Podcasts about In Love with You

Text us about this show.Steve March-Tormé and Michael Murphy return to Into The Music to introduce you to the title character of their new album, Dalton Diamond. This is an album just over four decades in the making having originated in a West Los Angeles bedroom as the idea of Steve along with his friend, Craig Copeland. In the mid 1980s, nine of the album's were written by Steve and Craig and two additional songs that round out the narrative were written forty years later by Steve and Michael. The feel of the album harkens back to the 1970s southern California country rock of the Eagles, J.D. Souther, Jackson Browne, and The Flying Burrito Brothers to name a handful of Dalton's influences. This episode serves as a preview of the album and Steve and Michael throw in a live performance for good measure. Enjoy!"Only Passing Through" and "I'm In Love With You" performed by Steve March-Tormé & Michael Murphywritten by Steve March-Tormé and Craig Copeland℗ 2025 Living Room Records, LLC. Used with permission of Steve March-Tormé & Michael Murphy"Aurelia" and "Bullseye On The Run" performed by Steve March-Tormé & Michael Murphywritten by Steve March-Tormé and Michael Murphy℗ 2025 Living Room Records, LLC. Used with permission of Steve March-Tormé & Michael MurphyMelody Audiology LLCAudiology services for all. Specializing in music industry professionals and hearing conservation.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2025 by Project X Productions. All rights reserve...

For our 350th episode, we present to you the fantastic, world-renowned Rock ‘n Roll singer-songwriter-musician-poet and author, Suzi Quatro, who happens to be making her second appearance on StoryBeat. Suzi's been writing and performing music since she was in her teens and is widely considered to be one of the most influential rock bassists and singers of her generation.Suzi has sold over 55 million records, putting out such hits as 48 Crash, Devil Gate Drive, The Wild One, She's In Love With You, If You Can't Give Me Love, and her duet with Chris Norman, Stumblin' In.Suzi's also well-known for playing Leather Tuscadero on the hit TV Series, Happy Days, as well as for her various other TV appearances.Suzi turned her bestselling autobiography, Unzipped, into her one woman show, which premiered at London's Hippodrome in 2007.A prolific poet and writer, Suzi has published such books of poetry as Through My Eyes, Through My Heart, Through My Words, and Through My Thoughts. Her first novel, The Hurricane, was released in 2017, and she recently published her latest novel, Grave Undertakings.  I've read Grave Undertakings and can tell you it's a fantastic dive into the minds of a college psychology class, and what happens when the small group of students and their professor analyze themselves and one another revealing their own inner lives and sensibilities. This is the rare work of fiction that I believe should be taught in psychology classes everywhere.Aside from her wonderful writing, Suzi continues to tour and release new albums.

Lawn mowed early this morning. Also taking care of the neighbor's lawn. Attacked around my ankles by fire ants! I hope I can walk tomorrow! That's a great deal of mowing! The Music Authority Podcast...listen, like, comment, download, share, repeat…heard daily on Belter Radio, Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Mixcloud, Player FM, Tune In, Podcast Addict, Cast Box, Radio Public, Pocket Cast, APPLE iTunes, and direct for the source distribution site: *Podcast - https://themusicauthority.transistor.fm/  AND NOW there is a website! TheMusicAuthority.comThe Music Authority Podcast! Special Recorded Network Shows, too! Different than my daily show! Seeing that I'm gone from FB now…Follow me on “X” Jim Prell@TMusicAuthority*Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! *The Sole Of Indie https://soleofindie.rocks/ Monday Through Friday 6-7PM EST!*AltPhillie.Rocks Sunday, Thursday, & Saturday At 11:00AM ET!May 24, 2025, Saturday, set one…@Orbis 2.0 - TMA SHOW OPEN THEME@Stephen Lawrenson - Hey! [Somewhere Else]@Gale Trippsmith - Blink [Sideways]@Star Collector - Game Day [Game Day]@Onsloow - Unstoppable [Onsloow]@Fred LaRose - Color In Sound [Focus]@Pia Fraus - Another Artichoke [Evening Colours]@The Allrightniks - 04 I'm In Love With You [4 Song EP]@Shanda & The Howlers - Trouble's Out To Play [Early Times] (@Rum Bar Records)@The Lost Patrol - On The Run [Midnight Matinee]@Dave Caruso - I Get To Make You Laugh [Buddha Pesto Manifesto]@Ray Paul - I Need Your Love Tonight [Bloody Rubbish] (koolkatmusik.com)@Cheap Cassettes - Lil' Bit Everyday [See Her In Action! Maxi-Single EP] (@Rum Bar Records)@The Tremblers - I'll Be Taking Her Out Tonight@Rick Altizer - I Want My Whatever [Pop Geek Heaven Present Power Pop Prime Vl. 9]@Anne Dudley & @Jaz Coleman - In A Timeless Place [Songs From The Victorious City]@The Kinks – Celluloid Heroes

