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2 episodes with i was made
2 episodes with i was made
2 episodes with i was made
2 episodes with i was made
Gene Simmons is a rock n' roll legend, best known as the charismatic bassist and frontman of KISS. With a larger-than-life persona, theatrical concert style, and signature face paint, Simmons and KISS revolutionized rock in the 1970s and 80s with hits like “I Was Made for Lovin' You” and “Rock and Roll All Nite.” In today's episode, Gene tells the story of his family's persecution and immigration to the US, how his upbringing shaped his personal philosophy, and his journey to becoming an iconic rockstar. He also shares the reason for his deep American patriotism, as well as a few hard-learned lessons about love. Simmons' impact on American music and culture is undeniable. Don't miss the legendary Gene Simmons on this episode of the Sunday Special. - - - Today's Sponsors: Collars & Co - Get 20% off your first order when you use code BEN at: https://collarsandco.com Tax Network USA - Seize control of your financial future! Call 1 (800) 958-1000 or visit https://www.TNUSA.com/Shapiro Helix - Get an exclusive discount at https://helixsleep.com/Ben
En 2016, l'Euro se déroulait en France. À quelques semaines de son lancement, l'hymne officiel des supporters français était dévoilé : une version remixée de la célèbre chanson "I Was Made for Lovin' You" du groupe Kiss. Interrogé par Mademoiselle Jade, Francis Cabrel n'a pas du tout compris ce choix... Tous les jours, retrouvez en podcast une archive des meilleures imitations de Laurent Gerra.
Become a Sponsor of the In My Beach Boys Room Podcasthttps://www.matthewhartzmusic.com/sponsorIn this episode of In My Beach Boys Room, hosts Matthew Hartz and Adam Schreiner take a deep dive into the Beach Boys' 1967 album Wild Honey. Known for its raw, soulful sound, Wild Honey stands apart in the Beach Boys' catalog, and the hosts explore each track with insightful musical analysis. From the R&B-inspired title track to the underrated gems hidden throughout the album, Adam and Matthew break down the unique elements that give Wild Honey its distinct character.Timestamps00:00 Intro03:55 Wild Honey Context28:05 Wild Honey35:00 Aren't You Glad44:30 I Was Made to Love Her49:30 Country Air53:15 A Thing or Two58:30 Darlin'01:04:20 I'd Love Just Once to See You01:08:30 Here Comes the Night01:12:50 Let the Wind Blow01:16:20 How She Boogalooed It01:18:25 Mama Sayswww.matthewhartzmusic.com
In Folge 107 soll Mario ein Auto aufbrechen, muss Dominique durchs Neandertal und will Alex eine kaputte Waschmaschine loswerden. Infos+Tickets für das "Wirtshaus im Spessart" mit Dominique: https://www.ticketshop-thueringen.de/search?sSearch=%22wirtshaus+im+spessart%22 Unser offizieller Music-Act, den wir in dieser Folge NICHT spielen durften: YUNGBLUD mit „I Was Made for Lovin' You“ (https://youtu.be/gaD55NqPJA0?si=6WRcaade2drLgFfh) #fallguy #walpurgisnacht #himmelfahrt #yungblud #gothardusfest #diamantfeder #otz #unterwellenborn #yetiketchup #parkerlewis #ddrsofteis #softeis #podcast #Tohuwapodcast #Berlin #Humorpodcast #Talkpodcast #Laberpodcast #Gesprächspodcast #Talk #softeisliebe #softeiswiefrüher #eiskombinat --- Send in a voice message: https://podcasters.spotify.com/pod/show/tohuwapodcast/message
Faster Pussycat emerged from the wild Sunset Strip scene of the 80s, which gave birth to legendary bands such as Quiet Riot, Van Halen, and Ratt. The band introduced a more intense dose of glam and sleaze, which helped them secure a major label deal alongside their peers Guns N' Roses and L.A. Guns. Taime Downe, a Seattle native, fronted the band, and their debut album showcased a bluesy, pop-glam sound similar to The Rolling Stones and Hanoi Rocks. This post is public so feel free to share it.Downe teamed up with Brent Muscat (guitar), Greg Steele (guitar), Eric Stacy (bass), and Mark Michals (drums) to work with producer Ric Browde and craft a classic album that became a staple of the era. The album, released on Elektra Records, includes MTV favorites like “Bathroom Wall” and “Don't Change That Song,”. As Faster Pussycat embarked on the first tour, they supported a diverse range of artists, from Alice Cooper to David Lee Roth to Motorhead, honing their versatility and undeniable stage presence.Our deep dive into Faster Pussycat's self-titled debut on Dig Me Out reveals the highs and lows of an album that's as synonymous with the Sunset Strip's glam metal scene as teased hair and leather pants. We explore the tracks that define, delight, and sometimes divide, offering listeners a comprehensive look at an album that continues to resonate.In our exploration, we highlight the album's key tracks, noting "Bathroom Wall" and "Don't Change That Song" for their enduring appeal and MTV staple status, while "Babylon" stands out as an innovative yet ambivalent rap-rock hybrid. Despite its varied reception, the album embodies the rebellious spirit, chaotic nightlife, and unfiltered fun that marked rock 'n' roll's golden era on the Sunset Strip.Wrapping up the episode, special guest Sebastian Bach drops in to recommend an album for our review, adding another layer of rock authority to our discussion. Join us as we revisit this iconic slice of rock 'n' roll history, celebrating the sleaze, glam, and raw energy that defines an unforgettable decade in music. This isn't just a retrospective; it's a tribute to the timeless allure of rock music and the lasting legacy of Faster Pussycat and its Sunset Strip contemporaries.Songs in this Episode* Intro - Babylon * 10:22 - I Was Made for Loving You (KISS cover) * 27:50 - Bathroom Wall * 30:30 - Bottle in Front of Me * 35:25 - Ship Rolls In * 36:16 - Smash Alley * 40:55 - Shooting You Down * 41:09 - Look What The Cat Dragged In (Poison) * 43:34 - Cathouse * 46:00 - No Room for Emotion * 48:05 - Babylon * 1:04:20 - Special guest - Sebastian Bach * Outro - Bathroom WallMake Your Metal Voice Heard!In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.Suggest an Album → | Support the Mission → This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe
Weren't you just thinking we've gone too long without a killer robot episode? Well here's another one! It's time to break down "I Was Made to Love You." It's an episode where the inorganic robot is infinitely more human than her creator and she teaches the Duchess of Buffonia the importance of knowing your worth. We'll break down the episode with bts trivia, rate the episode on a scale of 1-10 stakes, and we'll give a brief Queer Analysis and Gayest moment! Follow and message us on social media and on our homepage! Instagram: instagram.com/buffygayspod TikTok: tiktok.com/@buffygayspod Or send us an email at buffygays@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/buffygays/message
Meet Desmond Child, the amazing songwriter and producer who was inducted into the Songwriters Hall of Fame in 2008. His hits are endless and you are sure you recognize more than a few: Kiss' "I Was Made for Lovin' You"; Joan Jett & the Blackhearts' "I Hate Myself for Loving You"; Bon Jovi's "You Give Love a Bad Name" and "Livin' on a Prayer"; Aerosmith's "Dude (Looks Like a Lady)" and "Angel"; Cher's "We All Sleep Alone" and "Just Like Jesse James"; Alice Cooper's "Poison"; Michael Bolton's "How Can We Be Lovers?"; and Ricky Martin's "The Cup of Life" and "Livin' la Vida Loca", among dozens more! His demeanor is fun and the Two Guys have some great fun with him as Desmond opens up about how he broke into the business, his Cuban roots, his favorite collaborator and so much more. Learn more about your ad choices. Visit megaphone.fm/adchoices
IT'S TIME TO WATCH THE MUPPETS! This week with special guest Carol Burnett. Distracted rants include but are not limited to mystery earworms, Dance marathons, The Mask, Parseltongue, we try to get a VH1 show, Funny Boy, and much more!"Kermit makes the mistake of letting Gonzorun a dance marathon during the show. Carol's songs are interrupted, and she objects to the marathon -- especially when Gonzo fixes her up with Animal as her dance partner. Carol threatens to leave in the middle of the show, but Kermit persuades her to stay by promising that she can perform her famous Lonely Asparagus sketch. But Gonzo says the marathon won't be over until all the contestants collapse, so she tires the dancers out by singing "I Was Made for Dancin'". Burnett plays both herself and the dance's janitor (a character from her own namesake show)."Follow us:Twitter.com/ittwtmInstagram.com/ittwtm
Legendary songwriter and producer Desmond Child spills all the juiciest details from his career including working with Kiss, Aerosmith, Bon Jovi, Alice Cooper and more! He shares the quirky backstories and surprising inspirations behind timeless classics such as "Living on a Prayer", "I Was Made for Loving You", "Dude Looks Like a Lady", "I Hate Myself for Loving You" and many more. It's a fascinating look behind the curtain of a man whose records have sold half a billion copies worldwide! To find out more, check out Desmond's new book 'Living On A Prayer, Big Songs, Big Life' which is available now! Learn more about your ad choices. Visit megaphone.fm/adchoices
Legendary songwriter and producer Desmond Child spills all the juiciest details from his career including working with Kiss, Aerosmith, Bon Jovi, Alice Cooper and more! He shares the quirky backstories and surprising inspirations behind timeless classics such as "Living on a Prayer", "I Was Made for Loving You", "Dude Looks Like a Lady", "I Hate Myself for Loving You" and many more. It's a fascinating look behind the curtain of a man whose records have sold half a billion copies worldwide! To find out more, check out Desmond's new book 'Living On A Prayer, Big Songs, Big Life' which is available now! Learn more about your ad choices. Visit megaphone.fm/adchoices
Hoy el Mata-Rolas se convierte en el Cambia-Rolas nos presenta un Mashup de Earth Wind & Fire y Kiss para crear "I Was Made for Boogie Wonderland"
The list of giant hit records that Desmond Child has written is staggering...Kiss's "I Was Made for Lovin' You"; Joan Jett & the Blackhearts' "I Hate Myself for Loving You"; Bon Jovi's "You Give Love a Bad Name", "Livin' on a Prayer",[1] "Bad Medicine", and "Born to Be My Baby"; Aerosmith's "Dude (Looks Like a Lady)", "Angel", "What It Takes" and "Crazy"; Cher's "We All Sleep Alone" and "Just Like Jesse James"; Alice Cooper's "Poison"; Michael Bolton's "How Can We Be Lovers?"; and Ricky Martin's "The Cup of Life" and "Livin' la Vida Loca"....just to name a few. He tells his life story in the new book, "Livin' On A Prayer: big Songs, Big Life"...and we luckily got the chance to spend more time to find out more this morning!
