to join the Moody Blues. Apparently at another point, their drummer was John Bonham.   None of the tracks Berns recorded for Decca in 1963 had any real success, but Berns had made some useful contacts with Rowe and Solomon, and most importantly had met a British arranger, Mike Leander, who came over to the US to continue working with Berns, including providing the string arrangements for Berns' production of "Under the Boardwalk" for the Drifters:   [Excerpt: The Drifters, "Under the Boardwalk"]   In May 1964, the month when that track was recorded, Berns was about the only person keeping Atlantic Records afloat -- we've already seen that they were having little success in the mid sixties, but in mid-May, even given the British Invasion taking over the charts, Berns had five records in the Hot One Hundred as either writer or producer -- the Beatles' version of "Twist and Shout" was the highest charting, but he also had hits with "One Way Love" by the Drifters:   [Excerpt: The Drifters, "One Way Love"]   "That's When it Hurts" by Ben E. King:   [Excerpt: Ben E. King, "That's When it Hurts"]   "Goodbye Baby (Baby Goodbye)" by Solomon Burke:   [Excerpt: Solomon Burke, "Goodbye Baby (Baby Goodbye)"]   And "My Girl Sloopy" by the Vibrations:   [Excerpt: The Vibrations, "My Girl Sloopy"]   And a week after the production of "Under the Boardwalk", Berns was back in the studio with Solomon Burke, producing Burke's classic "Everybody Needs Somebody to Love", though that track would lead to a major falling-out with Burke, as Berns and Atlantic executive Jerry Wexler took co-writing credit they hadn't earned on Burke's song -- Berns was finally at the point in his career where he was big enough that he could start stealing Black men's credits rather than having to earn them for himself:   [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"]   Not everything was a hit, of course -- he wrote a dance track with Mike Leander, "Show Me Your Monkey", which was definitely not a big hit -- but he had a strike rate that most other producers and writers would have killed for. And he was also having hits in the UK with the new British Invasion bands -- the Animals had made a big hit from "Baby Let Me Take You Home", the old folk tune that Berns had rewritten for Hoagy Lands. And he was still in touch with Phil Solomon and Dick Rowe, both of whom came over to New York for Berns' wedding in July.   It might have been while they were at the wedding that they first suggested to Berns that he might be interested in producing a new band that Solomon was managing, named Them, and in particular their lead singer, Van Morrison.   Van Morrison was always a misfit, from his earliest days. He grew up in Belfast, a city that is notoriously divided along sectarian lines between a Catholic minority who (for the most part) want a united Ireland, and a Presbyterian majority who want Northern Ireland to remain part of the UK. But in a city where the joke goes that a Jewish person would be asked "but are you a Catholic Jew or a Protestant Jew?", Morrison was raised as a Jehovah's Witness, and for the rest of his life he would be resistant to fitting into any of the categories anyone tried to put him in, both for good and ill.   While most of the musicians from the UK we've looked at so far have been from middle-class backgrounds, and generally attended art school, Morrison had gone to a secondary modern school, and left at fourteen to become a window cleaner. But he had an advantage that many of his contemporaries didn't -- he had relatives living in America and Canada, and his father had once spent a big chunk of time working in Detroit, where at one point the Morrison family planned to move. This exposed Morrison senior to all sorts of music that would not normally be heard in the UK, and he returned with a fascination for country and blues music, and built up a huge record collection. Young Van Morrison was brought up listening to Hank Williams, Sister Rosetta Tharpe,  Jimmie Rodgers, Louis Jordan, Jelly Roll Morton, and his particular favourite, Lead Belly. The first record he bought with his own money was "Hootin' Blues" by the Sonny Terry Trio:   [Excerpt: The Sonny Terry Trio, "Hootin' Blues"]   Like everyone, Van Morrison joined a skiffle group, but he became vastly more ambitious in 1959 when he visited a relative in Canada. His aunt smuggled him into a nightclub where an actual American rock and roll group were playing -- Ronnie Hawkins and the Hawks:   [Excerpt: Ronnie Hawkins, "Mary Lou"]   Hawkins had been inspired to get into the music business by his uncle Delmar, a fiddle player whose son, Dale Hawkins, we looked at back in episode sixty-three. His band, the Hawks, had a reputation as the hottest band in Canada -- at this point they were still all Americans, but other than their drummer Levon Helm they would soon be replaced one by one with Canadian musicians, starting with bass player Robbie Robertson.   Morrison was enthused and decided he was going to become a professional musician. He already played a bit of guitar, but started playing the saxophone too, as that was an instrument that would be more likely to get him work at this point.   He joined a showband called the Monarchs, as saxophone player and occasional vocalist. Showbands were a uniquely Irish phenomenon -- they were eight- or nine-piece groups, rhythm sections with a small horn section and usually a couple of different singers, who would play every kind of music for dancing, ranging from traditional pop to country and western to rock and roll, and would also perform choreographed dance routines and comedy sketches.    The Monarchs were never a successful band, but they managed to scrape a living playing the Irish showband circuit, and in the early sixties they travelled to Germany, where audiences of Black American servicemen wanted them to play more soulful music like songs by Ray Charles, an opportunity Morrison eagerly grabbed. It was also a Black American soldier who introduced Morrison to the music of Bobby Bland, whose "Turn on Your Love Light" was soon introduced to the band's set:   [Excerpt Bobby "Blue" Bland, "Turn on Your Love Light"]   But they were still mostly having to play chart hits by Billy J Kramer or Gerry and the Pacemakers, and Morrison was getting frustrated. The Monarchs did get a chance to record a single in Germany, as Georgie and the Monarchs, with another member, George Jones (not the famous country singer) singing lead, but the results were not impressive:   [Excerpt: Georgie and the Monarchs, "O Twingy Baby"]   Morrison moved between several different showbands, but became increasingly dissatisfied with what he was doing. Then another showband he was in, the Manhattan Showband, briefly visited London, and Morrison and several of his bandmates went to a club called Studio 51, run by Ken Colyer. There they saw a band called The Downliners Sect, who had hair so long that the Manhattan members at first thought they were a girl group, until their lead singer came on stage wearing a deerstalker hat. The Downliners Sect played exactly the kind of aggressive R&B that Morrison thought he should be playing:   [Excerpt: The Downliners Sect, "Be a Sect Maniac"]   Morrison asked if he could sit in with the group on harmonica, but was refused -- and this was rather a pattern with the Downliners Sect, who had a habit of attracting harmonica players who wanted to be frontmen. Both Rod Stewart and Steve Marriott did play harmonica with the group for a while, and wanted to join full-time, but were refused as they clearly wanted to be lead singers and the group didn't need another one of them.   On returning to Belfast, Morrison decided that he needed to start his own R&B band, and his own R&B club night. At first he tried to put together a sort of supergroup of showband regulars, but most of the musicians he approached weren't interested in leaving their steady gigs. Eventually, he joined a band called the Gamblers, led by guitarist and vocalist Billy Harrison. The Gamblers had started out as an instrumental group, playing rock and roll in the style of Johnny and the Hurricanes, but they'd slowly been moving in a more R&B direction, and playing Chuck Berry and Bo Diddley material. Morrison joined the group on saxophone and vocals -- trading off leads with Harrison -- and the group renamed themselves after a monster movie from a few years before:   [Excerpt: THEM! trailer]   The newly renamed Them took up a regular gig at the Maritime Hotel, a venue which had previously attracted a trad jazz crowd, and quickly grew a substantial local following. Van Morrison later often said that their residency at the Maritime was the only time Them were any good, but that period was remarkably short -- three months after their first gig, the group had been signed to a management, publishing, and production deal with Philip Solomon, who called in Dick Rowe to see them in Belfast. Rowe agreed to the same kind of licensing deal with Solomon that Andrew Oldham had already got from him for the Stones -- Them would record for Solomon's company, and Decca would license the recordings.   This also led to the first of the many, many, lineup changes that would bedevil the group for its short existence -- between 1964 and 1966 there were eighteen different members of the group. Eric Wrixon, the keyboard player, was still at school, and his parents didn't think he should become a musician, so while he came along to the first recording session, he didn't sign the contract because he wasn't allowed to stay with the group once his next term at school started. However, he wasn't needed -- while Them's guitarist and bass player were allowed to play on the records, Dick Rowe brought in session keyboard player Arthur Greenslade and drummer Bobby Graham -- the same musicians who had augmented the Kinks on their early singles -- to play with them.   The first single, a cover version of Slim Harpo's "Don't Start Crying Now", did precisely nothing commercially:   [Excerpt: Them, "Don't Start Crying Now"]   The group started touring the UK, now as Decca recording artistes, but they almost immediately started to have clashes with their management. Phil Solomon was not used to aggressive teenage R&B musicians, and didn't appreciate things like them just not turning up for one gig they were booked for, saying to them "The Bachelors never missed a date in their lives. One of them even had an accident on their way to do a pantomime in Bristol and went on with his leg in plaster and twenty-one stitches in his head."   Them were not particularly interested in performing in pantomimes in Bristol, or anywhere else, but the British music scene was still intimately tied in with the older showbiz tradition, and Solomon had connections throughout that industry -- as well as owning a publishing and production company he was also a major shareholder in Radio Caroline, one of the pirate radio stations that broadcast from ships anchored just outside British territorial waters to avoid broadcasting regulations, and his father was a major shareholder in Decca itself.    Given Solomon's connections, it wasn't surprising that Them were chosen to be one of the Decca acts produced by Bert Berns on his next UK trip in August 1964. The track earmarked for their next single was their rearrangement of "Baby Please Don't Go", a Delta blues song that had originally been recorded in 1935 by Big Joe Williams and included on the Harry Smith Anthology:   [Excerpt: Big Joe Williams' Washboard Blues Singers , "Baby Please Don't Go"]   though it's likely that Them had learned it from Muddy Waters' version, which is much closer to theirs:   [Excerpt: Muddy Waters, "Baby Please Don't Go"]   Bert Berns helped the group tighten up their arrangement, which featured a new riff thought up by Billy Harrison, and he also brought in a session guitarist, Jimmy Page, to play rhythm guitar. Again he used a session drummer, this time Andy White who had played on "Love Me Do". Everyone agreed that the result was a surefire hit:   [Excerpt: Them, "Baby Please Don't Go"]   At the session with Berns, Them cut several other songs, including some written by Berns, but it was eventually decided that the B-side should be a song of Morrison's, written in tribute to his dead cousin Gloria, which they'd recorded at their first session with Dick Rowe:   [Excerpt: Them, "Gloria"]   "Baby Please Don't Go" backed with "Gloria" was one of the great double-sided singles of the sixties, but it initially did nothing on the charts, and the group were getting depressed at their lack of success, Morrison and Harrison were constantly arguing as each thought of himself as the leader of the group, and the group's drummer quit in frustration. Pat McAuley, the group's new keyboard player, switched to drums, and brought in his brother Jackie to replace him on keyboards.    To make matters worse, while "Baby Please Don't Go" had flopped, the group had hoped that their next single would be one of the songs they'd recorded with Berns, a Berns song called "Here Comes the Night". Unfortunately for them, Berns had also recorded another version of it for Decca, this one with Lulu, a Scottish singer who had recently had a hit with a cover of the Isley Brothers' "Shout!", and her version was released as a single:   [Excerpt: Lulu, "Here Comes the Night"]   Luckily for Them, though unluckily for Lulu, her record didn't make the top forty, so there was still the potential for Them to release their version of it.   Phil Solomon hadn't given up on "Baby Please Don't Go", though, and he began a media campaign for the record. He moved the group into the same London hotel where Jimmy Savile was staying -- Savile is now best known for his monstrous crimes, which I won't go into here except to say that you shouldn't google him if you don't know about them, but at the time he was Britain's most popular DJ, the presenter of Top of the Pops, the BBC's major TV pop show, and a columnist in a major newspaper. Savile started promoting Them, and they would later credit him with a big part of their success.   But Solomon was doing a lot of other things to promote the group as well. He part-owned Radio Caroline, and so "Baby Please Don't Go" went into regular rotation on the station. He called in a favour with the makers of Ready Steady Go! and got "Baby Please Don't Go" made into the show's new theme tune for two months, and soon the record, which had been a flop on its first release, crawled its way up into the top ten.   For the group's next single, Decca put out their version of "Here Comes the Night", and that was even more successful, making it all the way to number two on the charts, and making the American top thirty:   [Excerpt: Them, "Here Comes the Night"]   As that was at its chart peak, the group also performed at the NME Poll-Winners' Party at Wembley Stadium, a show hosted by Savile and featuring The Moody Blues, Freddie and the Dreamers, Georgie Fame and the Blue Flames, Herman's Hermits, Cilla Black, Donovan, The Searchers, Dusty Springfield, The Animals,The Kinks, the Rolling Stones, and the Beatles, among others. Even on that bill, reviewers singled out Them's seven-minute performance of Bobby Bland's "Turn on Your Love Light" for special praise, though watching the video of it it seems a relatively sloppy performance.   But the group were already starting to fall apart. Jackie McAuley was sacked from the group shortly after that Wembley show -- according to some of the group, because of his use of amphetamines, but it's telling that when the Protestant bass player Alan Henderson told the Catholic McAuley he was out of the group, he felt the need to emphasise that "I've got nothing against" -- and then use a term that's often regarded as an anti-Catholic slur...   On top of this, the group were also starting to get a bad reputation among the press -- they would simply refuse to answer questions, or answer them in monosyllables, or just swear at journalists. Where groups like the Rolling Stones carefully cultivated a "bad boy" image, but were doing so knowingly and within carefully delineated limits, Them were just unpleasant and rude because that's who they were.   Bert Berns came back to the UK to produce a couple of tracks for the group's first album, but he soon had to go back to America, as he had work to do there -- he'd just started up his own label, a rival to Red Bird, called BANG, which stood for Bert, Ahmet, Neshui, Gerald -- Berns had co-founded it with the Ertegun brothers and Jerry Wexler, though he soon took total control over it. BANG had just scored a big hit with "I Want Candy" by the Strangeloves, a song Berns had co-written:   [Excerpt: The Strangeloves, "I Want Candy"]   And the Strangeloves in turn had discovered a singer called Rick Derringer, and Bang put out a single by him under the name "The McCoys", using a backing track Berns had produced as a Strangeloves album track, their version of his earlier hit "My Girl Sloopy". The retitled "Hang on Sloopy" went to number one:   [Excerpt: The McCoys, "Hang on Sloopy"]   Berns was also getting interested in signing a young Brill Building songwriter named Neil Diamond... The upshot was that rather than continuing to work with Berns, Them were instead handed over to Tommy Scott, an associate of Solomon's who'd sung backing vocals on "Here Comes the Night", but who was best known for having produced "Terry" by Twinkle:   [Excerpt: Twinkle, "Terry"]   The group were not impressed with Scott's productions, and their next two singles flopped badly, not making the charts at all. Billy Harrison and Morrison were becoming less and less able to tolerate each other, and eventually Morrison and Henderson forced Harrison out. Pat McAuley quit two weeks later,    The McAuley brothers formed their own rival lineup of Them, which initially also featured Billy Harrison, though he soon left, and they got signed to a management contract with Reg Calvert, a rival of Solomon's who as well as managing several pop groups also owned Radio City, a pirate station that was in competition with Radio Caroline. Calvert registered the trademark in the name Them, something that Solomon had never done for the group, and suddenly there was a legal dispute over the name.   Solomon retaliated by registering trademarks for the names "The Fortunes" and "Pinkerton's Assorted Colours" -- two groups Calvert managed -- and putting together rival versions of those groups. However the problem soon resolved itself, albeit tragically -- Calvert got into a huge row with Major Oliver Smedley, a failed right-libertarian politician who, when not co-founding the Institute for Economic Affairs and quitting the Liberal Party for their pro-European stance and left-wing economics, was one of Solomon's co-directors of Radio Caroline. Smedley shot Calvert, killing him, and successfully pled self-defence at his subsequent trial. The jury let Smedley off after only a minute of deliberation, and awarded Smedley two hundred and fifty guineas to pay for his costs.   The McAuley brothers' group renamed themselves to Them Belfast -- and the word beginning with g that some Romany people regard as a slur for their ethnic group -- and made some records, mostly only released in Sweden, produced by Kim Fowley, who would always look for any way to cash in on a hit record, and wrote "Gloria's Dream" for them:   [Excerpt: Them Belfast G***ies, "Gloria's Dream"]   Morrison and Henderson continued their group, and had a surprise hit in the US when Decca issued "Mystic Eyes", an album track they'd recorded for their first album, as a single in the US, and it made the top forty:   [Excerpt: Them, "Mystic Eyes"]   On the back of that, Them toured the US, and got a long residency at the Whisky a Go-Go in LA, where they were supported by a whole string of the Sunset Strip's most exciting new bands -- Captain Beefheart and the Magic Band, The Association, Buffalo Springfield, and the Doors. The group became particularly friendly with the Doors, with the group's new guitarist getting thrown out of clubs with Jim Morrison for shouting "Johnny Rivers is a wanker!" at Rivers while Rivers was on stage, and Jim Morrison joining them on stage for duets, though the Doors were staggered at how much the Belfast group could drink -- their drink bill for their first week at the Whisky A Go-Go was $5400.   And those expenses caused problems, because Van Morrison agreed before the tour started that he would be on a fixed salary, paid by Phil Solomon, and Solomon would get all the money from the promoters. But then Morrison found out how much Solomon was making, and decided that it wasn't fair that Solomon would get all that money when Morrison was only getting the comparatively small amount he'd agreed to. When Tommy Scott, who Solomon had sent over to look after the group on tour, tried to collect the takings from the promoters, he was told "Van Morrison's already taken the money".    Solomon naturally dropped the group, who continued touring the US without any management, and sued them. Various Mafia types offered to take up the group's management contract, and even to have Solomon murdered, but the group ended up just falling apart.    Van Morrison quit the group, and Alan Henderson struggled on for another five years with various different lineups of session men, recording albums as Them which nobody bought. He finally stopped performing as Them in 1972. He reunited with Billy Harrison and Eric Wrixon, the group's original keyboardist, in 1979, and they recorded another album and toured briefly. Wrixon later formed another lineup of Them, which for a while included Billy Harrison, and toured with that group, billed as Them The Belfast Blues Band, until Wrixon's death in 2015.   Morrison, meanwhile, had other plans. Now that Them's two-year contract with Solomon was over, he wanted to have the solo career people had been telling him he deserved. And he knew how he was going to do it. All along, he'd thought that Bert Berns had been the only person in the music industry who understood him as an artist, and now of course Berns had his own record label. Van Morrison was going to sign to BANG Records, and he was going to work again with Bert Berns, the man who was making hits for everyone he worked with.   But the story of "Brown-Eyed Girl", and Van Morrison going solo, and the death of Bert Berns, is a story for another time...