This week's Mixtape Rewind takes us back to our new music mix from October 2022Taylor Swift dominated charts by claiming all top ten Billboard spots with her "Midnights" album – we explore "Mastermind," highlighting how her songwriting prowess continues to evolve while maintaining that distinctive Taylor sound.The musical whiplash continues as we bounce between genres. Flatland Cavalry's folksy "Mountain Song" transports listeners to peaceful natural landscapes, while Sam Smith and Kim Petras deliver the imposing, menacing "Unholy" that marks a dramatic departure from Smith's typical style. Rock veterans make strong showings with Smashing Pumpkins returning to their hard-edged roots on "Beguiled" and Red Hot Chili Peppers honoring guitar legend Eddie Van Halen with their extended six-minute tribute "Eddie."Our exploration reveals fascinating discoveries – from The 1975's "I'm In Love With You" (prompting us to admit we've overlooked their 20-year catalog) to emerging artist Jake Swamp and the Pine's nostalgic "Empty Stomachs and Bloodshot Eyes." We even find Bruce Springsteen covering Ben E. King on his upcoming Motown and soul covers album.https://music.apple.com/us/playlist/new-music-october-2022/pl.u-mJy81vBINE8XR1q https://open.spotify.com/playlist/0BzHINFCB80bJQZAlwEiWu?si=18378ffac35a4bd5Mastermind by Taylor SwiftMountain Song by Flatland CavalryUnholy by Sam Smith & Kim PetrasFrancesca by WeezerLift Off by LabrinthI'm In Love With You by The 1975Beguiled by The Smashing PumpkinsEmpty Stomachs and Bloodshot Eyes by Jake Swamp and the PineEddie by Red Hot Chili PeppersStfu (feat Rick Nielsen) by Todd RundgrenElectricfy My Love by Mondo CozmoDon't Play That Song by Bruce SpringsteenSupport the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Country Countdown Weekend I brani più trasmessi dalle web radio Americane durante la settimana appena trascorsa a Wild Eagles The Country Style Show Ascoltiamoli insieme a Stefano Dj Am I Okay – Megan Moroney Holy Smokes – Bailey Zimmerman Think I’m In Love With You – Chris Stapleton I Never [...]

The post Beat Club: This Guy’s In Love With You appeared first on NiTfm.

Tracklist 01. Kisch - Dive Deep [SOLOTOKO] 02. Adam is a Girl, Matrice - Kiss Love Fight [A Tribute To Life (Black Hole)] 03. Lana Del Ray - Summertime Sadness (Hot Since 82's Extended Rub) [Knee Deep In Sound] 04. Ash Nova & Cornelius SA - Fly Solo [Zerothree] 05. Hugel, Diplo - Forever feat Malou & Yuna [Warner Records] 06. Moreno Pezzolato - Say Yes [HouseU] 07. Mat.Joe - Ya Still Know [This Ain't Bristol] 08. Vintage Culture - Pleasure Chasers (Joris Voorn Remix) [Vintage Culture] 09. INSCT feat. Kama - We Are The Universe [INSCT] 10. Eelke Kleijn feat JAI RYU - When The Sun Comes Up (6AM Version) [DAYS like NIGHTS] 11. Hysteric Ego x Chicken Lips - Want Love x He Not In (Sgt Slick ReCut) [White Label] 12. Return of the Jaded - I'm In Love With You feat MELLY OHH (VIP Extended Mix) [TECHNE] 13. Tenacious - So Good [Fool's Paradise] 14. Dario Nunez, Nolek - Feel Alive [Wh0 Plays]

Welcome to The Control Room 149! This week we have a special guest in the mix: Toronto DJ & Producer, and fellow Toolroom Academy alumni. His funky, groovy approach is sure to make you smile and dance, with music from the likes of Butch, Mark Knight, James Hurr, Harry Romero, KeeQ, and many more. Hosted by Weitner, the Control Room Radio brings you the freshest house music from the world's biggest artists with a focus on the funkier, groovier side of Tech House, whilst always digging deep into the vaults to bring you those forgotten classics. Join the thousands of listeners already tuned in every other week on one of the world's biggest digital stations, Data Transmission Radio. Follow Weitner on Instagram & YouTube - @weitnermusic (https://instagram.com/weitnermusic) Follow Ben Decent on Instagram - @bendecent (https://www.instagram.com/bendecent/) Tracklist 1. Butch - Go Brooklyn (Extended Version) [Finicky] 2. Mark Knight, Green Velvet, James Hurr - The Greatest Thing Alive (Extended Mix) [Toolroom] 3. Luca M, JUST2 - Sweet Love (Original Mix) [Stereo Productions] 4. James Hurr & Mark Knight vs. Modjo - Lady [Toolroom] 5. James Curd, Mizbee, Gettoblaster - Keep It High (Hyde (OFC) Remix) [Circus Recordings] 6. Ango Tamarin - Freaks Pon Di Floor (Extended Mix) [Nothing Else Matters] 7. Hrag Beko, David Novacek - In My Mind (Extended Mix) [Toolroom] 8. KeeQ - Sweet Little Nothing (Extended Mix) [Saved] 9. KLF VS Stefano Noferini & M.Hristov - What Time Is (Soft Coqui Selection Booty) [Bootleg] 10. Cevin Fisher - Love You Some More (Harry Romero Extended Remix) [Faith] 11. DJ Boris - Kiki Disco [Edible] 12. Harry Romero - Tania (Filterheadz Remix) [Toolroom] 13. Kid Creme - Hypnotizing (Stefano Noferini, Victor Roger Groovedit 2021) [Bootleg] 14. Chiapet - Westworld (Skylark Edit 2019 Remaster) [Yoshitoshi] 15. Federico Scavo - Bug (Original Mix) [Pacha] 16. Return Of The Jaded - I'm In Love With You feat. MELLY OHH (Extended Mix) [Techne]

Mais aula completa inédita aqui no canal! Na aula de hoje você vai aprender inglês com a lindinha "This Guy's In Love With You" de Burt Bacharach. É claro que uma aula completa como esta, você só encontra só aqui na série "Aprenda Inglês com música", que te ensina inglês de maneira divertida e eficaz (ah, e de graça!) desde 2016