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. 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 No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
SUMMARY:You wanted the best, you got the best! Rock & Roll Hall of Famer Paul Stanley of KISS joins Songcraft to talk about his long and diverse career through the lens of his role as a songwriter.PART ONE:Paul and Scott talk about musicians who adopt personas, how KISS seems to have the best timing of any musical group of all time, and their respective frightening memories of the band. Then they spend the rest of the time pinching themselves that Paul freakin' Stanley is on Songcraft. PART TWO:Our in-depth conversation with Rock & Roll Hall of Famer Paul StanleyABOUT PAUL STANLEY:Paul Stanley is best known for his vocals, guitar, and outlandish stage performances that have helped define KISS. Combining elements of shock rock and glam to set a new standard for theatrical arena rock, Stanley's Starchild persona, alongside fellow band co-founder Gene Simmons's Demon character, has become one of the most iconic figures in music history. One of the best-selling bands of all time, KISS has sold over 75 million albums worldwide, and has earned more Gold-certified albums than any other band in the US. Fourteen of their albums have been certified Platinum, three of which have earned multi-Platinum status. Stanley has written or co-written many of the band's best-known songs, including “Strutter,” “Rock and Roll All Nite,” “Shout it Out Loud,” “Detroit Rock City,” “God of Thunder,” “Hard Luck Woman,” “Love Gun,” “I Was Made for Lovin' You,” “Lick it Up,” “Heaven's on Fire,” “Crazy, Crazy Nights,” “Forever,” and many others. In addition to his work with the band, Stanley released a self-titled debut album in 1978, and another solo album in 2006 called Live to Win. More recently, he released the album Now and Then, a collection of R&B classics alongside vintage-style originals under the name Paul Stanley's Soul Station. Defying categorization, he has written a hit song with Michael Bolton, duetted with Sarah Brightman, and even starred in a production of Phantom of the Opera. Paul's songs have been covered by a diverse list of artists, including Cher, Nirvana, The Replacements, Green Day, Ronnie Spector, Bonnie Tyler, Toad the Wet Sprocket, and Garth Brooks. As a member of KISS, Paul was inducted into the Rock & Roll Hall of Fame in 2014. This fall, the band wraps the final leg of their End of the Road tour, culminating in a pair of shows at Madison Square Garden in New York, the city where KISS first formed in 1972.
Voici le cent soixante-seizième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les soirées ou les anniversaires.Nous avons le plaisir de vous convier à une heure enchanteresse de danse et de délices lors de notre thé dansant spécial rentrée. Au programme, une sélection exquise d'instrumentaux, animée par quelques solistes fantasques ou autres orchestres envoûtants. Liste des morceaux :01. Caravelli - S.O.S.02. André Brasseur - El Bimbo03. Georges Jouvin - Amoureux solitaires04. Yvette Horner - Bad05. Aimable - La Groupie du pianiste06. Max Greger - Voulez-vous / I Was Made for Lovin' You (Disco Dancing)07. Jean-Pierre Mader - Macumba (version instrumentale)08. Raymond Boisserie - Il tape sur des bambous09. Ray Conniff - Je t'aime, moi non plus (Love at First Sight)10. Paul Mauriat - L'Été indien (Africa)11. Brancaster Studio Orchestra - Careless Whisper12. Anthony Ventura - Hotel California13. James Last & Richard Clayderman - Another Day in Paradise14. Fausto Papetti - Sorry Seems to Be The Hardest Word15. Francis Goya - I Just Called to Say I Love You 16. Raimonds Pauls - Et si tu n'existais pas Écouter
It's a fact that Desmond Child has written some of the most recognizable songs of all time. Like what? Well...Kiss's "I Was Made for Lovin' You"; Joan Jett & the Blackhearts' "I Hate Myself for Loving You"; Bon Jovi's "You Give Love a Bad Name", "Livin' on a Prayer",[1] "Bad Medicine", and "Born to Be My Baby"; Aerosmith's "Dude (Looks Like a Lady)", "Angel", "What It Takes" and "Crazy"; Cher's "We All Sleep Alone" and "Just Like Jesse James"; Alice Cooper's "Poison"; Michael Bolton's "How Can We Be Lovers?"; and Ricky Martin's "The Cup of Life" and "Livin' la Vida Loca"....just to name a few.And now he tells his life story in the new book, "Livin' On A Prayer: big Songs, Big Life"...and we got to talk to him about it this morning!
This week's show is full of valuable knowledge that YOU need! Devo is giving lessons on how to survive a horror movie and it's not what you think! Weird Al is giving lessons on how to be... well, weird, and Lauren Mayer is giving lessons on how to not be a schmuck. 1. "I Was Made for Killing You" by The Merkins 2. "The Hot Rocks Polka" by "Weird Al" Yankovic 3. News of the Stupid! 4. "Don't Be a Dilbert" by Lauren Mayer The Merkins, aka The Slashstreet Boys are at YouTube.com/@THEMERKINS Weird Al is at WeirdAl.com Lauren Mayer is at LaurenMayer.com and at YouTube.com/@PsychoSuperMom Thank you to our Patreon backers for making this show possible!!!
We begin this mini-series with a combined look back at two interviews (2019 and 2020) that we did with internationally renowned hitmaker #DesmondChild, who talks about co-writing “Livin' On A Prayer” with #BonJovi, “Dude (Looks Like A Lady)” and “Angel” with #Aerosmith, “I Was Made for Lovin' You” with #PaulStanley for #KISS and so much more. Check it out!
Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. 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 "Groovin'" by the Young Rascals. 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 put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London. But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.