Following up the guitar masterpiece of OK Computer, Radiohead threw the music world for a loop with Kid A. Twenty years after it's release hosts Jim DeRogatis and Greg Kot talk with author Steven Hyden about how the album was made and its lasting impact. They also discuss the life and career of the Sex Pistols and New York Dolls manager Malcolm McLaren. Become a member on Patreon: https://www.patreon.com/soundopinionsMake a donation via PayPal: https://bit.ly/36zIhZK Record a Voice Memo and email it to interact@soundopinions.org Featured Songs:Radiohead, "Idioteque," Kid A, Parlophone, 2000Radiohead, "How To Disappear Completely," Kid A, Parlophone, 2000Radiohead, "Subterranean Homesick Alien," OK Computer, Parlophone, 1997Travis, "Writing To Reach You," The Man Who, Independiente, 1999Autechre, "Rae," LP5, Warp, 1999Radiohead, "Fake Plastic Trees," The Bends, Parlophone, 1995Radiohead, "Everything In Its Right Place," Kid A, Parlophone, 2000Radiohead, "Kid A (Live)," Unreleased, N/A, 2001Radiohead, "Kid A," Kid A, Parlophone, 2000Radiohead, "Treefingers," Kid A, Parlophone, 2000Radiohead, "The National Anthem (Live)," Unreleased, N/A, 2001Radiohead, "15 Step," In Rainbows, Parlophone, 2007Radiohead, "The National Anthem," Kid A, Parlophone, 2000Sex Pistols, "Anarchy In the U.K.," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "God Save the Queen," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "Pretty Vacant," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Bow Wow Wow, "I Want Candy," The Last of the Mohicans, RCA, 1982Malcolm McLaren, "Buffalo Gals," Duck Rock, Virgin, 1983Sault, "Hard Life," Untitled (Black Is), Forever Living Originals, 2020