Les nouveautés du jour : - Paul McCartney & Wings "Soily" - Blanco Brown "One Day Less" Le journal de la musique : - Queen vend son catalogue musical - AC/DC, meilleur groupe pour picoler - Debbie Harry aimerait travailler avec Johnny Depp La cover : Nine Inch Nails reprend "Zoo Station" de U2 Les classiques du jour : - Faith No More "Easy" - Depeche Mode "A Question of Time" Le live du jour : Chris Stapleton & Dua Lipa "Think I'm In Love With You" (2024 ACM Awards) A suivre : SEB "last great american summer"

Internacionales: el maestro Boy Scaggs cantando a Al Green; Nicole Willis y su soul jazz a la sueca; Herb Alpert, York, el bajista Will Lee, Frazey Ford, Huey Lewis & The News o el gran Randall Bramblett… Y canciones españolas de The Pepper Pots, Edith Salazar o Gata Brass Band.  DISCO 1 GATA BRASS BAND Sin Mirar AtrásDISCO 2 RANDALL BRAMBLETT Get In Get OutDISCO 3 NICOLE WILLIS & UNO JAZZ ORCHESTRA Haunted By The DevilDISCO 4 BOZ SCAGGS Full Of FireDISCO 5 GEMMA &THE TRAVELLERS Too Many RulesDISCO 6 HUEY LEWIS & THE NEWS While We’re YoungDISCO 7 EDITH SALAZAR Juego MortalDISCO 8 FRAZEY FORD September Gurls DISCO 9 WILL LEE MaryanneDISCO 10 YORK & JOSEPHINE NIGHTINGALE Mr. WooferDISCO 11 HERB ALPERT & TIJUANA BRASS This Guy’s In Love With YouDISCO 12 THE PEPPER POTS Time To LiveDISCO 13 FELA KUTI & ROY AYERS 2000 Blacks Got To Be FreeEscuchar audio

On tonight's show: Glenn Miller, Chattanooga Choo Choo Artie Shaw, Back Bay Shuffle Quintetto Ritmico di Milano, L'Uccellin volo' volo' Quintetto Ritmico di Milano, Il Ritmo dell'amore Sidney Bechet, Sweet Lorraine Arthur 'Guitar Boogie' Smith , Here Comes The Boogie Man - 20 - Benny Goodman, Wholly Cats Erroll Garner, Somebody Loves Me Erroll Garner, Stardust Illinois Jacquet, Memories Of You Tommy Dorsey, I'll Never Smile Again/Tico Tico Ella Fitzgerald (with The Delta Rhythm Boys), For Sentimental Reasons Mary Lou Williams' Girl Stars, Harmony Grits The Mills Brothers, I'll Be Around The Mills Brothers, Nevertheless (I'm In Love With You)

Tracklistings:  1.Kamar - I Need You (Peggy Gou Remix) 2.Vaudafunk - Plage Prive 3.Jerome Sydenham & Kerri Chandler - Deconstructed House (Phase 2) 4.Dany Cohiba - Las Marismas  5.G.Zamora - Remedio 6.Sebas Ramis feat. Life on Planets - Control (Ron Basejam Disco Dub) 7.Groove P - Are They Real  8.Rhode & Brown - Eleganza  9.Vhyce - I Wish You Knew  10.Marco Lys, Flashmob - No Matter 11.Return of The Jaded feat. Melly Ohh - I'm In Love With You 12.Ordonez - She's A Dancer  13.Atlantic Ocean - Waterfall 2023 (Dr. Packer Ext Remix) 14.Patrick Prins - Le Voie Le Soleil (VIP Version) for bookings & contact: guipimentel29@gmail.com 

The 1975 3:15 Looking For Somebody (To Love) 5:38 Happiness (intro) 8:43 Happiness 9:12 POTB intro 13:41 Part Of The Band 14:31 Oh Caroline 18:39 I'm In Love With You 22:56 All I Need To Hear 28:07 Roadkill 32:03 FallingForYou 35:08 I Like America & America Likes Me (Real World) 39:12 About You 44:11 When We Are Together 49:51 —CONSUMPTION— 55:46 If You're Too Shy (intro) 1:03:31 If You're Too Shy (Let me Know) 1:04:55 TOOTIME 1:09:42 Me & You Together Song 1:13:26 It's Not Living (If It's Not With You) 1:17:02 Paris 1:22:06 An Encounter 1:26:58 Robbers 1:27:38 Somebody Else 1:32:48 I Always Wanna Die (Sometimes) 1:38:06 Love It If We Made It 1:43:12 The Sound (smash hit) 1:47:10 Sex 1:51:29 Give Yourself A Try 1:55:15 The End 2:00:37 All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here  please contact us immediately via email: allmusiclive@outlook.com and WE WILL REMOVE THE EPISODE IMMEDIATELY! 