In this episode, Channa Channa Channa talks to Vlad Martynov from Besomora, the melodic death metal band from Australia.The name Besomora is derived from Slavic mythology and draws inspiration from dark spirits and demons which Besomora say is a direct representation of the imagery they wish to portray and a reflection of their music. The band's deep ties to their Eastern European background and their interpretation of melodic death metal are a refreshing and hard-hitting medley of all that is traditionally right in the melodic death genre. Besomora have been working hard on their social media campaign, promoting themselves with regular updates on their progression and development as they worked towards the release of their second single, a cover of Kiss' smash hit “I Was Made for Lovin' You”. Check out the music video of ‘I Was Made For Lovin' You on YouTube: https://youtu.be/DgnxeGzsqj4#channa3x #channa3xpodcast #besomora Support the show
Wherever you go, I'll be with you. Whatever you want, I'll give it to you. Whenever you need someone to lay your heart and head upon, remember, after the fire, after all the rain, I will be the flame, I will be the flame!” - Let's be like Cheap Trick - let's be each other's FLAME.This mix set is dedicated to the search for love and a reminder that every day, someone is loving you today, up closer or from afar. They may be too shy or don't have the words to express that but if you keep an open heart you will know what's in their heart. Telling someone how you feel about them, that you care, can literally save lives. Despite all the hateful rhetoric in this “Un-United States” accepting love and paying it forward will make a huge difference. When a Butterly flaps its wings in Australia the effects of that go around the work…just say I love you. With tracks like Musical Freedom (Free At Last), Fall Down, Love One Another, Never Knew Love Like This Before, I Was Made for Lovin' You, I'm Still In Love, You Make Lovin' Fun, The Love I Lost, Fallin' & The Flame, I hope you let the music take you away and that it gives you that lovin' feeling.Recorded live at DJRB/BetBoyz Studio | NYC
@ShawnMagdaMusicTracklist: 1. Warp Speed - Dyro 2. Quantum For Love (HayaT x Mukonda x Erik Woll Mashup) - Martin Garrix & Brooks x Avicii 3. Hooked - Notion 4. Balenciaga - Cheat Codes 5. My Ex's Best Friend vs. Call Me Name (DJ Skillz x DJ EV Bootleg) - Machine Gun Kelly ft Black bear vs. Bancali ft Alexandra Mortensen 6. It's Tricky - Oomloud 7. Titanium (DJ Arman Aveiru ‘Savage' Edit) - David Guetta feat. Sia vs. Tiësto & Deorro 8. Hot Drum - JOYRYDE 9. Like A Prayer (Jean Philippe Edit) - Madonna x Clear Six x James Hype 10. Glamorous (DJ Grant ‘Move Your Body' Edit) - Fergie vs. Ownboss & Sevek 11. Beat Like This - Bleu Clair & Ootoro 12. I Know U - Dyro 13. ID - Shawn Magda 14. Dashstar* - Knock2 15. Power - Interupt 16. Melody vs Sexy Bitch (DJ Λllen Mashup) - Mike Williams vs. David Guetta 17. Summertime Sadness (Andrew Marks Limitless Edit) - Lana Del Rey vs. Martin Garrix & Mesto 18. Promiscuous (JORDAN & Watzgood Bootleg) - Nelly Furtado ft. Timbaland 19. UCLA (Shawn Magda's ‘I Was Made' Edit) - RL Grime vs. VINAI x Le Pedre 20. Bulletproof (Cheyenne Giles Remix) - La Roux 21. Simon Says (R3WIRE VIP) - Pharaohe Monch 22. Break Free (Zillionaire ‘Pjanoo' Edit) - Ariana Grande vs. Eric Prydz, James Black 23. Starships (DJ Harry Dunkley ‘Neon Boulevard' Blend) - Nicki Minaj vs. Redono & Adam Griffin 24. The Spins (Angelo The Kid ‘Closer' Edit) - Mac Miller x Sonny Fodera & Just Kiddin 25. Doses & Mimosas (Vintage Culture Zerky Remix) - Cherub 26. Bleeding Love (Cream & Gary W Grolden Pineapple Bootleg) - Jay Hardaway x Leona Lewis 27. Love Tonight vs Circles (Magz Remix) - Shouse vs Magz x Post Malone 28. California Girls (HMC 2022 Edit) - Katy Perry vs. Benny Blanco 29. Wake Me Up x Lunar x Without You (Shawn Magda Mashup) - Avicii x Aloe Blacc vs. Mike Williams x Mesto x Lucas & Steve 30. Sweet Paradise (Olive Oil Mashup) - Tiësto & Dyro vs. Calvin Harris ft. Florence Welch 31. Finally - Mr. Belt & Wezol 32. The Time x WOW (KNDR Edit) - The Black Eyed Pease Vs. Tiësto 33. Heat Waves (Kastra “No More” Edit) - Glass Animals, Sonny Fodera vs. Maximals 34. Lemonade (Zack Martino Remix) - Internet Money 35. What's Up (Olive Oil Remix) - 4 Non Blondes 36. All Night vs. The Calling (Mike Gloria Bootleg) - Icona Pop vs. Sebastian Ingrosso & Alesso 37. Alive (SQUARED 2021 Edit) - Krewella 38. abcdefu (Colin Jay Remix) - GAYLE 39. Somebody To Love (Voost Remix) - Basstrologe 40. Astronaut In The Ocean (Rivas ‘Let's Go' Edit) - Masked Wolf vs Calvin Harris vs C
Ray LaMontagne catches up with Kyle Meredith to talk about Monovision, his 2020 LP that is finally getting its supporting tour. (Get tickets to that "The Monovision Tour" here!) The singer-songwriter talks about re-recording “I Was Made to Love You” with Sierra Ferrell, being a creature of habit, and his work-life balance. LaMontagne also gives us a story about being complimented on his harmonica playing by Willie Nelson's harmonica player, Mickey Raphael. Listen to Ray LaMontagne discuss Monovision, getting back on the road, and more above. Then, make sure to like and subscribe to Kyle Meredith With… wherever you get your podcasts, and you can also follow the Consequence Podcast Network for updates on all our shows. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Bem vindos ao último episódio da década de setenta. 1979 é o auge da Disco Music, mas há quem queira acabar com a festa. O ano, que é a transição para a década de oitenta, vem com novos ritmos, e acontecimentos curiosos. Para deixar as coisas mais emocionantes, o episódio é dividido em duas partes. Esta é a parte 1. E os destaques são: Chega o Walkman, e com ele você leva a sua música favorita para onde quiser; As crianças ganham uma refeição especial e um presente: é o McLanche Feliz; Nasce o Nickelodon, o primeiro canal com programação exclusiva para crianças; Rita Lee canta Mania de Você, seu mais recente sucesso. Estas e outras manchetes nos esperam em 1979. Prepare-se, o episódio já vai começar. O Homem da Manchete: Você, viajando no tempo! -.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.- 00:00 Intro 01:34 Música: Sultans of Swing – Dire Straits 03:25 TV Show: Os Gatões 04:55 Manchete: Festival de Inverno de Ottawa – o Winterlude é lançado 06:40 Música: Goodnight Tonight – Paul McCartney & Wings 08:15 Manchete: Nickelodeon – A estreia do primeiro canal para crianças 09:53 Música: I Was Made for Lovin' You – KISS 11:51 Manchete: Governo chinês limita a um filho por casal 13:33 Música: Mania de Você – Rita Lee 15:29 Manchete: O McLanche Feliz é lançado 17:08 Manchete: The Gallery – a casa noturna de alto padrão é inaugurada 19:15 Música: Bad Girls – Donna Summer 21:06 Manchete: O lançamento do Walkman pela Sony 22:41 Música: Amor, meu Grande Amor – Angela Ro Ro 24:06 Final
Vini Poncia musician, songwriter and record producer.During the 1970s, Poncia became Ringo Starr's co-writer, and appeared on several of his solo albums:[3] Ringo (1973), Goodnight Vienna (1974), Ringo's Rotogravure (1976), Ringo the 4th (1977), and Bad Boy (1978).[4] He also produced albums for Melissa Manchester[3] and Lynda Carter's 1978 album Portrait. As a songwriter, he wrote songs for Jackie DeShannon, Martha Reeves, and Tommy James. Poncia is also listed as co-writer on "You Make Me Feel Like Dancing" with Leo Sayer. In 1978, he produced Peter Criss' 1978 solo album.[3] At Criss's prompting, Poncia was brought in to produce Kiss's 1979 album Dynasty and co-wrote their hit song "I Was Made for Lovin' You" from that album.**************************************************** The New Website ➜ https://www.adikalive.com/Merch Store ➜ https://adikalive.bigcartel.com/The Ultimate VIP ALL ACCESS BACKSTAGE PASSFull episodes can be seen in Patreon! Get exclusive content and entry into the vinyl games on Patreon: ➜ https://www.patreon.com/The_adika_group?fan_landing=trueYour Donation Helps Support your Favorite Show & Channel ➜ https://www.paypal.me/stephenadika1AMAZON WISHLIST ➜ https://www.amazon.com/hz/wishlist/ls/30GQNR69L9048?ref_=wl_shareCLICK TO SUBSCRIBE ➜ https://www.youtube.com/c/TheAdikaGroup?sub_confirmation=1Artists on Record | ADIKA Live The PodcastApple ➜ https://podcasts.apple.com/us/podcast/coffee-talk-with-adika-live/id1529816802?uo=4Spotify ➜ https://open.spotify.com/show/2lXgg3NVdnU3LmXgCrgHwk iHeartRadio ➜ https://www.iheart.com/podcast/269-coffee-talk-with-adika-liv-71566693/*Follow ADIKA Live on Tik Tok: ➜https://vm.tiktok.com/TTPdMmEfFm/ADIKA Live on Twitter➜ https://twitter.com/TalkAdikaThank you for your support!_____________________________________________Artists On Record: https://m.facebook.com/profile.php?id=868952540607953&ref=content_filterTheme Song - Mark SlaughterWebsite: https://www.markslaughter.com/Support the show (https://www.patreon.com/The_adika_group?fan_landing=true)
# - Titel van muziekstuk - Artiest - Album - Genre - Duur 1. Daddy Cool (MATTIA Remix) - Boney M - Unknown Album - Dance - 02:50 2. Dynamite (Sterbinszky x MYNEA Remix) - Taio Cruz - Unknown Album - Dance - 03:40 3. Here Comes the Hotstepper (Tonbe Mix) - Ini Kamoze - Unknown Album - Dance - 05:35 4. Shout (XODUS MMXXI Tech Remix) - Tears For Fears - Unknown Album - Dance - 03:10 5. Freed From Desire (Jake Silva Remix) - GALA - Unknown Album - Dance - 03:37 6. Sweet Dreams vs. Love Tonight (Crunkz Edit) - Eurythmics vs. Shouse vs. Merk & Kremont & Twolate - Crunkz - Show Edits Vol.2 - Dance/Mashup/Electronic - 02:32 7. Lola's Theme x Hideaway (Robin Elyza Mashup) - Shapeshifters x Kiesza - Unknown Album - Dance/Mashup - 05:49 8. Beachball (Joris Voorn Remix) - Nalin & Kane - Beachball - Single - Dance - 07:45 9. Heaven - DJ Aiblo - Heaven - Single - Disco - 04:50 10. Fire (Extended Mix) - Star B, Riva Starr & Mark Broom - Fire - Single - House - 04:51 11. Gettin' Jiggy Wit It Feat. Francis Goodman (Original Mix) - Block & Crown - Gettin' Jiggy Wit It - Funky / Groove / Jackin' House - 04:24 12. I Was Made 2022 (Massive Rock & Scaltromix Edit) - Kiss, Hardwell vs Titov, Rudeejay - MASSIVE ROCK & SCALTROMIX - M&S BOOTLEG PACK VOL 20 - Dance - 04:07 13. Another Night (Cyrille Kanou Extended) - Real Mc Coy - Back to 80s 90s 2000s Edit - AVRIL 2022 - Dance - 04:20 14. Cold Heart vs. What You've Done To Me (Crunkz Edit) - Elton John, Dua Lipa, WeDamnz vs. KREAM & Millean - Crunkz - Show Edits Vol.2 - Dance/Mashup/Electronic - 04:09 15. High (Gin and Sonic Remix) - The Chainsmokers, Gin and Sonic Unkown Album - Dance - 04:15 16. Heart SOS (Dj Reeze Mashup) - Siik, Senator x Avicii - MASHUP PACK Dj Reeze & Just Louis V1 - Dance/Mashup - 03:33
Have you ever tried something for the very first time and hated it? We all have. But, have you ever tried something for the very first time and said, “I WAS MADE FOR THIS!”? That “something” is what many people search for their whole lives. What if you discovered that God made you for a specific “something”, gave you every ability and talent needed to accomplish that “something”, and wants you to fulfill that “something” for Him? In this series, “I Was Made for This”, we'll take a look at what the Bible has to say regarding how we were created, gifted, and called for that unique “something” (based on Ephesians 2:10), and how you can discover and use that something for God, for others, and for yourself.