I WANT CANDY! I WANT CANDY! And so does Founder and CEO of Dylan's Candy Bar, Dylan Lauren. She joins me today to talk about decorating with candy, what's new this season, and how her business has changed over the years. This was such a fun conversation. Connect With Dylan Lauren https://www.dylanscandybar.com/ https://www.instagram.com/dylanscandybar/ Connect With Amanda Lauren https://www.instagram.com/itsamandalauren/ https://twitter.com/amandalauren The Hamptons Collection X ArtSugar https://artsugar.co/collections/the-hamptons-collection-amanda-lauren Winter Wonderland Placemats With Elizabeth Sutton Collection https://www.elizabethsuttoncollection.com/product-category/esc-home/table-placemats/

Richard Gottehrer is a songwriter, artist, producer, label owner and tech entrepreneur. "My Boyfriend's Back," "I Want Candy," "Sorrow," Sire Records, Blondie, Robert Gordon, Richard Hell and the Voidoids, Marshall Crenshaw, the Go-Go's, the Orchard...need I say more? Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Alana from the KIDZ BOP Kids shares today's KIDZ BOP Daily update for Friday, October 23rd. It’s Friday – which means it’s time for Friday Favorites. Today's kids' song of the day is "I Want Candy” by the KIDZ BOP Kids!