EX60 - The 1975 - I'm In Love With You and It's Not Living If It's Not With You The 1975 are an English pop rock band formed in 2002 in Wilmslow, Cheshire. The band consists of lead vocalist, principal songwriter and guitarist Matty Healy, lead guitarist Adam Hann, bassist Ross MacDonald, and drummer and primary producer George Daniel. The name of the band was inspired by a page of scribblings found in Healy's copy of On the Road by Jack Kerouac that was dated "1 June, The 1975". The band members met in secondary school, and first performed together as teenagers in 2002, before professionally releasing music in 2012 under independent label Dirty Hit Rolling Stone stated that the band has been at "the forefront of modern pop rock" since their debut. Pitchfork has described them as a "band of friends" who "ascended from scrappy emo rockers to global superstars". Entertainment Weekly has characterized them as "British Phenoms," with Billboard declaring them "the most ambitious pop-rock band of their generation". They have received several awards and nominations including four Brit Awards, two Ivor Novello Awards, as well as two nominations for the Mercury Prize and Grammy Awards. In addition, they have been awarded "Band of the Decade" at the 2020 NME Awards. Songs Featured in this episode ⁠I'm In Love With You⁠⁠It's Not Living (If It's Not With You)⁠ ⁠https://the1975.com/⁠ ___ ⁠https://truemediasolutions.ca/add-to-my-playlist

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

Queen of Soul – Aretha Franklin bekam diesen Titel schon in den frühen 60er Jahren zugeschrieben. Ihre Stimme und ihre Art zu singen, belebte die Lieder auf einzigartige Weise, verlieh ihnen Tiefe, Glaubwürdigkeit und Leidenschaft. Sie sang von Liebe, Verlust, Schmerz, Freude und Selbstbewusstsein – besonders letzteres, von ihr als schwarzer Frau vorgetragen, berührt viele bis heute. Aretha Franklin wurde als Tochter eines später berühmten Baptistenpredigers groß, sie sang wie ihre Schwestern in den Gottesdiensten. Aber auch in ihrem Zuhause in Detroit versammelten sich viele berühmte Musikerinnen und Musiker: z. B. Mahalia Jackson, Art Tatum und Jackie Wilson. Privat war ihr Leben nicht einfach, ihre Mutter starb, als sie zehn war, sie selbst wurde schon als Teenagerin zweifache Mutter. Aretha Franklin fiel bald mit ihrer Stimme auf, bei Columbia Records sollte sie als Jazzsängerin aufgebaut werden, was nur teilweise klappte. Schließlich kam bei Atlantic Records ab Mitte der 60er Jahre der große Erfolg: Soul, eine Musik, die zu ihr passte wie keine andere: RESPECT, I say a little prayer for you, Think, Young, Gifted and Black - ihre Lieder sind Hymnen dieser Zeit, ihre Konzerte sind Ereignisse. Auch mit reinen Gospelalben hat sie weltweit Erfolg. In diesem ersten Teil sprechen Peter Urban und Ocke Bandixen über die frühen Jahre bis Anfang der 70er. In 14 Tagen findet Ihr hier Teil 2. Peters Playlist: Songs of Faith (aufgenommen 1956, erschienen 1959 & 1965) Aretha (1961): Won't be long The Electrifying Aretha Franklin (1962): Nobody like you, Exactly like you, It's so heartbreakin‘, Rough lover The Tender, The Moving, The Swinging Aretha Franklin (1962): Try a little tenderness, Lover come back to me Unforgettable: A Tribute To Dinah Washington (1964): Cold, cold heart, Drinking again, Nobody knows the way I feel this morning, Evil gal blues, Soulville Running Out Of Fools (1964): Every little bit hurts, You'll lose a good thing Yeah!!!(1965): Muddy water, Without the one you love Take It Like You Give It (1967): Le Cross I Never Loved A Man The Way I Love You (1967): das gesamte Album mit den Highlights Respect, I never loved a man, Save me Aretha Arrives (1967): Satisfaction, You are my sunshine, Going down slow, Baby, I love you Lady Soul (1968): das gesamte Album mit den Highlights Chain of fools, People get ready, (You make me feel like) A natural woman, Since you've been gone, Good to me as I am to you (feat. Eric Clapton), Ain't no way Aretha Now (1968): Think, See saw, You send me, I can't see myself leaving you Soul '69 (1969): Today I sing the blues This Girl's In Love With You (1970): The dark end of the street, Let it be, Eleanor Rigby, The weight, Call me Spirit In The Dark (1970): Don't play that song, Spirit in the dark Aretha Live At Fillmore West (1971): das gesamte Album Aretha's Greatest Hits (1971): Spanish Harlem, Bridge over troubled water

Jana Herzen, Charmet Moffet: Killing Me Softly; Ben Sidran: Time's Getting Tougher Than Tough; Etta Jones, Cedar Walton trio: This Guy's In Love With You; Doug Wamble: Blues For The Praying Man; Eric Bibb, Russell Malone: The Ballad of John … Lees verder →

Yesterday, we helped him confess on air! Hey, MELISSA! Your best friend Brandon is IN LOVE WITH YOU! Did she hear the segment? And more importantly...are the feeling mutual?! Learn more about your ad choices. Visit megaphone.fm/adchoices

*!REPLAY ALERT!* Marc Collins Morning After Solar Radio show with his trusty assistant "Ravishing Russ Warnes the Receptionist” a 2 hour Soul, Jazz, Funk and Boogaloo selection. Simply “Listen Again” on the “Brand new Solar Website” at www.solarradio.net/class/marc-collins/ Or ask Alexa to “Play Marc Collins Morning After Podcast, latest episode” “The Morning After Show Starter!”

Eight-time Grammy winner Herb Alpert (Spanish Flea, This Guy's In Love With You, Ladyfingers) on his successful and expansive career, founding the powerhouse record label A&M records, and his friendship with Karen Carpenter of the Carpenters (whom he signed to his label). Plus, Canadian singer-songwriter Doug Paisley (36:21) tells you the story behind his song “Wide Open Plain” from his new album, “Say What You Like.”