【喜歡這個Set? 歡迎加入國民電音新生活！】 ▶️ Oxygen Formula EDM 紮背趴 https://www.facebook.com/edm18pa ▶️ O2F EDM紮背趴應援團 https://www.facebook.com/groups/edm18pa -- ※ Tracklist: BounceMakers & Luke J West - Lose The Thought Of You (Magic Free Release); Chris Burke, Audiosonik - Bad Girl (Klaas Edit); Dj Snake & Selena Gomez vs. Tiesto vs. Afrojack ft. Ally Brooke - Selfish Love All Night (J-Kerz Mashup); DJ Blighty x Joel Corry - Heartbroken (Jose Knight (UK) I Wish Extended Edit); Mister Gray - Fat Bassline (No-Copyright Music); Sam Smith, Normani - Dancing With A Stranger (Thousand Kids, LELO Remix); Voost Vs Modjo - Taste of Your Lady (BNM Bootleg); James Godfrey & Edward Snellen - End Of Time ; Post Malone - Motley Crew (SNEISEN FLIP); Tiesto x Vinaï & Le Pedre x Zedd - Ritual x I Was Made x Stay (Blazee Mashup); Purple Disco Machine & Sophie & The Giants & Edward Maya - Hypnotized Stereo Love (Djs From Mars Bootleg); Bon Jovi - It's My Life ( Dj Vincenzino, Umberto Balzanelli, Michelle mashup); Big Sean vs Smack, Vinnie & John Balaya - IDFWU (Rivas 'Be Free' 2021 Edit); Internet Money & Gunna, Don Toliver, NAV - Lemonade (Callum Knight Remix); Mike Candys x Mauro Picotto - Komodo Flexin (CRIMINAL NOISE & JEAN LUC MASHUP); Paramore - Misery Business (Kastra Remix) [Extended] ; Powered by Firstory Hosting
This week, hosts Jim DeRogatis and Greg Kot discuss the age-old question: is KISS good? While neither of the hosts are too fond, they debate the merits of the almost 50-year-old band and their imprint on the history of rock and roll music. 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:KISS, "Rock and Roll All Nite [Live]," Alive!, Casablanca, 1975Amber Mark, "Most Men," Three Dimensions Deep, PMR, 2022Amber Mark, "What It Is," Three Dimensions Deep, PMR, 2022Amber Mark, "Darkside," Three Dimensions Deep, PMR, 2022KISS, "Detroit Rock City," Destroyer, Casablanca, 1976Wicked Lester, "She," The Box Set, Mercury, 2001KISS, "Beth," Destroyer, Casablanca, 1976KISS, "I Was Made for Lovin' You," Dynasty, Casablanca, 1979KISS, "Strutter," Kiss, Casablanca, 1974KISS, "Creatures of the Night," Creatures of the Night, Casablanca, 1982KISS, "Forever," Hot in the Shade, Mercury, 1989KISS, "Black Diamond," Kiss, Casablanca, 1974The Paul Butterfield Blues Band, "I Got My Mojo Working," The Paul Butterfield Blues Band, Elektra, 1965Muddy Waters, "Long Distance Call (feat. Otis Spann, Mike Bloomfield, Paul Butterfield, Donald Duck Dunn & Sam Lay) [Live At Super Cosmic Jamboree, 1969]," Fathers and Sons, Chess, 1969Bob Dylan, "Like a Rolling Stone [Live at Newport 1965]," N/A, N/A, 1965J Dilla, "So Far to Go (feat. Common & D'Angelo)," The Shining, BBE, 2006
This is the album that turned heavy metal into pop, or started the hair metal genre of the 80's. Slippery When Wet was the third studio album by Bon Jovi, and would be their best selling album to date.The band was David Bryan on keyboards, Tico Torres on percussion, Alec John Such on bass, Richie Sambora on guitar, and Jon Bon Jovi on lead vocals and rhythm guitar.Bon Jovi deliberately targeted a mainstream audience with this album. They wrote 30 songs and auditioned them to teenagers in New York and New Jersey. The album's songs were then ordered based on the opinions of this teenaged focus group.The band collaborated with Desmond Child, a hall of fame songwriter who wrote songs like "I Was Made for Loving You" by Kiss and Joan Jett's "I Hate Myself for Loving You." Slippery When Wet would be the top selling album of 1987, and would go 12x platinum. It would also make Bon Jovi the first glam rock band to have two number 1 songs on the Billboard Hot 100 with "You Give Love a Bad Name" and "Livin' on a Prayer."Bon Jovi - the band, and Jon Bon Jovi as a soloist - would never leave the rock pantheon A-list after this album. Raise Your HandsJon Bon Jovi and Richie Sambora wrote this one. It was the B-side to "You Give Love a Bad Name," and was not released as a single. If it sounds familiar you might be remembering it from a scene in the Mel Brooks film "Spaceballs."You Give Love a Bad NameThis is the first single from the album and would hit number one on the Billboard Hot 100 in November 1986. Child, Bon Jovi, and Sambora re-wrote the song which started as a song for Bonnie Tyler called "If You Were a Woman (And I was a Man)" The video was directed by Wayne Isham, who was also directing videos for Motley Crue at the same time. Motley Crue felt betrayed that Wayne would direct a Bon Jovi video, since they were competing with each other at the time.I'd Die for YouThis song is a deeper cut with keyboard work reminiscent of the song "Runaway" from their first album. Wanted Dead of AliveThis track hit number 7 on the Billboard Hot 100, and uses old west imagery to describe the lonely life of a rock star. Bon Jovi and Sambora would perform an acoustic version of this tune on the 1989 MTV Video Music Awards, and would inspire the network to create their "MTV Unplugged" series. ENTERTAINMENT TRACK:Glory of Love by Peter Cetera (from the motion picture The Karate Kid part II)This solo song from Chicago front man Peter Cetera was on the charts after being featured in the 1986 summer sequel starring Ralph Macchio and Pat Morita. STAFF PICKS:Wild, Wild Life by Talking HeadsWayne leads off the staff picks with a critically acclaimed song from the Talking Heads album, "True Stories." The song was featured in the film "True Stories," a satirical comedy directed by David Byrne, front man for the Talking Heads. This was the third and last top 40 hit the band would create.Higher Love by Steve WinwoodBrian's staff pick is Winwood's first number 1 hit in the United States. Will Jennings wrote the lyrics, inspired by his experience with church in the deep South. Chaka Khan provides the backing vocals, enhancing the gospel feel of the song - a modern day hymn.Sweet Freedom by Michael McDonaldRob's staff pick was featured in the buddy cop movie "Running Scared," starring Billy Crystal and Gregory Hines. This was the last top 10 hit to date for McDonald. In addition to his solo work, McDonald has worked with many musicians including Steely Dan, Kenny Loggins, Christopher Cross, and most famously as lead vocalist for the Doobie Brothers, with which he is touring today.Venus by BananaramaBruce finishes the staff picks with a number 7 hit from an English pop group formed by the trio of Sara Dallin, Siobhan Fahey, and Keren Woodward. The original was released in 1969 by Netherlands group Shocking Blue. Bananarama began covering this song when they first formed in 1980, but didn't release the single until they had recorded original songs so they would be taken seriously as musicians. COMEDY TRACK:Big Fat Blonde by The RainmakersThe Rainmakers released their debut album in 1986. One of their fans was horror novelist Stephen King, who quoted the band's lyrics in some of his novels.