Sept. 27, 1982: Bad Brains/Sweet Taste of Afrika/Husker Du Almost 40 years ago, D.C. rockers Bad Brains played First Avenue with two Minnesotan openers: Sweet Taste of Afrika and Husker Du. While Husker Du are relatively well-known today, Sweet Taste of Afrika are all but forgotten. Meanwhile, Bad Brains are world-famous, but their hurtful behavior has flown under the radar. In this episode, we tease out the complicated relationship between the three bands on the bill, their genres, and their identities. This is the third episode of The Current Rewind's "10 Pivotal Days at First Avenue" season. If you missed the first two episodes, catch up below. • April 3, 1970 (The day it all began)• Nov. 28-29, 1979 (The days that told the future) Transcript of The Current Rewind season 2, episode 3: "Sept. 27, 1982" [Bad Brains' "Banned In DC"] Cecilia Johnson VO: D.C. rockers Bad Brains are among the best-known hardcore bands in history. They're famous for their live shows. Imagine a scene like this: [volume inches up] Cecilia Johnson VO: Lead singer H.R. is flailing, his voice curdled from screaming, and drummer Earl Hudson rides the cymbals hard. A song later, the band dips into reggae. The kids who were moshing just a minute ago are now letting their shoulders slump, swaying from side to side, until Dr. Know fires up the guitar again, and the audience churns back into a pit. Maybe you've experienced this in person, maybe you've just heard about it...but whatever's the case, for a lot of people, Bad Brains are one of the only Black rock bands they've heard of. Let's talk some more about that. [Icetep's "Hive Sound"] Cecilia Johnson VO: [over theme] I'm Cecilia Johnson, and this is The Current Rewind, the show putting music's unsung stories on the map. For our second season, we're exploring the history of First Avenue, the downtown Minneapolis venue that has become one of the Twin Cities' – and the country's – greatest clubs. [Icetep's "Hive Sound" crescendos, plays for several seconds, and fades down] Cecilia Johnson VO: So far, we've seen First Avenue evolve from the Depot to Uncle Sam's to Sam's. For this episode, we'll jump ahead to 1982, when Bad Brains, Sweet Taste of Afrika, and Hüsker Dü shared the Mainroom stage. We set out to tell a story about one of the most revered bands in punk music. But we ended up learning a lesson: that while representation is definitely necessary, if you treat individuals' identities as their virtues, you can actually allow them less humanity – and excuse the harm that they've done. Honestly, this episode presented a lot of challenges, and we want to let you in on them as we tell this story. So let's do that. I'm super excited to introduce our guest host for this episode. She runs the show Rock and Roll Over at the University of Minnesota's Radio K and her name is Zoë Challenger. She's definitely one of our youngest guest hosts this season, but I can already tell she has a ton of talent and wisdom to share with the world. Here she is. [rewind sound effect] Zoë Challenger VO: I'm Zoë Challenger. Being a Twin Cities native, I am embarrassed to say that my first concert at First Avenue was when Noname came to town in January of 2019. I was 19 years old, and I went alone. While I grew up with a desire for musical exploration, I did not grow up in a musical household by any means. I told my parents I was going with a friend, when in reality, I couldn't find anyone to go with me. So I draped my mother's elegant hand-me-down wool coat over my plaid skirt, crop top, and tattered stockings. I let the material confidence override any underlying social anxieties. As an only child, I've never been afraid of being alone, but walking into a venue by myself brought up new feelings. Since that night, I found myself at the First Avenue Mainroom or the 7th St Entry nearly once a week until the coronavirus pandemic hit the nation. Most of the time I would arrive alone, but over time, I would find myself running into more and more familiar faces at any given show. Maneuvering the block of 7th Street and Hennepin Avenue will always be an act of muscle memory. Over the last 50 years, First Avenue has hosted a variety of big names, but the early 1980s were jam-packed. From 1982-84, the calendar swerved from funk to punk to New Wave, with acts ranging from talkbox legends Zapp & Roger, to Minnesotan rockers the Replacements, to Bow Wow Wow, the band behind "I Want Candy." That's not to mention Prince, U2, Ray Charles, and a then-unknown Wynton Marsalis. But if you were to look through the 1980s First Ave band files that are now housed at the Minnesota Historical Society, you'd struggle to find a particular category of artists: well-known Black American rockers. The Minnesota music community has a lot of excuses for this, the most common one being, "There weren't that many Black rock bands to book." It's true that funk and soul were much more popular among Black Americans, especially those raised in the church. But it's too easy to say that Black rock wasn't a thing. In fact, according to those band files, rock-adjacent bands War, Ipso Facto, and Defunkt played First Avenue in the early '80s. But aside from the Historical Society files, those shows hardly left a paper trail, whether in microfilm archives or the internet. Which brings us to an issue at the heart of this story: which legacies last and which fade away. The story of Bad Brains is fairly well-established. The D.C. group originally banded together in the 1970s as a jazz fusion ensemble called Mind Power. After going to a Bob Marley concert and hearing the Ramones' song "Bad Brain," they were influenced enough to change not only their name but also their sound, ending up with a mix of punk rock and reggae. At this point, a pattern was beginning to form with Black musicians who dove into punk music; they were often eclectic in their genre-molding and evolution. In Minneapolis, local punk bands who'd been performing at bars like Duffy's and the Longhorn had a new room to fill: the 7th St Entry, a small space off the side of the First Avenue Mainroom. Steve McClellan: And there was just, say, we got this empty room. It's a storage area. Zoë Challenger VO: Around the same time as he opened the Entry, general manager Steve McClellan hired Chrissie Dunlap, who ended up booking the space. Chrissie Dunlap: I started out just 100 percent Steve's assistant: You know, his desk (and office generally) was just filled up with contracts, riders, promo material, you know, label stuff, cassette tapes everywhere. And I would go in there and just try to prioritize things – tell him, "This needs to be signed, this, you gotta do this." And then I would just sorta take the promo material and start promoting shows. And as time went on, a lot of that detailed stuff ended up leaving Steve's desk and [moving] over to my desk. The bands would start calling, looking for gigs, and, you know, I started out giving the info to Steve and kinda working on him with it, but he was busy doing the real talent buying, and I was there during the day more when the phone rang and people stopped by with cassettes and stuff. So I just kinda, little by little, picked it up. Zoë Challenger VO: One of the bands Chrissie would book – a lot – were Hüsker Dü, the St. Paul punk group who opened for Bad Brains at First Avenue. But that's not a huge surprise; in the '80s, they were playing upwards of 60 shows a year. Hüsker Dü guitarist Bob Mould wanted to tell us all about this era, but right when we were producing this episode, he was actually called for jury duty. While Bob did his civic duty, we grabbed a clip from the audiobook of his memoir, See A Little Light: The Trail of Rage and Melody. Bob Mould: We started the spring tour in the Midwest, with our four-year anniversary gig at First Avenue in Minneapolis. First Avenue was originally a bus depot in downtown Minneapolis. It became a nightclub in 1970, and 7th St Entry was the coat check before becoming its own 300-capacity music room. First Avenue had been a cornerstone of the Midwest rock scene for years, and to play the 1,200-capacity main room was the goal of many a Midwest musician. Zoë Challenger VO: Along with Bob, bassist Greg Norton and drummer/songwriter Grant Hart recorded their debut album Land Speed Record at the Entry in '81, and they released it via New Alliance in January 1982. Bob Mould: The band always played with purpose – there wasn't a lot of goofing around in the live shows. On the faster material, Greg would start jumping in the air or do scissor kicks. I typically wore a grave, glowering expression, digging deep into my guitar when not singing. Grant was behind the kit, looking much like Animal from the Muppet Show band, except with longer hair and bare feet. We were young and inexperienced, but we had tons of energy and were able to create a solid wall of sound. Zoë Challenger VO: In selecting this show as one of First Avenue's pivotal nights, we were excited to focus on the positive, celebrating punk heroes Hüsker Dü and Bad Brains on one bill. But it didn't turn out to be that easy. Bob Mould: There was a loose network, which we often discovered by chance, where like-minded bands would share a stage and the hometown band would offer accommodations to the traveling band. In return, when that band came to your town, you would reciprocate. Sometimes you'd run into a band that didn't understand or appreciate the idea. When Bad Brains stayed with Grant and his parents, they took Grant's pot and left behind an antigay note. Some gratitude. But once people caught the drift of those bands, they were usually shunned, and eventually they faded away. Zoë Challenger VO: Bob and Grant's sexualities were open secrets in the Minneapolis punk scene. Bob would come out as gay in a Spin article in 1994, and Grant is on record talking about his bisexuality around that time. Bob and Grant wanted to avoid becoming pigeonholed for their identities. But when you consider the scope of their experiences – and how scary the AIDS crisis was – their angry, frenetic catalog takes on new meaning. [Hüsker Dü's "Pink Turns To Blue"] Bob Mould: Gays in the hardcore punk scene were much like gays in the military. If the military says, "Don't ask, don't tell," the hardcore punk collary was, "Don't advertise, don't worry." If someone made a disparaging remark about gays, I would simply say, "That's not cool," or, "You're so ignorant." It was a way of making my feelings known without broadcasting my sexuality. Generally, there was no more homophobia in the hardcore scene than anywhere else in America, although as 1981 progressed, the media began reporting on the "gay cancer," and homophobia escalated throughout the country. Numberwise, the hardcore scene didn't seem any more or less populated by homosexuals than most major cities were. Then again, the scene attracted the margin walkers, the folks who were outside the norms of society, so maybe there was a slightly higher ratio of gays to straights. Zoë Challenger VO: According to several sources, Grant wasn't the only person Bad Brains mistreated. Lori Barbero, who drummed and sang in Babes in Toyland, remembers similar behavior toward Randy "Biscuit" Turner of Texas punk quartet the Big Boys. Lori Barbero: Think they did the same thing to one of the guys from the Big Boys down in Austin, Texas, because he was gay. And I heard kinda the same story. And it's like then don't – if you know they're gay, why would you even stay at their house? Zoë Challenger VO: In Finding Joseph I: An Oral History of H.R. from Bad Brains, punk rock activist Mark Andersen also mentions the band's mistreatment of Biscuit. He echoes Bob Mould's thoughts on margin walkers: quote, "Weren't we all in the punk rock underground because we were all different, and because none of us felt like we really belonged out there?" In 1989, Bad Brains released the song "Don't Blow Bubbles," which guitarist Dr. Know described as an "angry warning to homosexuals." One chorus goes, quote, "Don't blow no bubbles and we can stop the AIDS/ Don't blow no spikes/ Don't blow no fudge buns/ Ask Jah and he'll make the change." By this point, 100,000 cases of HIV/AIDS had been reported in the U.S., and the public health crisis would get much worse before the government approved the first antiretroviral drugs in 1995. It's shocking to hear H.R. cite "P.M.A" – Bad Brains catchphrase "Positive Mental Attitude" – in the same song as he encourages, as a fundamentalist Rastafarian, that non-straights pray the gay away. In 2007, bassist Darryl Jenifer addressed the band's past worldview with some remorse, saying, quote, "Damn right, I was a homophobe! [...] You have to grow to be wise." As more details about Bad Brains' homophobia came to light, the Current Rewind team weren't