Today on the Rarified Heir Podcast encore edition, we talk to Eden Alpert, daughter of great trumpet player and record label owner, Herb Alpert. We talk about Herb's youth growing up in LA, his Jewish roots, his songwriting career and ultimately his massive instrumental hits “A Taste of Honey” with the Tijuana Brass, his solo hit “Rise” as well as his vocal smash “This Guy's In Love With You.” Put it this way, in the 1960s, Herb Alpert and the Tijuana Brass were the only other artist to knock The Beatles off the #1 spot on the charts. His records were massive. We also talk about his record label, A&M Records which was a powerhouse in the music industry by signing artist like, The Carpenters, Sergio Mendes, Joe Cocker, Cat Stevens in the 70s, The GoGos, Squeeze, Oingo Boingo and Janet Jackson in the 90s and during the 90s, Soundgarden, Sheryl Crow, Sting and Monster Magnet. You know, just a few small artists that barely anyone knows. Ha! (guffaw). We also talk to Eden about running Vibrato, the jazz/supper club owned by Herb that she runs and books as well as the many music education charities Herb has founded which cement his legacy as true mench (MEN-CH) of the highest order. All “Rise” and take a listen to this encore edition of the Rarified Heir Podcast with Eden Alpert, right now

So much work went into this mix, I almost missed the deadline… but, hey, it is to to say goodby to the real G.O.A.T., the one and only Burt Bacharach, our god of pop music! Here is my tribute to maybe the most important musician in my life. I tried to not only include my favourite Bacharach tracks (too many anyway..) but amazing, unusual covers of his music, most of them with a lot of Soul (and a Morrissey cover…). Also in here, lots of musicians (old and newer) talk about him, you will find interview bits of Burt himself, Hal David, Noel Gallagher, Richard Carpenter, Dusty Springfield, Dionne Warwick, Elvis Costello, etc. Like Noel mentions in this mix, even if you have never heard of Burt (fool….), you definitely not only know a lot of his songs/compositions, but for some strange reason you can also sing along to them, because they are/were everywhere. They are part of the backbone of modern pop music all over the world. I am pretty sure that if there are aliens watching/listening to us, they not only love his music, but they probably will come one day to take him home with them in their ship (a balloon, as we all know now…). Unfortunately, it's too late for that now… ! His songs float by all of us when we are young, often in the background on our mum's kitchen radio, but as soon as we become older, experience the big feelings of love, heartbreak, loss, sadness, melancholy… those little songs suddenly make so much sense. They are (and will be) the best remedy against all low times! And I can't thank Burt Bacharach enough for making my shit times bearable. Your legacy will NEVER EVER stop to be discovered, loved by every coming generation in the future. R.I.P. Burt, and thanks a million for your music! Trust me, we will cherish the beautiful heritage you gave to all of us… P.S: One more really special musician left us recently, the one and only Terry Hall (Specials, Funboy 3 and so much more.), he would have deserved his own tribute show too, so of course his version of "This Guy's In Love With You" is in here! CARPENTERS - (They Long To be) Close To YouSTEVIE WONDER - (They Long To be) Close To You (1972 live talkbox)JOE LOSS ORCHESTRA - (They Long To be) Close To YouDIONNE WARWICK - Walk On ByBEACH BOYS - Walk On ByRHETTA HUGHES - Walk On ByJERRY BUTLER - AlfieTHE 5TH DIMENSION - Living Together, Growing TogetherISAAC HAYES - I'll Never Fall In Love AgainDIONNE WARWICK - Loneliness Remembers What Happiness ForgetsMORRISSEY - Loneliness Remembers What Happiness ForgetsVINCENT BELL - NikkiBURT BACHARACH - The Look Of Love (Instrumental)DUSTY SPRINGFIELD - The Look Of Love TERRY HALL - This Guy's In Love With YouELVIS COSTELLO with BURT BACHARACH - In The Darkest PlaceMARK LINDSAY - Something Big

Love songs composer Burt Bacharach, passed away peacefully on February 8th, at age 94. Showcasing his great body of work, I created a top 20 of my favorites from his catalog. Theme Song: "Dance Track", composed by Jessica Ann CatenaPlaylist: https://open.spotify.com/playlist/1uCCtSmvv8Ee1DXHFq4UPR?si=2e4113bd446a4da1&pt=c569bb78ff92e150c6e48269fac0490220. “Do You Know the Way to San Jose?”19. “The Look of Love” 18. “I'll Never Fall In Love Again”17. “Baby It's You”16. “The Windows of the World”15. “Anyone Who Had a Heart”14. “Always Something There to Remind Me”13. “Wishin' And Hopin'”12. “Arthur's Theme (Best That You Can Do)”11. “This Guy's In Love With You”10. “Raindrops Keep Fallin' On My Head”9. “One Less Bell to Answer” 8. “What's New Pussycat?”7. “Walk On By”6. “A House Is Not a Home”5. “(They Long To Be) Close to You”4. “I Say A Little Prayer”3. “Alfie” 2. “That's What Friends Are For”1. “What the World Needs Now Is Love” Austin Powers movies: https://www.imdb.com/find/?q=Austin%20Powers%20&ref_=nv_sr_smMy Best Friend's Wedding: https://www.imdb.com/title/tt0119738/?ref_=nv_sr_srsg_0One Amazing Night (Live): https://open.spotify.com/album/4RTgzQcJRec7mjGumaGFDF?si=3Tgyy9EcQHCAJwdXPPRccARelated episodes: Ep. 71 -Secret Admirer's Countdown: https://www.spreaker.com/episode/45730281Ep. 104 - "No Time to Die" Movie Theme: https://www.spreaker.com/episode/46900797Ep. 144 - Yacht Rock - Boat Songs: https://www.spreaker.com/episode/50597561