Tracklist: 01 - Siedah Garrett-Do you want it right now (Dr Packers back to the 90s extended mix) 02 - Nitti Gritti Marten Horger Want You Extended Mix 03-Marc Volt - Surrender My Soul 04-Rihanna x Marc Volt - Please Don't Stop The Music (Jean Philippe Edit) 05-THE WEEKEND EARNED IT REMIX FINAL 06 - Vintage Culture Fflora Meca feat Tristan Henry Butterflies Extended Mix 07-Javi Reina, Steve Aguirre - Trouble Boy 08-Don't Be Shy x Astro (CHAAP Edit) - Tiâsto x Justus 09 - Alesso Marshmello Feat James Bay Chasing Stars VIP Extended Mix 10-Calvin Harris, Disciples, Riggi & Piros, Dave Crusher, Jackmar, Kryder - How Deep is Your Good Time (David Puentez Mashup) 11-I Was Made x Want You (CHAAP Edit) - VINAI x Nitti Gritti & Marten Hørger 12-Eric Prydz x David Guetta & Morten - Me And You Allein (David Puentez Mashup) 13- Tale Of Us Pete Tong Time Visualiser ft Jules Buckley FOLLOW DGRACE: - Facebook: www.facebook.com/dgraceofficial/ - Twitter: www.twitter.com/dgrace_official - Instagram: www.instagram.com/dgrace_official/
This episode is dedicated to the memory of Rolling Stones drummer, Charlie Watts,. Charlie passed away while I was preparing this episode. In a career that spanned more than sixty years, he left us all a massive library of songs and memories that we all will treasure forever. Thanks for everything, Charlie. It was only Rock and Roll, but I liked it!Episode DescriptionIt was a new day in America. The middle class was big and growing. Businesses were flush with cash it had come by, which meant people were working and saving and getting ahead. Those returning war-heroes had gotten to work making money, and making babies and America was a young country, too. So this young, expressive, exuberant, happy music was ideal for a nation that was feeling the same way. The fact that this new, young music became THE music of the day represented a sea change in what America was all about.Even more, Rhythm'n Blues set the stage for the next big arrival – rock and roll….. like the great R&B singer, Ruth Brown said, “when the white kids started dancing to it, R&B turned into Rock and Roll.” Hold that thought for a future episode! Welcome to American Song, Episode 12: R&B Was Born on the Great American Music River.TracksIke and Tina Turner - River Deep, Mountain HighBarrett Strong - Money, That's What I WantNina Simone - Mississippi GoddamErskine Hawkins - After HoursAhmet Ertegün and Charlie Rose Interview ExcerptBib Mama Thornton - Hound DogJames Jamerson (isolated bass) - What's Goin' OnLouis Jordan - Is You Is, Or Is You Ain't My Baby?Louis Jordan - Saturday Night Fish FryErskine Hawkins - Tuxedo JunctionHarlem Hamfats - Weed Smokers DreamCab Calloway - Minnie the MoocherCount Basie - One O'CLock JumpBullmoose Jackson - Big Ten InchKing Curtis - Instant GrooveLionel Hampton - Flying HomeLionel Hampton - Hey! Bop a Re BopT Bone Walker - Stormy MondayBB King - Live at Sing Sing PrisonElvis Presley - That's Alright MamaHoss Allen InterviewIke & Tina Turner - Proud MaryBooker T and the MGs - Green OnionsMartha and the Vandella's - Dancing in the StreetStevie Wonder - Heaven Help Us AllFunk Bros. - Aint No Mountain High EnoughFunk Bros. - You Keep My Hangin' OnFunk Bros. - I Was Made to Love HerMarvin Gaye - What's Goin' OnThe New Moonglows - Twelve Months of the YearMarvin Gaye - How Sweet it IsBerry Gordy Talks about Marvin GayeRay Charles - Hit the Road JackRay Charles Interview on Dick CavettMaxin Trio - Blues Before SunriseRay Charles - I Got a WomanRay Charles - What'd I SayRay Charles - Georgia on My MindRuth Brown - 5-10-15 HoursRuth Brown - I'll Wait For YouRuth Brown Interview with Terri Gross (NPR)Aretha Franklin - Do Right Woman, Do Right ManAretha Franklin Interview with Terri Gross (NPR)Aretha Franklin - (You Make Me Feel Like A) Natural WomanAretha Franklin - RespectAretha Franklin - I Say a Little Prayer For YouAretha Franklin - Chain of FoolsSam & Dave - Soul Man
The Jake's Take's AGT Season 16 special podcast continues! This week, I am welcoming the Curtis Family C-Notes to the podcast.The Curtis Family C-Notes is San Francisco's First Family of Song. Maestro (Papa C) and Nola Curtis (Mamma C) and their five children – Zahara, Nile, Isis, Kiki, and Phoenix impacted their community with their impressive musical arrangements, superb harmonies, and strong community activism. The group has been featured in several publications such as 48 Hills, Local News Matters, and the San Francisco Bay View Newspaper. The group also performed at the Chase Center during halftime of a Golden State Warriors game in 2020.The Curtis Family C-Notes received nationwide acclaim after the group performed a fantastic cover of Stevie Wonder's “I Was Made to Love Her” during the second episode of America's Got Talent: Season 16 Judges Auditions. The group received both a standing ovation from judges Simon Cowell, Sofia Vergara, Howie Mandel, and Heidi Klum and the four “Yeses” necessary to advance to the next round.In the fifth edition of Jake's Take's AGT Season 16 Podcasts, The Curtis Family C-Notes share their origin story and relive their audition.
Welcome to The Seed of Wonder, also known as If the Apocalypse Comes, Beep Me! This week, the one before the one, "I Was Made to Love You." In this episode, after our plot and firsts (1:30) and initial thoughts (6:00), we dive in scene-by-scene: Training room (10:00) Joyce/Dawn/Buffy scene (19:00) Transition scene with Anya and Tara (23:00) The party scene (24:30) Babysitting scene (34:45) Back to the Magic Box (36:25) Warren (41:00) Spike in the Magic Box (47:30) Buffy vs. April scene (58:30) Xander and Buffy (1:04:45) Final Scene (1:09:00) We conclude with yelling (1:11:30), watches (1:20:00) and ranking this episode of television (1:22:00). Full show notes at our website and we're @beepmepod on Twitter, Instagram Facebook, Tumblr for all the good stuff. We have a season-long playlist that grows by the episode featuring the music of Buffy and this podcast at Beep Me — Funtime Playlist for Podcast Fans Season 5. You can email us at beepmepod@gmail.com too, if that's your thing! Next episode: "We'll go, we'll deal, we'll help. That's what we do. We help Buffy" --- Support this podcast: https://anchor.fm/beepmepod/support
With over 30 years of performing music, 7 #1 inspirational radio hits, a book, and so much more, Charles Billingsley is a powerhouse in the modern Christian movement. Your host, Chad Garrett sits down with Charles to discover his humble beginnings into the music business, some struggles and triumphs on his way to Christian stardom, and his thoughts on some major cultural events. Check out his website www.charlesbillingsley.com Listen to his latest album I Was Made for This: https://store.charlesbillingsley.com/collections/music/products/i-was-made-for-this If you want to know what Charles' plans are for the future join the culture revolution and become a Forerunner TODAY! Head over to forerunnerproductions.locals.com and become a supporter today! Written by Andre Deneault Hosted by Chad Garrett Audio and Music by Chase Sizemore Impetus: Minds of the Driven is a Forerunner Productions Publication Copyright © Forerunner Productions LLC 2021
We're back in London for the second week in a row with Jamz Supernova ~ the influential BBC Radio 1XTRA DJ & Future Bounce label owner!Jamz introduces us to the genre defying sounds of Frank Leone as well as dynamic, experimental delivery from George Riley.We dig deep into the UK scene with offering from Sad Night Dynamite, Noya Rao, Bellah, & Rochelle Jordan.Plus we explore the Kill Bill-esque sounds of October & The Eyes, amongst more! 01 "Mountain Jack" by Sad Night Dynamite 02 "Shoulder Wire" by Frank Leone 03 "Supernova" by BELLAH 04 "Icarus" by Fana Hues 05 "Heaven Bound" by Noya Rao 06 "TRIXXX" by George Riley 07 "Got Em" by Rochelle Jordan 08 "All My Love" by October & The Eyes 09 "I Was Made for Lovin' You" by Swimmingly Art: Dewey Saunders Follow Not 97: ▶ Twitter: https://twitter.com/_NOT97▶ Instagram: https://www.instagram.com/_not97 *Not 97 is powered by the innovative music company Amuse.io, making distribution effortless for independent artists everywhere. © NOT 97. All music ℗ & © their rights holders, used by NOT 97 with explicit permission.
This week, we are starting a series looking back at some of the messages from past 100 weeks of Queen City Church to “Run It Back” and share them again. In week one, Pastor Brian shares an important and timely reminder that despite everything happening as a result of Covid-19, your purpose - God's purpose on your life - has not been canceled. Don't forget the truth God promises each of us, “I Was Made to Make a Difference”.