feeling too good about focusing this episode on such a disappointing group. So we turned to the third band on that night's line-up: Sweet Taste of Afrika. Before learning about the show, I had never heard of that band before, and neither had our producer, Cecilia Johnson. But we were excited to learn that they're from the Twin Cities. Joe Shalita: So I came to the Twin Cities in the '80s and I've been in – you know – participating in the music and art industry all that time. Zoë Challenger VO: This is Joe Shalita, Sweet Taste of Afrika's lead guitarist and the man the Twin Cities Daily Planet has called "the face of African music in the Twin Cities." He grew up in Uganda and moved to Minneapolis in 1979. Joe Shalita: When you grow up in Africa, you have – music is a big part of our culture – people are tilling the garden, they're always using music to till the garden or till the land. Whether they're chopping trees down, they're gonna be singing along. [Shalita laughs] Zoë Challenger VO: And when he got to Minneapolis, he found a small but strong African music scene. Joe Shalita: In those days, really, there were a whole lot of live bands, live groups of almost every genre, but Simba was the original roots-reggae band in the Twin Cities. And then there was the calypso band, which was Shangoya with the late great Peter Nelson. Then there was Sweet Taste of Afrika, which was our band, which performed strictly African music. [Sweet Taste of Afrika's "Children of the Nile"] Joe Shalita: Hassan [Omari] was our lead singer, and then there was Mr. Robert Mpambara who was on bass. He's still in the Twin Cities. I was on lead guitar and also singing, and then there was Mr. David Mutebi from Uganda also. Mr. Mpambara was from Uganda; I was from Uganda; Mr. Mutebi from Uganda. So the Ugandans dominated the band. [Shalita laughs] He played rhythm guitar. And then we had native Minnesotans who played. We had the late Paul McGee on percussion [and] Mr. Ben Hill on drums. Zoë Challenger VO: In 1980, the band helped organize an event called Afro Fest. But most of the time, they had to rely on white bookers to let them onstage. Joe Shalita: We were really stubborn, because getting into First Avenue was not easy. And I know personally, I kept harassing Mr. McClellan – Steve McClellan – and I'm sure he got tired of listening to my voice – "Is that Joe Shalita calling again?" [Shalita laughs] Steve, wherever you're listening – it's true, because I kept bugging him all the time, said, "You gotta give me a chance! Come on, man. How many times do you have an African band on your stage?" And then, fortunately, First Avenue started having these big African stars coming in to grace the stage. They had, like, Tabu Ley Rochereau was like one of the superstars of Africa [who] came to First Avenue, and I think that opened their eyes, too, to say, "Ok." I was young in those days. But eventually they let us open for some artists – Bad Brains being one of them. Zoë Challenger VO: Sweet Taste of Afrika spent a little time in the studio, but to Shalita's knowledge, none of their music was ever released to the public. Joe Shalita: There are some YouTube videos of Sweet Taste of Afrika. Have you seen them? Cecilia Johnson: I have seen them! They're so good! Joe Shalita: I know! I was skinny, with a huge Afro. [Shalita laughs] I think David and Hassan may have some recordings, but I don't have any myself. I just look at those ones on YouTube and marvel at the quality of the sound and musicianship. I was like, "What?" [Shalita laughs] Zoë Challenger VO: According to Joe, the band had some creative differences, and they broke up in 1982. Joe found work as a roadie, then learned a little sound engineering, then formed his own band, Shalita, which lasted until 1999. He rarely performs these days, but he's planning to retire in a few years, and he dreams of returning to music. Joe Shalita: Art doesn't have an age limit. That's a good thing about art. Zoë Challenger VO: After learning about Sweet Taste of Afrika, we got to thinking about the Black rock artists who work in the Twin Cities today. Some are relatively well-known, having placed in "best new band" polls or opened for bigger acts. But sooo many of them have never been in the spotlight. And as we've learned while relying on microfilm and internet archives this season, the press has the power to preserve artists' legacy. So we decided to talk back to this narrative. Our producer Cecilia met up with a few Minnesota Black rockers – Matt Slater and Himes Alexander of the Smokes, plus Nadi McGill of Gully Boys – and asked them, what musicians inspire you? What constitutes a good legacy? What do you love about rock music? Nadi McGill: Um, I feel pure joy. It's like I can feel the oxytocin rushing through my body. It feels really good. Zoë Challenger VO: Nadi drums and sings in the Minneapolis rock band Gully Boys – who've performed in the First Avenue Mainroom and many times in the Entry. [Gully Boys' "New Song No. 2"] Nadi McGill: I'd always wanted to drum. My mom said no when I was a child, of course. A past partner was a very good drummer, and he had two [or] three drum kits, so I just sat down at one of the drum sets he had set up at his house and just started playing. Cecilia Johnson: What do you think of when you hear somebody talking about rock, or like, what is rock to you? What do you feel when you're listening? Nadi McGill: Everyone's playing their own instrument, like that's – the sound you hear is the sound that is being put out, and I think that's really cool. I think that's a really awesome aspect of rock. Zoë Challenger VO: Although they're a young artist, Nadi is already thinking about legacy. Nadi McGill: I will always be loud about what I believe in, and I'm always willing to be corrected, and I just want to be known and remembered as someone who used whatever platform that I had to make Minneapolis a better and safer place. For all people, but mostly femmes – fat femmes, femmes of color – in whatever space they choose to occupy... Every opportunity that we have, I try to encourage femmes to join a band, and then I specifically make a point to encourage Black femmes to join the band, because I feel like there is a lot of gatekeeping, and there is a lot of tokenization that happens, which is very annoying. I think the best way to kinda combat that tokenism and gatekeeping is to just be loud about it, and rock music is a great way to be loud about it. And you kinda just make your own space. Zoë Challenger VO: Nadi says they've taken inspiration from other Black rockers. Nadi McGill: I was obsessed with this band called Dance Gavin Dance when I was younger. I really was into pop punk music and a little bit of emo music, and Dance Gavin Dance I loved, and then I found out their guitarist was a Black musician, and I was even more in love, because it's very rare for me to see anyone who looked like me, not only in the crowd at the shows that I would love to go to, but on stage. Also, The Smokes locally? Two Black amazing punk rockers. And my favorite is that Matthew, the drummer rocks an Afro while he's playing. They sing about racial experiences that they've had. And then I appreciate that they're transplants as well. They're not even from here, but they kinda came here, and they were like what's up, like we are here to rock. So that's amazing. Cecilia Johnson: [laughing] We are here to rock. Nadi McGill: Honestly, like they really did. I remember I saw them for the first time. It was, like, maybe a week or two weeks after they had moved here, and I was like, "Welcome! Welcome, let's do this," like, "Y'all came like riding on the pavement 100 miles per hour," and I was so stoked to have them here. [The Smokes' "2 I Luv" (demo)] Himes Alexander: Black pride is something that's difficult for a lot of people to swallow, but is inevitable as you look at the influence that Black culture has had on American society, especially. Zoë Challenger VO: That's Himes Alexander of the Smokes, a two-piece garage/punk/indie/soul band who've been performing together for about five years. Himes and his cousin Matt Slater grew up in Spokane, Washington and moved to the Twin Cities in 2017. They've learned from many Black artists around the world. Matt Slater: This is a really broad one to start with, but I really love Fela Kuti. I've always loved Fela Kuti for lots of reasons. I've got like a soft spot for funk, and he was like a – just comes off as like this African king to me. And then jumps around musically so freely, like, just like feels the spirit of the music. And it was like, oh my god. This music is so Black, so free, and so it like captures his voice so well that like even now I hear it and it just like it makes you feel good, inspires to actually say something – say something real, and it doesn't have to be like a downer. Himes Alexander: I'd like to talk about a collective like Odd Future who has a bunch of different bands, a bunch of different projects coming out of the same collective, and there's a wide range of eclectic taste when it comes to all of that. You know, Steve Lacy is doing some sort of indie thing. The Internet is electronic R&B or – and even goes outside of that, and [Earl] Sweatshirt and Tyler the Creator are enigmatic, like you can't really hold them down to one thing. Matt Slater: And then there was the drummer from – god, why can't I – Himes Alexander: Yellowcard? Matt Slater: Yeah, the drummer from Yellowcard. Who cares about Yellowcard? [The Smokes laugh] The drummer from Yellowcard was this Black dude with dreads, and it was like hell yeah, I wanna do that. I literally – I was like I didn't even like their music. I was just like yes, cool. Zoë Challenger VO: The Smokes have brought up several musicians who made an impact on them. For me, Whitney Houston, Nina Simone, and Janis Joplin have probably been my biggest musical influences. Years after Houston's death, her friend Robyn Crawford told The Guardian about their queer past, saying, quote, "Our friendship was intimate on all levels." Both Simone and Joplin also held relationships with both men and women. And going back to the beginnings of rock and roll, artists like Sister Rosetta Tharpe, Big Mama Thornton, and Little Richard experimented not only with instruments and genre, but also with their sexualities. Many beacons of musical creativity have occupied many different identities – there is no "prime" or perfect human being, whatever H.R. or anyone else might say. Like it or not, Bad Brains are part of rock history. It's true that their actions were garbage. But it's also true that they inspired members of Fishbone, Rage Against the Machine, ho99o9, and many more groups to make rock music. They played First Avenue during a complicated and sometimes tense time in the club's history, with respect to race. Many of the Black bands who played there were not supported by press, radio play, or strong ticket sales, and community members noticed. In fact, one of the people who would've been paying attention was Prince. Cecilia Johnson VO: Thank you, Zoë. In 1983, the year after the Bad Brains show, Prince would take the First Avenue stage to change the club – and music history – forever. As we'll see in our next episode, the artist who catapulted First Ave from a well-known local rock club to an international destination was a genre-fluid Black rocker. And that was no coincidence. [Icetep's "Hive Sound"] Cecilia Johnson VO: This episode of The Current Rewind was hosted by Zoë Challenger and me, Cecilia Johnson. I produced this episode, with research and consulting by Taylor Seaberg. Marisa Morseth is our research assistant, and Jay Gabler is our editor. Our theme music is the song "Hive Sound" by Icetep. This episode was mixed by Johnny Vince Evans. Thank you to Brett Baldwin, Rick Carlson, Matthew Gallaway, Dirim Onyeneho, Jackie Renzetti, David Safar, and Jesse Wiza for additional support. If you'd like to learn more about Hüsker Dü, check out The Current's five-part podcast Do You Remember. If you enjoyed this episode, please rate and review our show on Apple Podcasts, or tell a fellow music fan it's out there. To get in touch, please send an email to rewind@thecurrent.org. To find a transcript of this episode, go to thecurrent.org/rewind. And thanks for rolling with these mid-season changes. We have one more episode hosted by Mark Wheat next week, and after that, we'll share a bonus episode about his personal connection to First Avenue. I miss him already, and I know you might, too. The Current Rewind is made possible in part by the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. It is a production of Minnesota Public Radio's The Current. The Current Rewind goes to First Avenue Rock and Roll Book Club: Bob Mould's 'See a Little Light'