Support MxG & REC: OFFICIAL MxG & REC MERCH MxG on Patreon MxG on YouTube REC on Bandcamp REC on YouTube Nick DeMatteo Official Season 5 Episode 19 FEATURED SONG: Nicky DeMatteo - "The Lady's In Love With You" (from Blame It On My Youth) This week I talk about Frank Sinatra. Does he deserve all the praise? What was his best era? How does he rank among vocalists of his ilk? What's happened to crooning since the 1960s? I also talk about the history of crooning, and break down the five big crooner eras. Are you a Sinatra fan? If so, do you have a favorite period? If not, why not, and what other crooners do you think are better? Are there any crooners of the last 40-50 years you're a fan of? Discuss dammit! ~~~~ *intro music credit: REC - "Wake Up High" Learn more about your ad choices. Visit megaphone.fm/adchoices

**Smiffy's A To Z Of Soul Music On www.traxfm.org. This Week Smiffy Featured A Terry Hall Special (19th March 1959 to 18th December 2022). Track Featured Was The Specials - "All The Time In The World", "A Message To You Rudy", "The Lunatics", "Vote For Me", "It's Up To You", Fun Boy Three - "The Tunnel Of Love" & "Our Lips Are Sealed", "Faith & Hope & Charity", The Colourfield - "Thinking Of You" & "Take", Terry Hall - "This Guy's In Love With You","Forever J", "I Saw The Light" & More #boogie #soul #70sgrooves #80sgrooves #danceclassics #contemporarysoul #raregrooves Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Read by Kenneth Koch Production and Sound Design by Kevin Seaman

PARAMORE - This Is Why SHYGIRL – Shlut THE 1975 – I’m In Love With You VEINTIUNO ft LOVE OF LESBIAN – La Vida Moderna GINEBRAS – Alex Turner MORREO ft ADIÓS AMORES – Los Turistas DELAPORTE – Clap Clap DORIAN – La Tormenta de Arena JORDANA B. - Clase media EL VERBO ODIADO - La Pasión CAITLIN ROSE - Nobody's Sweetheart LUCY DACUS – Too Late MERYL STREEK - Death to the Landlord IDLES – Mr Motivator ELECTRIC SIX – Danger! SECOND – Muévete y Siente SPORTS TEAM – The Drop Escuchar audio

The legendary, highly influential Rock ‘n Roll superstar, Suzi Quatro. Suzi made her stage debut playing bongos in her father's jazz band, the Art Quatro Trio. At 14, she co-founded the all-girl band, The Pleasure Seekers, with her elder sister, Patti, playing a bass guitar that was as tall as she was. Suzi quickly became the band's lead singer and front person. They successfully toured for 7 years before changing their name to Cradle. The group was then seen by the successful music producer, Mickie Most. He offered Suzi a solo contract, which eventually led her to working with the hit-making songwriters Nicky Chinn and Mike Chapman, resulting in her first huge hit, Can the Can, which went to number one in Great Britain, Europe, Japan and Australia, and sold 2.5 million copies worldwide.Suzi has sold over 55 million records. Among her numerous worldwide hits are: 48 Crash, Devil Gate Drive, The Wild One, She's In Love With You, If You Can't Give Me Love, and Stumblin In, a duet with Chris Norman.From 1977-79 Suzi played Leather Tuscadero opposite Henry Winkler and Ron Howard in the hit TV Series, Happy Days.  Other TV appearances include: Minder, Dempsey and Makepeace, Absolutely Fabulous, and Midsomer Murders.Among Suzi's many other creative endeavors: she made her critically acclaimed West End debut in 1986 playing Annie Oakley in Annie Get Your Gun. She wrote music and lyrics with Shirlie Roden for the Tallulah Bankhead musical, Talullah Who?, in which Suzi starred.  She's even had her own radio shows on BBC Radio 2 since 1999. Her bestselling autobiography, Unzipped, released in 2007, was turned into Suzi's one woman show which premiered at London's Hippodrome.In 2016, Suzi released a book of poetry called Through My Eyes. In 2022, she released a second volume of poetry entitled, Through My Heart, Steve highly recommends. Through My Heart is powerfully personal, moving, intense, and quite deep. Suzi writes with passion and conviction, very much from her heart.Her first novel, The Hurricane, was released in 2017, and she's already at work on the sequel.            Suzi continues to tour and release new albums, including 2019's No Control, a collaboration with her son, Richard Tuckey, who co-wrote most of the tracks and played guitar. On her latest album, Uncovered, released on Sun Records, Suzi covers 6 classic soul, rock, and pop songs. The excellent documentary, Suzi Q, was released in 2019. Because of the attention it's received, she's now signed to do a movie of her life. Suzi remains a major creative force to be reckoned with. Her famous quote says it all, “I will retire when I go on stage, shake my ass, and there is silence.”In 2016, Suzi received an Honorary Doctor of Music Degree from Cambridge University, making her officially Dr. Quatro.