This week, we are starting a series looking back at some of the messages from past 100 weeks of Queen City Church to “Run It Back” and share them again. In week one, Pastor Brian shares an important and timely reminder that despite everything happening as a result of Covid-19, your purpose - God’s purpose on your life - has not been canceled. Don’t forget the truth God promises each of us, “I Was Made to Make a Difference”.
“‘Crying is blackmail. Good girlfriends don’t cry,’ is the girlfriend catechism,” is a thing Noelle said in this week’s episode, talking about the deep philosophical questions inspired by the sci-fi in I Was Made to Love You (S5.15). So you need to listen.
Episode 2. Desmond Child It is with great pleasure that Song Chronicles presents Grammy-Winning Producer, Recording Artist and Songwriter Desmond Child. *Song Chronicles is a brand new podcast series hosted by Louise Goffin. The complete 32 episodes of The Great Song Adventure podcast hosted by Louise Goffin & Paul Zollo can be found on thegreatsongadventure.com. Desmond Child, the son of Hungarian father Joseph Marfy and of Cuban songwriter Elena Casals, is a highly driven genre-defying songwriter and producer, who can easily be introduced to those not in-the-know as a "hitmaker to the stars". His credits appear on more than eighty Billboard Top 40 singles spanning five decades, including “Livin’ On A Prayer,” “You Give Love A Bad Name,” “I Was Made For Lovin’ You,” “Dude Looks Like A Lady,” “Livin’ La Vida Loca,” “Waking Up In Vegas.” and many more. February of 2020, Nashville TN, in a Charlotte Avenue storefront building filled with instruments and books, Desmond sat down with Louise Goffin and talked about some of the songs he's been a part of writing, artists he's collaborated with, and how real-life circumstances inspired some of the songs that became part of the zeitgeist of popular culture. In this engaging conversation, Child reveals his great love of his family, his passion for working towards a better future for songwriters and not least, leading the way forward toward a more open-minded world for his two sons. Desmond has no shortage of gratitude for his creative and varied life, partnered alongside his loving husband ("people like me because they like him!") and it's easy to see how his spontaneity and truthful read of those around him gifts him with a knack for drawing out the archetypal themes wanting to be written in the room, collaborating with artists who are searching to find something they truly want to sing about. A graduate of New York University, once upon a time, Child and Maria Vidal, along with Myriam Valle and Diana Grasselli, formed Desmond Child & Rouge, recording two albums for Capitol. Next moves led him to collaborate with Paul Stanley of KISS and create two of the band's most enduring hits: “I Was Made for Lovin’ You” and “Heaven’s On Fire.” A winning streak had begun. From Aerosmith to Zedd, his songs have been recorded and performed by a wide variety of both entertainers and collaborators, defying genre limits, with superstars as diverse as Bon Jovi, KISS, Cher, Joan Jett, Alice Cooper, Barbra Streisand, Michael Bolton, Ricky Martin, Katy Perry, Kelly Clarkson, Carrie Underwood, Garth Brooks, Meat Loaf, Cyndi Lauper, Christina Aguilera, Sia, Mickey Mouse and Kermit the Frog. with Joan Jett Songwriters Hall of Fame "Desmond is a slave-driving slut" - Alice Cooper with husband Curtis Shaw left to right: Jon Bon Jovi (born John Francis Bongiovi Jr.), Cher, Desmond Child, Steven Tyler "Lady Liberty" performed by Barbra Streisand Steven Tyler (Aerosmith) KISS Bob Ezrin's Studio, Nashville TN Desmond Child and Louise Goffin (reflection of Alice Cooper in glasses) photo by Kyler Clark Bob Ezrin, Alice Cooper, Desmond Child, Louise Goffin photo by Kyler Clark
WARNING NC17 Episode! If you are in the know then you already know that why are no longer called “Theory of a Deadman” it’s just “Theory” now! They probably figured it would cut down on printing costs…. six letters instead of sixteen!!!! Joey Dandeneau the drummer fills us in on their new album, tour and why they really changed their name! Think back now to the 70’s and lots of blond hair and stand up collars… You’ve got the image and you remember Leif Garrett! Garrett launched his music career in 1977 with such hit singles as "Surfin' U.S.A." and "Runaround Sue." The following year, he had his biggest song of his career, "I Was Made for Dancing.” This is a raw, say it as it is interview where you are bound to hear stories you have never heard before! Skidmarks Show is an Automotive and Rock-n-Roll radio show broadcasting all year long. With your hosts Jeff Allen from CNBC’s “The Car Chasers” and owner of Flat 12 Gallery and Ethan D. previous host of the morning radio show “The Rock Show” on FMX. Skid Marks Show is award winning! Thanks to the Texas Auto Writers Association for recognizing us in automotive radio! Currently ranked #7 in all time BEST SELLERS on iTunes Automotive Category!!!! SKIDMARKS SHOW is FREE on iTunes, Spotify, Podbean, Soundcloud, Podcastcharts.com, Castbox and always at SkidmarksShow.com Powered by Pennzoil #SkidmarksShow #TheProofIsInThePennzoil
Un programa format per Marc Prat, Albert Vilella, Eloi Rubio, Laia Junquera i Enric Sitjà per poder-ne extreure petites dosis d’humor d’una altra manera diferent. Un espai radiofònic amb curiositats, anècdotes, música… Totalment improvisat! Ni els seus conductors tenen idea de què els caurà al damunt! Cancó de la setmana: Kiss – I Was Made … Sigue leyendo Serendipia #033 [13-11-19] →
Iniciamos nuestra cuarta temporada con un episodio dedicado a la AOR y recordamos la música de un grupo mítico: The Doobie Brothers. La voz de Michael McDonald imprimió un carácter distintivo a su música, que continuó brillando en su carrera en solitario con un repertorio de clásicos del Soul que también incluimos en nuestro episodio. Nuestro invitados: The Doobie Brothers (Listen to the Music; Long Train Runnin'; Takin' It to the Streets; Little Darling I Need You; What a Fool Believes; One Step Closer); Chaka Khan & Michael McDonald (You Belong To Me); Michael McDonald (I Keep Forgettin'; Sweet Freedom; I Heard It Through the Grapevine; I Want You; I Was Made to Love Her; Nowhere to Run; Higher And Higher); Viktoria Tolstoy & Jacob Karlzon (I Can Let Go Now).
Jessica Hautsch is back in the cemetery to discuss two more episodes of Buffy the Vampire Slayer. Being massive Spike fans, episode 514, “Crush” gives us both a lot to talk about. Episode 515, “I Was Made to Love You” gives us...less. We have plenty to say about the performative nature of Spike, the arc of his moral continuum, and how wisely (or not) vampires are able to love. We go on and on about how problematic he can be, how much we love him in spite of all that, and how intensely, annoyingly metatextual and condescending Quasimodo comparisons are. “Doesn’t seem to me it matters very much how you start out.” When it comes to long, compelling conversations about misogynistic geeks and sex robots...we do all right. Next: My hetero life mate Arlo Wiley returns to help me tackle the heartbreaking 516, “The Body.” Have the Kleenex ready. THE BREAKDOWN Run Time: 01:42:05 00:00:55 - Intro / Guest 00:02:28 - Main Topic 01:38:30 - Outro / Next THE LIBRARY Library Closed For Filing - Please Come Back Tomorrow THE MUSIC “Conversations (feat. Wesley Mead)” by Azura (2017) “I Was Made For Lovin’ You” by Kiss, Dynasty (1979) THE SCHOLARS Whedon Studies Association is a non-profit academic organization devoted to the study of the works of Joss Whedon and his associates. They put out Slayage: The Journal of Whedon Studies, and Watcher Junior: The Undergraduate Journal of Whedon Studies, both blind peer-reviewed twice-yearly online publications. They also host the biennial Slayage Conference on the Whedonverses, which brings all these incredible scholars together to present papers, discuss ways of incorporating Whedon Studies in education, and basically just geek out together. http://www.whedonstudies.tv/
Sometimes your brain goes to bad places..but that's alright because sometimes your brain needs to go to those bad places, and that's ok. Ed, Eddie and Amber are here to tell you why. Taking us out "I Was Made to Love Her" by Stevie Wonder Topics: anxiety, rage, disney, jim henson, dating, telephone bags Quip starts at just $25 and if you go to http://GetQuip.com/BRIGHTERSIDE right now, you can get your first refill pack for FREE. Go to http://stamps.com, click on the microphone at the top of the homepage, and use code BRIGHTERSIDE to claim your special offer! "Vicious" and "Carefree" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/)
Nicole Franklin is an award-winning filmmaker of two features, the recently released TITLE VII, a narrative film on the rarely discussed subject of same-race discrimination in the workplace and her debut film, I Was Made to Love Her: the Double Dutch Documentary. TITLE VII was the 2017 Martha's Vineyard African American Film Festival HBO sponsored Best Feature Nominee, the 2017 St. Louis International Film Festival Emerging Director Award Nominee, and Best Lead Actress and Best Supporting Actress winner from the I See You Awards 2018. Currently directing projects for both stage and screen, Nicole's other credits include the multi-award winning documentary The Double Dutch Divas!, Journeys In Black: the Jamie Foxx Biography, Gershwin & Bess: A Dialogue with Anne Brown, and the award-winning documentary series Little Brother. Nicole has recently launched the app Black Film Pirate to draw international attention to creators of color. Nicole is an Assistant Professor of Television Production at Hofstra University and a member of the Directors Guild, Producers Guild, New York Women in Film & Television, Film Fatales and the Black Documentary Collective. Her work as both a producer and director has appeared on numerous cable and streaming networks including Showtime, BET, IFC, Nickelodeon, Sundance Channel and kweliTV. In news television she has worked on several Emmy Award-winning teams including her current role as a video editor on CBS Sunday Morning.