This is the last week CoCoTALK! is in the middle of #SepTandy and we wrapped up the event with a great new music parody and video from D. Bruce Moore, sung to the tune of Bow, Wow Wo's "I Want Candy", Bruce gives us "I want Tandy!" We reviewed a lot of #SepTandy happenings this pas week and so much more!  

This is the last week CoCoTALK! is in the middle of #SepTandy and we wrapped up the event with a great new music parody and video from D. Bruce Moore, sung to the tune of Bow, Wow Wo's "I Want Candy", Bruce gives us "I want Tandy!" We reviewed a lot of #SepTandy happenings this pas week and so much more!

Into the Vertical Blank. Generation Atari Season 3, Episode 6. I Want Candy. Atari's Biggest Mistake Part 3: A Discussion with Curt Vendel In this episode we go into a deep discussion with Atarimuseum.com’s Curt Vendel about what Atari could have been if the Atari 400 was actually released as “Game Player non expandable” instead of as the Atari 400 computer. Tony Longworth https://tonylongworth.bandcamp.com/ http://www.atarimuseum.com/ Buy Atari Business is Fun (not an affiliate link): https://www.amazon.com/Atari-Inc-Business-Curt-Vendel/dp/0985597402/ref=sr_1_1?dchild=1&keywords=Atari+Business+is+fun&qid=1587507833&sr=8-1 Follow or contact us Facebook: https://www.facebook.com/intotheverticalblank/ Twitter: https://twitter.com/Atari_VB_Pod Youtube: https://www.youtube.com/channel/UCPnyVqBr2glJ-vAcDYDUYYw Instagram: https://www.instagram.com/into_the_vertical_blank/

Into the Vertical Blank. Generation Atari Season 3, Episode 6. I Want Candy. Atari's Biggest Mistake Part 3: A Discussion with Curt Vendel In this episode we go into a deep discussion with Atarimuseum.com’s Curt Vendel about what Atari could have been if the Atari 400 was actually released as “Game Player non expandable” instead of as the Atari 400 computer. Tony Longworth https://tonylongworth.bandcamp.com/ http://www.atarimuseum.com/ Buy Atari Business is Fun (not an affiliate link): https://www.amazon.com/Atari-Inc-Business-Curt-Vendel/dp/0985597402/ref=sr_1_1?dchild=1&keywords=Atari+Business+is+fun&qid=1587507833&sr=8-1 Follow or contact us Facebook: https://www.facebook.com/intotheverticalblank/ Twitter: https://twitter.com/Atari_VB_Pod Youtube: https://www.youtube.com/channel/UCPnyVqBr2glJ-vAcDYDUYYw Instagram: https://www.instagram.com/into_the_vertical_blank/

No Men Aloud! (See what I did there?). It’s all women all the way. The true women who ruled the eighties coming right at ya! The Pretenders “Back On The Chain Gang”. There’s Bananarama “Really Saying Something”. Sade is in there, Randy Crawford, Jocelyn Brown, Stevie Nicks and Natalie Cole. Some classic covers coming up, like Bow Wow Wow “I Want Candy”, Boys Town Gang “Can’t Take My Eyes Off You” and Grace Jones’ immortal cover of The Pretenders “Private Life". There’s an awakening happening right here over two hours for you, get settled in + get Alexa to do it for you, “Alexa, play Electric Thunder Radio Podcast on TuneIn”. Enjoy!               

Shannon aka “Mother” stops by for a fun conversation to talk Aaron Carter, being Locked in a Plane bathroom, and Jess’s moral high ground.

Ep 58. I Want Candy! The Geeks invite special guest Bob (Eric's Dad!) to join us on an epic discussion of Trick or Treating and the levels of candy found within! Join us for three too many tangents and an uproarious discussion of trick or treating through the years! What's your favorite Halloween candy? What treat made you want to TP someone's house? Let us know!Email us at: whatifgeeks@gmail.comOr check out our site at: www.whatifgeeks.com"Welcome to 'What If Geeks', the show where we talk all things in Geek culture. From Superheroes to Sci-Fi, movies to tv, books & comic books. We discuss what was, what is, what will be and What If?”What If Geeks is owned and hosted by John Petit, Paul Seago and Eric Spitz. Other than our children’s YouTube channels, we do not own any of the material we speak about. We do not speak for any corporation such as DC, Warner Bros, Walt Disney, Marvel, Lucasfilm or a multitude of others that we may speculate on. We discuss only public knowledge topics and do not profess to know anything from behind the scenes anywhere except in our own productions.Credits:Opening Theme is The New Order, by Aaron Kenny. It was taken from the YouTube Audio Library and marked free to use. We just want to give him credit and let him know how much we like his work.Closing Theme is Victorious Accomplishment by mathgrant.

A classic song created by a bunch of crypto-non-Australians, popularized in the evolution of punk rock, and brought to heel by the quintessential Spice Girl. I Want Candy, originally by The Strangeloves, covered by Bow Wow Wow, and by Melanie C. Outro Music is Punk Rock Girl by The Dead Milkmen.