El uno de noviembre se cumplió medio siglo del primer álbum de Steely Dan. Jeff Beck y Johnny Depp reúnen de nuevo sus talentos en un disco caprichoso. El australiano Ben Lee reaparece con la colaboración de amigos como Zooey Deschanel (She & Him). Esta noche PJ Morton actuará en el Teatro Pavón de Madrid dentro del ciclo Villan@s del Jazz. Mañana Pablo Moreno publicará su primer disco: "El Nido". DISCO 1 JEFF BECK & JOHNNY DEPP Caroline No DISCO 2 SHE & HIM & BRIAN WILSON Do It Again DISCO 3 BEN LEE Like This Or Like That DISCO 4 ZELLA DAY Golden DISCO 5 PABLO MORENO Yo lo intento DISCO 6 THE 1975 I’m In Love With You DISCO 7 JUDIT NEDDEMANN & VERNAT Tú DISCO 8 YOUNG GUN SILVER FOX West Side Jet DISCO 9 VÍCTOR MARTÍN  Nada que nos haga mal DISCO 10 GECKO TURNER De balde DISCO 11 ALVVAYS After The Earthquake DISCO 12 PJ MORTON How Deep is your Love DISCO 13 STEELY DAN Reelin’ In The Years Escuchar audio

It's us, hi. We're the podcast hosts, it's us. In the Earbuddies Season 2 Premiere, Mat and Tim discuss their feelings on Taylor Swift's latest release, Midnights. From Jack Antonoff's production choices to Taylor's lyrical work, where do the buddies land? Plus: circling back to the When We Were Young Festival in Las Vegas.SONGS PLAYED:Taylor Swift - Anti-HeroTaylor Swift - Lavender HazeThe 1975 - Part of the BandTaylor Swift - MaroonTaylor Swift - LabyrinthTaylor Swift - Snow on the Beach (feat. Lana del Rey)Taylor Swift - Dancing With Our Hands TiedThe 1975 - I'm In Love With YouTaylor Swift - KarmaTaylor Swift - Question...?Taylor Swift - You're On Your Own, KidTaylor Swift - MastermindSponsored by Carson Wentz.

Marc Alghini's Music Monday segment on The Greg and Dan Show features the past weekend's meal highlights, football, as well as the best new music to listen to!  This week's list includes Bruce Springsteen's cover of The Commodores' classic "Nightshift," British Indie-Pop group The 1975 and their new hit "I'm In Love With You," and local artist Jared Grabb. See omnystudio.com/listener for privacy information.

NPR Music's picks for the best albums out this week include the long-awaited return of M.I.A., plus new records from Tove Lo, The 1975, Mykki Blanco and more.Featured Albums:1. M.I.A. — MataFeatured Songs: "The One," "Tribe," "Popular"2. Tove Lo — Dirt FemmeFeatured Songs: "2 Die 4," "Suburbia"3. Mykki Blanco — Stay Close to MusicFeatured Songs: "Trust A Little Bit," "Family Ties," "French Lessons," "Carry On"4. The 1975 — Being Funny in a Foreign LanguageFeatured Songs: "I'm In Love With You," "When We Are Together"5. Ryuichi Sakamoto — Exception (Original Soundtrack)Featured Songs: "Opening For Exception," "Collusion," "Operating The Drone"Lightning Round: Lil Baby — It's Only MeMavi — Laughing So Hard It HurtsAO Gerber — Meet Me at the GloamingKool G Rap — Last of a Dying BreedPlains — I Walked With You a WaysBetty Who — Big!

A bumper episode for season 2, episode 2 with special guest, current Leveller and all round brilliant human being, the very talented Dan Donelly. As well as focusing on his terrific 2011 album 'Country & Northern', and hearing about the genesis of each song, we have some fun discussions about why drinking pints of Guinness in a music video isn't a great idea, and possibly being the last vanguards of 'the album'. There's also serious chat about depression and suicide, and why Dan feels this record is his 'Blood on the Tracks'. Oh, and we have actual music! There's a taster of each of the songs on the album, which is a good thing as I'm reliably informed that the record isn't on Spotify. However, if you've a spare thirty odd quid, then you can buy the CD on Amazon or eBay. It'll be money very well spent in our humble opinion. The UK singles and albums charts from May 2011 come under serious scrunity - well as much as we could muster for the singles as we only knew about 3 of the songs between us! As for the albums, Cee Lo Green, Rhianna, Radiohead, Foo Fighters, Wombats and Adele all feature. There's much love for Dave Grohl, but not so much for Bruno Mars and Jessie J. We're delighted that Ian Prowse features heavily in the episode, as Dan tells us about the song from Ian's latest album 'One Hand On The Starry Plough' written about him, aptly entitled, 'Dan'. It's a song that 'Louder than War' commented on their album review: "Dan again sees Prowse deliver a character-led narrative, this time over a sea-shanty song that puts me in mind of The Decemberists, which from me is high praise indeed." Dan Donnelly himself recounts his first hand experience of hearing Ian playing the song live at a recent gig in Sunderland, at the venue that Dan co-owns with Futurehead Barry Hyde. We finish the episode with each of us picking an Ian Prowse 'Top 3' - a far from easy task with such an extensive back catalogue of brilliant and eclectic music spanning over thirty years. None of us choose his Magnus Opus 'Does This Train Stop On Merseyside' deciding that was a given, but there's some very emotional and personal choices amongst our picks. Thanks Dan! You can listen to more of Dan along with wife Kathryn on the quite brilliant 'Now That's What I call Bullshit' podcast here: https://www.buzzsprout.com/1756768 Follow the podcast on Twitter: https://twitter.com/NowThatsWhatI18 and Dan himself: https://twitter.com/dandinnerlady Or Facebook: https://www.facebook.com/nowthatswhatIcallBS and https://www.facebook.com/dansonovagun Watch Dan's video for the song 'Running' on YouTube: https://youtu.be/luDmoz_xl9U And more recent release and my song of the week 'Time of Our Lives': https://youtu.be/J9HWYXl8UC8 Kate's Song of The Week is by 'The 1975' entitled 'I'm In Love With You': https://youtu.be/UVzVUDXoi0Y One of the 9 wonderful Ian Prowse songs from our Top 3's: https://youtu.be/Qf2QNDZpeTw Please support our tiny corner of the internet by subscribing, and sharing with your friends and family, rating us on Apple Podcasts, following, liking, or commenting on social media, or you can make Memorabilia podcast history and be the first non-family member to send us an email - a mention on a future episode is guaranteed! Email memorabiliapodcast@gmail.com Twitter @Memorabiliapod (https://twitter.com/Memorabiliapod) Facebook @MemorabiliaPodcast (https://www.facebook.com/Memorabilia-Podcast-102585322133793)