In the 76th episode, hosts Ian Carlos Crawford and Christopher Downs discuss the Buffy the Vampire Slayer season 5 episode “I Was Made to Love You" with special guests LaToya Ferguson and Sherman Maus. Don't forget to like Slayerfest 98 on Facebook(www.facebook.com/Slayerfestx98/), follow us on Twitter(twitter.com/slayerfestx98), and subscribe/rate us on iTunes! New episodes come out every Tuesday (the same day Buffy aired), so see you all back here next week!
A detailed look at black, African-American, culture during the "Sixties". (1960-1969) Overview "The Sixties": the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order. Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time. Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm. The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments. In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock. Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe. The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States. The 1960s were marked by several notable assassinations: 12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi. 22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas. 21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X. 4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee. 5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries. Social and political movements (counterculture) Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music. Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in". Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country. Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term. Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride. Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest. Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018) Popular culture The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism. Music British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964 "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana. As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public. Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others. While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music. In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964. As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes. A major development in popular music during the mid-1960s was the movement away from singles and towards albums. Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk. Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century. Significant events in music in the 1960s: Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances. Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record. The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run. The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go". John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era. In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States. The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques. R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash. The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody". 1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin. Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968. Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock. The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums. Woodstock Festival, 1969 Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival. Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch. Television The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie. The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day. Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War. Fashion Significant fashion trends of the 1960s include: The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket. The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints. The bikini came into fashion in 1963 after being featured in the film Beach Party. Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s. Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade. Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade. African-American hairstyles for men and women included the afro. James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968) Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962) Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969) The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969) Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964) Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68) The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968) Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965) The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965) Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63) Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967) Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965) Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968) Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969) Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967) Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967) B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968) Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967) The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965) Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964) The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966) Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965) Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964) Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965) Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68) The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62) Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964) Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966) The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63) Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69) Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969) Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966) Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962) Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967) Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969) The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969) Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969) Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964) Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969) Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961) Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966) Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969) The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968) Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966) Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969) The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963) Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965) Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966) Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966) Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)
A detailed look at black, African-American, culture during the "Sixties". (1960-1969) (Bonus Artists: hidingtobefound & Luck Pacheco) Overview "The Sixties": the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order. Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time. Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm. The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments. In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock. Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe. The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States. The 1960s were marked by several notable assassinations: 12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi. 22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas. 21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X. 4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee. 5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries. Social and political movements (counterculture) Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music. Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in". Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing. Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country. Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term. Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride. Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest. Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018) Popular culture The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism. Music British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964 "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana. As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public. Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others. While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music. In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964. As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes. A major development in popular music during the mid-1960s was the movement away from singles and towards albums. Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk. Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century. Significant events in music in the 1960s: Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances. Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record. The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run. The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go". John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era. In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States. The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques. R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash. The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody". 1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin. Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968. Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock. The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums. Woodstock Festival, 1969 Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival. Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch. Television The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie. The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day. Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War. Fashion Significant fashion trends of the 1960s include: The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket. The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints. The bikini came into fashion in 1963 after being featured in the film Beach Party. Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s. Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade. Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade. African-American hairstyles for men and women included the afro. James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968) Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962) Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969) The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969) Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964) Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68) The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968) Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965) The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965) Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63) Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967) Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965) Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968) Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969) Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967) Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967) B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968) Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967) The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965) Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964) The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966) Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965) Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964) Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965) Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68) The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62) Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964) Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966) The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63) Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69) Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969) Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966) Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962) Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967) Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969) The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969) Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969) Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964) Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969) Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961) Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966) Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969) The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968) Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966) Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969) The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963) Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965) Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966) Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966) Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)
What's at stake? Reuben and Basil discuss I Was Made to Love You, Basil's smug sipping, Buffy getting to meet the shadow version of a desperate for boys Buffy, Warren's early and blatant misogyny, empathizing with robots (but not people), and a workable definition of the difference between healthy dating and how it is often presented on TV.Definitely Doomed Ep. 93 Romance and Magnetic Trains
** 100th EPISODE OF THE LUNAR SALOON - COVER SONGS ** >> FREE DOWNLOAD
This week's podcast is a celebration of 20 years of Joss Whedon's Buffy the Vampire Slayer. We have specialty Hellmouth cocktail to discuss sexbots (I Was Made to Love You) and how difficult it is to critique an episode like The Body. Cheers to you, Joyce!