Darlene McCrea [00:31] a side: "My Heart's Not in It" b side: "Don't Worry Baby" Tower Records 104 1964 Phew... quite the classic. Former member of The Cookies, and Ray Charles Raelettes. Love [05:51] a side: "My Little Red Book" b side: "A Message to Pretty" Elektra Records EK-45603 1966 A fine stripped down version of Burt Bacharach's tune. And supposedly influenced the Syd Barrett's riff in "Interstellar Overdrive". And that b-side is clearly Byrdsian. Betty LaVette [12:26] a side: "My Man - He's a Lovin' Man" b side: "Shut Your Mouth" Atlantic Records 45-2160 1962 16 year old Betty LaVette telling us about her man. And hoo boy do I love the flipside. The Knack [17:45] a side: "My Sharona" b side: "Let Me Out" Capitol Records 4731 Woo! Again, a killer flipside. The sleeve for this single features the titular Sharona. The Lovin' Cohens [25:05] a side: "Noshille Katz" b side: "Shoilly Klein" MGM Records K13700 1967 From the mind of NYC songwriter Bobby Weinstien, in homage of John Sebastian's ode to the studio musicians of Music City "Nashville Cats". Gary US Bonds [30:08] a side: "New Orleans" b side: "Please Forgive Me" Legrand Records KB-484 1960 The original breakout single from Mr. Bonds. Fluke Starbucker [36:05] a side: "New Parade/Carwash" b side: "Cumulous to Nebulous" Isota Records sody003 2002 A Gagon family outing from the early aughties. The Strangeloves [46:43] a side: "Night Time" b side: "Rhythm of Love" Bang Records B-514 1965 From the songwriting trio that brough you "I Want Candy". And covered by J Geils on their Love Stinks album. Music behind the DJ: "The Look of Love" by Christopher Scott.

This week, we have four sweet vignettes about candy, society, and history. We discuss how the military ended up with a large shipment of tootsie rolls, the origin story of jelly beans, why British kids liked cockroach candies, and  how capitalism did not capitalize on Halloween for candy sales. We provide a literary analysis of … Continue reading I Want Candy

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

More Than A Whelan turns eighteen! To celebrate we have special guest Madeline Leman of Madeline Leman & the Desert Swells fame in the studio to talk about her songwriting practice. And we even share a shot of Icelandic Vodka to celebrate our eighteenth episode. Sean begins the show by reading a story of his called A Metaphor For Sex. Written using the song I Want Candy by Bow Wow Wow as a creative prompt. Published in a collection called Normal Service Will Resume by those wonderful sweethearts at Cardigan Press. To celebrate episode 18, Sean, Maddy and MTAW producer Derek Myers take a little shot of vodka. Salud! Sean and Maddy have a chat about her path to becoming a singer/songwriter and discuss recent single Diva With the Fever of Change and its incredible music video directed by Jessica Barclay Lawton. And then we're super lucky to have Maddy perform Diva... live in the studio spoken word style. Maddy then performs an original track written about the nature of creative people who may seem confident on the surface but may also have crippling insecurities just below the surface. Sean reads a poem inspired by two creative prompts supplied by MTAW listeners. Thank you for being our muses of the week! The creative prompts are.... Crow standing on my face - Cameron Semmens Like trying to fuck under a drum tight top sheet - Rebecca Vespertine Maddy reads a brand new poem called Mother of Pearl based on an encounter with a dead seal on a deserted beach. WHELAN & STEALIN' The segment where Sean and guests read works by other writers. Sean reads an excerpt from an essay by Melissa Broder called I Took The Internet Addiction Quiz and I Won. From her book So Sad Today. Maddy sings an utterly beautiful cover by John Prine , the song Speed of the Sound of Loneliness.

Kenny Laguna (Producer/Songwriter) played or sang on 50 Billboard Top 40 hits by 1972. He's worked with Tony Orlando, The Ohio Players, Tommy James and more. Kenny is most proud to be the songwriter behind Dick Clarks' American Bandstand.  Laguna met, and began working with, Joan Jett, shortly after the break-up of The Runaways in 1979. Working with Cordell and others, he won her a solo record deal and co-produced her solo albums including Bad Reputation (1980), and I Love Rock 'n' Roll (1981). He established Blackheart Records with Jett in the early 1980s. Journalist Jonathan Gross described Laguna as "Jett's surrogate father/brother/manager/mentor/producer. In 1982 he also produced English band Bow Wow Wow's hit version of "I Want Candy". He has continued to work with Joan Jett, as performer, producer and manager, on her later albums and tours, and acted as Executive Producer on the 2010 film The Runaways, about Jett's earlier band. On April 18, 2015, Kenny Laguna, along with Joan Jett and the Blackhearts, was inducted into the Rock and Roll Hall of Fame.

Pat sits down with Director Brett Berns, son of the legendary songwriter and producer Bert Berns, to discuss his documentary "BANG: The Bert Berns Story."

Chris & Kelsey go to the birds this week on Pod Sematary with Alfred Hitchcock's 1963 classic, The Birds, and the Syfy Original, Flu Birds, from 2008. Featuring: --Hitchcock loves independent women but does he think as highly of their intelligence? --Chris shares his love for the Halloween bin. --Is Flu Birds bad on purpose or just plain ol' bad? Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/990398715620876289 Sources: "Birds, The" "Carry On Wayward Son" written by Kerry Livgren and performed by Kansas "Clue" copyright 1985 by Paramount Pictures (based upon the board game Clue® by Parker Brothers) "Flu Birds" copyright 2008 by Active Entertainment, maybe? "Hackers" copyright 1995 by United Artists "I Want Candy" performed by mc chris (originally featured in Aqua Teen Hunger Force S01E09 "MC Pee Pants" copyright 2002 by Cartoon Network) "It" copyright 1990 by Warner Bros. Television "Pet Sematary" written by Dee Dee Ramone & and performed by The Ramones "Weird Satanist Guy" via BowserVids @ www.youtube.com/watch?v=YErFwJX0HKE

Want to escape into a world where music video sets have almost no security? Have we got a holiday treat for you! It's the episode, we've all been waiting for, HERE COMES AARON CARTER! Guest host and LA/Film/Fashion expert Emily Durkin joins Lillian and Katherine as we dissect this solid piece of gold. This episode is extra long mostly because KC kept saying, "I'll edit that out," and then didn't because it was TOO GOOD. Mentions: Aaron Carter's twitter @aaroncarter @mullydurkin Dallas Lovefield Airport The Mandolin player from Judah and the Lion Buy "I Want Candy" here: https://www.amazon.com/I-Want-Candy/dp/B00137Z6T4/ref=sr_1_1?ie=UTF8&qid=1511129119&sr=8-1&keywords=i+want+candy+aaron+carter Connect with us: @4oclockpod Thanks forever and always to www.lavenderlemonboutique.com!

In the 60s, he cowrote ”My Boyfriend's Back" and "I Want Candy” and cofounded Sire records with Seymour Stein. But Richard Gottehrer isn’t one to dwell on the past. Six decades on, he’s still a guiding force in the music industry. Over the years, he’s produced Blondie, the Go-Gos, Richard Hell and, more recently, The Dum-Dum Girls. In 1997, Gottehrer cofounded the forward-looking digital distribution company, The Orchard. His latest project, Instant Love, is the brainchild of New Orleans native, Allison Zatarain, an employee of The Orchard and GM of its subsidiary label, Instant Records. The project pair female performers with songs traditional sung by men about women. Now 17 tracks deep, the pair regard the work as a “living album,” a growing collections of songs that lives on streaming services like Spotify, that will one day be collected in a more permanent form.Thus far, the project includes legendary performers like Irma Thomas, who performs Van Morrison’s “Crazy Love,” and less established artists like Erin Durant, who takes on Buffalo Springfield’s “Kind Woman.” Zatarain and Gottehrer regard the project as a kind of on-going conversation with female, as well as a experiment in music distribution in a time that’s been fairly tumultuous for both.