Pod of Thunder - 187 - I Was Made for Lovin' You: Chris, Nick, and Andy break down the first single from 1979's Dynasty - "I Was Made for Lovin' You". Tags: kiss, kiss podcast, pod of thunder, i was made for lovin you, paul stanley, gene simmons, peter criss, ace frehley, anton fig, lynda carter
Buffy 5x15 "I Was Made to Love You" & Doctor Who 9x5 "The Girl Who Died"
Updated 7/2/16 I WAS MADE 4 SUNNY DAYS (Thank you, The Weepies)—Doesn’t this sound just like you? Of course you were made for sunny days—except Sophia who was made for rainy days. What better way to invoke the star in … Continue reading → The post EN ROUTE first appeared on Dr. Barbara Mossberg » Poetry Slowdown.
I Was Made for Lovin` You
I Was Made for Lovin` You
One of the most popular KISS-related shows we've done was our GPS: KISS Landmarks episode with special guest host Chris Epting. Chris is well-versed in KISS, pop culture, and travel as he's written books on all three. He also now hosts a great new music talk show that you can access HERE. We had such a great response to that episode that we knew we had to do a part 2 for this year's KISSMAS in JULY. We're fortunate that Chris was equally enthusiastic about coming back to discuss KISS Landmarks. So, let's crank up the engine and hit the highway! 1 Washington Blvd Detroit, MI 48226 - Cobo Hall A very pivotal location in KISS’ history. Most well-known for a sold-out 3 night stand in January of 1976, Cobo was one of the hosts of the Alive! album and was a meeting place for the blue-collar faithful that made up KISS’ early fan base. Cobo Hall It’s also worth noting that it was the host venue for 1984’s Animalize Live/Uncensored performance as well as the venue chosen for the kickoff of the Alive 35 tour in 2009. 238 Bagley Avenue, Detroit, MI - MichiganPalace Another well-known marker of KISS’ early Detroit dominance, the Michigan Palace was built in 1926 as a movie theater and hosted KISS on their earliest American tours. Michigan Palace location It was also a beneficial presence for KISS’ promotional efforts as it was utilized for the videos for Rock N Roll All Nite and C’mon & Love Me as well as the cover photo for the Alive! album shot by Fin Costello. The majority of the structure was torn down but the ornate ceilings can still be seen above the parking garage that sits in its place today. Corner of 23rd & 8th, NYC – Dressed to Kill Cover site. The only non-structure on our list, this street corner will always big popular in the annals of KISStory. In 1975, a then-struggling KISS was working on a creative photo shoot with legendary New York photographer Bob Gruen. Inspiration struck during this shoot and the members of the band were in quick need of some business suits. Peter, being the only one that actually owned a suit, looked spiffy on this cover but the rest of the band looked awkward due to having to borrow manager Bill Aucoin’s duds and Gene borrowing Gruen’s wife’s clogs. It’s a strange album cover for sure but always a destination for KISS fans visiting the Big Apple. 1255 Hempstead Turnpike Uniondale, NY 11553 - Nassau Coliseum While Madison Square Garden will probably always be the crown jewel of New York rock concerts, Uniondale’s Nassau Coliseum has a special place in KISStory from a special time. On 12/31/1975, the band was presented with their first gold album awards prior to taking the stage. Nassau Coliseum Also of note for this concert was the fact that Blue Oyster Cult were the opening act. This was symbolic in the fact that a year prior, KISS was opening in this venue for BOC. This took place 2 years to the day of their first public performance at the Academy of Music. A true crossroads for the band on their way to superstardom. 3500 Sports Arena Boulevard, San Diego, CA 92110 – San Diego Sports Arena Now known as the Valley View Casino Center, the San Diego Sports Arena was host to many classic rock bands from the 1970’s and KISS is no exception. Built in 1966, the arena has hosted numerous sporting events as well as notable concerts by acts like Jimi Hendrix, Tina Turner and Metallica. San Diego Sports Arena San Diego Sports Arena fits in the KISS ether by way of one very famous photograph. The gatefold image of KISS in full bombastic glory from the Alive II album has always been a stern message to other bands to “Top this!” While it’s one of the most iconic photos in rock history, it’s origin location is refuted by the original photographer. Barry Levine has claimed in interviews that the photo was not snapped at Sports Arena but, in fact, at L.A.’s Forum. Regardless of where it was taken, it still makes many say “Wow” upon first glance. 254 West 54th Street, New York, NY 10019 – Studio 54 Studio 54 will always be strongly tied to the disco era. The Manhattan haven for debauchery was an escape for many well known celebrities from the entertainment and fashion worlds including members of KISS. Paul Stanley was actually inspired to write ‘I Was Made for Lovin’ You’ after a night at 54 listening to pulsating disco beats that were on top of the charts. Studio 54 Also of KISS note, Studio 54 was the host venue for one of the only times that band performed as a trio. KISS were set to lip-synch to the song ‘I’ from the Music from The Elder album during a live satellite broadcast for the San Remo Festival in Italy in January 1982. Ace Frehley was a no-show and the band had to soldier on despite his absence. A very strange location for a very strange performance from a very strange album. Strange, indeed. Cascais Hall, Lisbon Portugal After taking a huge leap of faith by unmasking on MTV in 1983, KISS decided to go half a world away to break in the fresh-faced version of the band. Located. literally, in a highly vegetated jungle-like atmosphere, KISS unveiled their new look for the Lick it Up tour at Cascais Hall in Lisbon, Portugal. Cascais Hall, Lisbon As evidenced by the footage on KISSOLOGY Volume 2, the Portuguese fans were a bit surprised by the band’s new appearance but were quickly won over by the energetic ferocity that they still brought to the stage. T C Industrial Park, Depew NY, 14043 – Borden Ink Plant (Marvel Comics) By 1977, KISS were keenly aware of what it took to generate press attention. They took full advantage of a good story by flying out to the Borden Ink Plant near Buffalo, NY to pour viles of their own blood into the red ink for use in their upcoming Marvel comic. Borden Ink, Depew NY Marvel master Stan Lee was on hand as well as a notary and members of the press. This was an iconic moment in the band’s history and it also ushered in the saturation of non-musical merchandise that was to come. 1 Stuart St Binghamton, New York 13901 – Broome County Veterans Memorial Arena We’re sure a lot of KISS fans are wondering what Binghampton, NY could possibly have to do with Kisstoric landmarks. Broome County Veterans Memorial Arena was built in 1973 and has hosted a number of notable events including a pair of Elvis’ final concerts. Broome County Arena, Binghampton NY Of KISS note, it is the only venue to feature a full Mark St. John KISS performance. Struggling with Reiter’s Syndrome, St. John was sidelined for most of the Animalize tour and played a couple of split shows with then-replacement member Bruce Kulick. But in Binghampton, St. John would play the entire set. Being a rather small arena, only a select number of fans got to witness one very unique and short-lived lineup of KISS. 100 1st Avenue Nashville TN - Riverfront Park Fresh off the release of KISS My Ass: Classic KISS Regrooved, the band was only playing a handful of U.S. dates in 1994. Decibel Gee’s own Chris Czynszak was fortunate enough to see one of them. Riverfront Park, Nashville TN Headlining the Gibson Guitars 100th Anniversary concert, KISS played after an eclectic mix of artists including Pat Travers, Brother Cane, and Fleetwood Mac. The band threw down a musical gauntlet without the use of pyro or flashy stage effects. Performing on a floating stage, the band pulled out a barrage of heavy and obscure tunes that had the diehards panting for more. Truly a unique concert in KISStory. 1000 Elysian Park Ave, Los Angeles, CA 90012 - DodgerStadium After record-breaking attendance numbers on the reunion tour or 1996-97, KISS were determined to assault the media with the launch of new album and tour Psycho Circus. On Halloween night of 1998, the band received wall-to-wall coverage on the FOX Network due to their guesting on numerous shows including Mad TV and Millenium. Dodger Stadium The network also aired the beginning of a raucous concert at Los Angeles’ Dodger Stadium. While the merits of the album and pre-tour hype are hot-button topics for any KISS fan, it’s pretty clear that this venue, on this night, hosted a band that had truly returned to form. 8255 Sunset Boulevard Los Angeles, California 90046 – Casablanca Records Offices Soon to be documented by a Hollywood film and already documented by the great book by Larry Harris, Casablanca Records Offices were abuzz in the 1970’s in more ways than one. Casablanca Records Site With cocaine running rampant and hype spilling out of every corner thanks to the enthusiasm of label owner Neil Bogart, the Casablanca Offices provide a perfect example of the phrase “If walls could talk.” There are some famous photos in KISS-fan circles of the large billboard outside the building that would regularly feature KISS album advertisements. 3000 West Alameda Avenue, Burbank, California – NBC Studios This location is famous for some of the biggest moments in television history; The Tonight Show being one of the biggest. But, for KISS fans, this sacred ground is the site of one of KISS’ most explosive television appearances. NBC Studios Site On 4/1/1975, KISS ripped through a handful of future-classics in front of a slack-jawed audience on The Midnight Special. This fiery performance included loads of energy by the front three as well as machine gun-like drumming from Peter Criss as well as Chris totally trashing his drum kit at the end of the set (a la Keith Moon). This footage is a great way to show a newbie how powerful KISS was in the early days. 483 George St Sydney NSW 2000, Australia – Sydney Town Hall While KISS’ popularity was certainly waning in the United States in 1980 after a big change in sound and a personnel change at drummer, the band was massive in Australia. The KISS tour of Australia in 1980 was as close to Beatlemania as a band could get. Sidney Town Hall Playing soccer stadiums, making front page news every day, and parties that seemed to never end, the band had their official welcome on the balcony of Sydney Town Hall looking down on thousands of fans that had gathered to get a glimpse of their heroes. 2121 Trumbull St., Detroit, MI 48216 – Tiger Stadium If there was ever one place that every KISS fan wanted to be it was Detroit’s Tiger Stadium on June 28th, 1996. Paul, Gene, Ace, and Peter finally delivered on what so many fans had dreamed of; a full reunion with the original band. Tiger Stadium Site Playing to a massive sold out audience, KISS was there to say “Meet the new boss….same as the old boss” 8852 W Sunset Blvd, West Hollywood, CA 90069 – The Viper Room Guest host Chris Epting has a personal KISS connection to this venue and the next. The Viper Room was the venue that Chris and his son were allowed to interview all four members of KISS on August 13, 2012. The Viper Room The band were there to unveil the massive Monster book. Chris and his son had a special moment with the band as Gene took note of the strong father and son bond that had connected the two through the love of the band. 6300 Pacific Coast Hwy, Redondo Beach, CA - Rock and Brews Restaurant Closing out our discussion of KISS Landmarks is another location near and dear to Chris Epting. On May 13, 2013 the band performed and impromptu 3 song set at the grand opening of Rock and Brews PCH location. Rock & Brews PCH Not using their trademark gear, the band performed with the gear that was laying around but still pulled off an energetic set that had KISS fans in the crowd excited. We close out the show with an exclusive audio clip of KISS performing ‘Hotter Than Hell.’ Buy Music! KISS Check out Chris Epting's books! http://www.chrisepting.com/ Check out Chris Epting's show! http://webtalkradio.net/internet-talk-radio/music-backstage-onstage-on-the-record/ Contact Us! Rate, Review, and Subscribe in iTunes Join the Fan Page Follow on Twitter E-mail Us Comment Below Call us on the Hotline! (540) DBGeek - 1 or (540) 342-3351 *All images used sourced by Google Images and Google Maps. No copyright infringement intended. Credit pending. To add credit, contact decibelgeek@gmail.com*
Big Damn Heroes has hit episode 34, and, yeah, it's here kids. Thank to both Buffy and Angel, though not for the reasons you'd think on Angel, this is gonna be one hell of a depressing episode. There's no way around that. So sit down, get a pint of ice cream, and curl up with Hannah and Will as they cover Buffy's "I Was Made to Love You" and "The Body," and Angel's "Reprise" and "Epiphany."
The cast discuss their top pics for 2010. They are (drum roll in your head) Music Jill : Thrift Store Cowboys “Bright Fire” Diane : The Weepies “I Was Made for Sunny Days” Paul : The Cast of Glee “Teenage Dream” … Continue reading →
Here’s part 3 of our 2010 KISSmas special (“I Was Made for Lovin’ Yule?” “I Can’t Stop the Reindeer?” “Manger in a Strange Land?”)!
1.Yester-Me, Yester-You, Yesterday 2.Please Don't Hurt My Baby 3.As 4.My Cherie Amour 5.I Was Made to Love Her 6.Golden Lady 7.Tuesday Heartbreak 8.On The Sunny Side Of The Stree 9.Blowin' in the wind 10.My Girl 11.Summer Soft 12.Sir Duke 13.I Wish 14.All Day Sucker 15.Boogie On Reggae Woman 16.That Girl 17.Black Man 18.For Once In My Life 19.Signed, Sealed, Delivered I'm Yours 20.Superstition 21.Pearl 22.My Baby's Gone 23.Superwoman 24.I Just Called To Say I Love You 25.Get It (Duet With Michael Jackson) 26.Isn't She Lovely 27.Another Star 28.As If You Read My Mind 29.Did I Hear You Say You Love Me 30.I Want My Baby Back 31.Uptight (Everything's Alright)
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