Episode 15! Monika and Paul battle Candy vs. Initials in the Lightning Round, get you ready for some Mother's Day trivia in Game Prep, talk about some of their favorite real and fictional moms, and do a little acting in the Audio Round Challenge. Say hi to your mother for us! Send in your Audio Round answers (and any questions or comments) to quizfix@gmail.com 0:00-5:03 Intro/Audio Round Winner and Answers 5:03-15:23 Lightning Round: Candy vs. Initials 15:23-27:14 Game Prep: Mother's Day Edition 27:14-45:53 Tips & Tricks: Our Favorite Moms 45:53-53:43 Audio Round Challenge: Movie Moms Twitter and Instagram: @quizfix Website: www.quizfix.net Facebook: www.facebook.com/quizfix Tumblr: quizfix.tumblr.com Clips: "Tie Your Mother Down" - Queen "M-O-T-H-E-R" - The Mellomen "I Want Candy" - MC Pee Pants

You may have never heard of Bert Berns, but you know the enduring songs he's written and produced: Twist & Shout, Cry to Me, Tell Him, Piece of My Heart, Cry Baby, Hang On Sloopy, I Want Candy, Everybody Needs Somebody to Love - Berns' career IS Rock and Roll. Berns sessions made legends of Solomon Burke, The Isley Brothers, The Drifters, Ben E. King, and Wilson Pickett. He helped launch the careers of Van Morrison and Neil Diamond and produced some of the greatest soul music ever made. Filmmaker and son of Bert Brett Berns brings his late father's story to the screen through interviews with those who knew him best and rare performance footage. Included in the film are interviews with Ronald Isley, Ben E. King, Solomon Burke, Van Morrison, Keith Richards and Paul McCartney. Narrated by E Street Band guitarist Stevie Van Zandt, about the life and career of Bert Berns, the most important songwriter and record producer from the sixties that you never heard of. His premature death at 38 cut short a seven-year streak of hits, rooted in his early Brill Building and 1650 Broadway days, through his tenure at Atlantic Records to the formation and success of his own labels Bang Records and Shout Records. First-time director Brett Berns joins us to talk about a father he never knew and his amazing musical legacy. For news and updates go to: bangthebertbernsstory.com

Welcome back citizens of the One Hit Wonderful World! Kyle and Cody return this week with episode 11, and this week we're focusing on the guy that sings "I Wish," Skee-Lo. Join the guys as they talk about his Grammy near-miss, his ability to exist in a couple personas and another long wait between records by artists we've covered. Also included: product placement, self-awareness in hip-hop and the music genres that Cody does and doesn't know about. Join us, won't you? Listen to the album Fresh Ideas for a deeper appreciation of both the podcast and the artist! New episodes every Monday! We'll be back next week with guest Andy Erickson and the people that sing "I Want Candy," Bow Wow Wow.

Holland and Kelsey discuss Season 3 Episode 20, "I Want Candy." Emma doesn't understand how wills work, Paige tries to cheer everyone up wth hooky and this is the most boring episode ever.

Led Zeppelin, The Archies, Sugar, Fall Out Boy, Selvagens à Procura de Lei, Bow Wow Wow, Sugar Ray, Sugar Kane e muitas outras bandas em nossa Mixtape 40, faça o download agora. (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – Candy – Iggy Pop 02 – Sweet Candy – AC/DC 03 – Candy Store Rock – Led Zeppelin 04 – I Want Candy – Bow Wow Wow 05 – If I Can’t Change Your Mind – Sugar 06 – When It’s Over – Sugar Ray 07 – Memory – Sugarcult 08 – Medo – Sugar Kane 09 – Sugar – System Of A Down 10 – Kids on Sugar – Garage Fuzz 11 – Sugar, We’re Goin Down – Fall Out Boy 12 – Brown Sugar – The Rolling Stones 13 – Rei do Açúcar – Dead Fish 14 – Doce – Boogarins 15 – Doce/Amargo – Selvagens à Procura de Lei 16 – Sugar Kane – Sonic Youth 17 – Sugar, Sugar – The Archies 18 – Diet Paranoia (Ratos de Porão Cover) – Speed Whale A próxima mixtape vai pro ar no dia 30/03/2016.

Episode 156: I Want Candy music = jimi hendrix, Sgt. Pepper's Lonely Hearts Club Band --- Send in a voice message: https://anchor.fm/stash-and-burn/message

Steve Cooper talks with singer Annabella Lwin.  Annabella at the tender age of fourteen, was one of the most photographed, talked about and popular vocalists in the early 80’s with her band, BOW WOW WOW, who enjoyed success with massive hits such as I Want Candy, Do U wanna Hold Me?,  Go Wild in the Country and C30, C60, C90, Go! As well as writing and recording original material as a solo artist, she has been a featured vocalist on numerous transatlantic dance favorites with Tony B (LA’s hottest radio dance DJ) the Utah Saints (England's’ most innovative and popular DJ Duo) and Jason Nevins (Run DMC remixer of Walk this Way.)
 Her songwriting/co‐production brought her collaborations with Guy Chambers (songwriter for Robbie Williams’ chart hits) and seasoned producers such as Michael Lattanzi (Mariah Carey, Paula Abdul, Sly & Robbie, Anastasia.) After doing a commercial for Nike, writing songs for movies such as Desperate But Not Serious (starring Claudia Schiffer and Henry Rollins) and partnering with Mike Bradford (producer of the hits Follow Me by Uncle Kracker, You Get What You Give by the New Radicals, American Bad Ass by Kid Rock) Annabella has written and recorded songs for film: Scandalous with Sir John Gielgud, Phoenix Point starring Angelo Moore of Fishbone and  Salsoul Queen Cecilia Noel, (Cecilia & the Wildclams) Thief of Hearts starring Steven Bauer (Scarface) and produced by Harold Faltemeyer and Sofia Coppola’s 2006 hit Marie Antoinette to name a few.


Build up to cruising speed with "Do Your Thing" and keep that sugar rush going with an awesome remix of "I Want Candy". Next, run down memory lane with progressive house classics "Talk to me" and "Americano slide". Run Happy! Do your thing: basement Jaxx I want candy: Bow Wow Wow (So-Los Electronic vocal mix) Changes: Faul (Tocadisco's Sunny LA remix) Hey: Nightriders (Chris Lake and Marco Lys edit) Gotcha: Douteque Diamonda: Jay Lamar and Jesse Oliver Talk to me: Hysterix (Sasha's full music master) 2 after 909: Justus Kohncke Intoxicated: Martin Solveig and GTA Brainwaves: M Third Power Chemical Beats: Chemical Brothers Americano Slide: Ritmo Rivals (LA underground mix) Work that body: KRAFTY KUTS Pedal to the metal: Lazerhawk Dont bring me down: ELO

What's up, gamers? We're a little late this week due to our own scheduling issues, but better late than never! Don't worry. We'll be back to our regular schedule going forward. We recorded Saturday evening, so some information in this episode may be out of date. This week, join me (Glenn Gordon), Ben Shillabeer-Hall, and Fraser Miller as we address some criticism from a longtime listener. We explain our positions on different points of contention, and would like to invite anyone who can further elaborate on this criticism or has other criticism to tweet us @TheRDGH or send us an email at podcast@psu.com. We want to be the best RDGH we can be! Just keep it constructive. RDGH figured that Titanfall should not have been made exclusive to Xbox One. We also complained about the exclusivity of Rise of the Tomb Raider. Contrarily, we told Xbox One gamers to suck it up with regard to the exclusive content on Destiny. Sounds unfair to us said that way, but there's much more to that story. We've also repeatedly called IGN out for certain unreliable content, yet continue to cite IGN as a source. What's up with that? Then, of course, the burning question: Do RDGH's crew members like sunlight? We don't want to leave things on a critical note, so Ben spills the details about a Final Fantasy event that occurred in London. Look for FF14 updates! If you want an Xbox One, now is the time! There is a great deal going around that we discuss, as well as Xbox One's November update, which supports backgrounds. Also, Forza Horizon 2 has been very successful so far, driving Xbox One sales up. Also, Ubisoft has confirmed that The Division, its upcoming first-person shooter, will run in full 1080p resolution on PlayStation 4, regardless of its maximum capability on Xbox One. Finally, Ubisoft! Finally, the Evolve Alpha is this weekend, and everyone should get involved. It's free--all you have to do is get selected. Our intro this week is I Want Candy by Bow Wow Wow. Buy this classic hit on iTunes and Amazon if you haven't already! For our ending this week, we're happy to bring you "The Sound of Speed," a remix of Green Hill Zone by OA and Scaredsim on Overclocked Remix. We used a part of the song a couple episodes ago, and loved it enough that we thought you should hear the whole thing. Enjoy it at the end of the episode, and head to OCremix.org to download it and many other great video game music remixes in full, for free. If you like The Sound of Speed, go to sos.ocremix.org to check out the full album of Sonic remixes by the same name. All this and more comprises another great episode of RDGH! Tune in next week for episode 40, and don't be a racist.

Aaron Carter talks with Tommy2 about The After Party Tour, how the fans are responding, details on his upcoming album and being part of "The Fantasticks."