This week we're bending over backwards to submit ourselves to MAGGIE ROGERS and her stellar sophomore effort 'Surrender'. We talk about the album's creation, creative process, and a surprising cameo from FLORENCE + THE MACHINE. ALSO DISCUSSED is the tracklist for BETTY WHO's upcoming album 'BIG!' and Dom Pop's official position on CARLY RAE JEPSEN touring her new album before it releases. AT THE SPA: AVA MAX (Million Dollar Baby), THE 1975 (I'm In Love With You), FLETCHER (Sting), MAUDE LATOUR (Cyclone), CHARLIE PUTH (Smells Like Me), TOVE STYRKE (Another Broken Heart), and BETTY WHO (She Can Dance BRABO Remix feat. PABLO VITTAR). NEXT WEEK: Problématique by KIM PETRAS!

M.I.A. asegura que su próximo disco, 'MATA', será que será algo rebelde: "la batalla del ego versus encontrarte a ti misma y encontrar al líder espiritual…". Hoy escuchamos otra de las canciones incluidas, 'Popular', donde mezcla las redes sociales, con la inteligencia artificial y el reggaeton. Aparte, escuchamos la elegancia de Broken Bells en 'Saturday', la energía de Editors en 'Vibe' y el desamor de Alex Lahey en 'Congratulations'.    SUEDE – The Boy On The Stage EDITORS – Vibe MAXÏMO PARK - Partly Of My Making SHYGIRL – Nike M.I.A. - Popular FIDLAR – Fsu CLUTCH - Slaughter Beach MARYLAND - Ser Motivo THE WOMBATS - Is This What it Feels Like to Feel Like This BROKEN BELLS - Saturdays YEAH YEAH YEAHS – Burning SECRET MONKEY WEEKEND - Do The Secret Monkey THE 1975 - I’m In Love With You TWO DOOR CINEMA CLUB – Wonderful Life HOT CHIP – Freakout/Release ALEX LAHEY – Congratulations GINEBRAS – Alex Turner ARCTIC MONKEYS - There’d Better Be A Mirrorball Escuchar audio

Hoy repasamos algunas de las mejores canciones de las últimas semanas, deteniéndonos en las novedades más recientes como 'There’d Better Be A Mirrorball', de Arctic Monkeys, 'I'm In Love With You', de The 1975, 'Ser Motivo',d e Maryland o 'Verbenas', la carta de presentación de la próxima etapa de Eva Ryjlen. ARCTIC MONKEYS - There’d Better Be A Mirrorball THE NATIONAL ft BON IVER - Weird Goodbyes THE 1975 - I’m In Love With You RED HOT CHILI PEPPERS - Tippa My Tongue MARYLAND - Ser Motivo YUNGBLUD - The emperor MUSE - Kill or Be Killed HIGHLY SUSPECT - Natural Born Killer BEYONCÉ - I'm That Girl EVA RYJLEN – Verbenas HOT CHIP - Freakout/Release GORILLAZ ft. TAME IMPALA and BOOTIE BROWN - New Gold YEAH YEAH YEAHS – Burning SECRET MONKEY WEEKEND - Do The Secret Monkey FIDLAR – Fsu VETUSTA MORLA – Te Lo Digo a Ti Escuchar audio

The first of a four-part program featuring Broadway composer Burton Lane, known for such celebrated shows as FINIAN'S RAINBOW and ON A CLEAR DAY YOU CAN SEE FOREVER, along with songs for over thirty films including ROYAL WEDDING and BABES IN ARMS. Lane recounts his early songwriting efforts in Hollywood with Frank Loesser and Harold Adamson, Broadway collaborations with E.Y. “Yip” Harburg and Alan Jay Lerner, writing songs for Fred Astaire, and discovering a young Judy Garland. Featured songs: “Overture from FINIAN'S RAINBOW,” “Something Sort Of Grandish,” “Out In The Open Air,” “Forget All Your Books,” “Everything I Have Is Yours,” “How'dya Like To Love Me,” “The Lady's In Love With You,” “I Hear Music,” and “Dancing On A Dime.” Originally produced and broadcast in 1981. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

En el paraíso, en el séptimo cielo… Donde reina la Música. Aquí se mezclan los sonidos negros, funk, house, hip pop, disco, rag, reggae, soul… Novedades, tesoros recuperados y algún clásico indiscutible. Para iniciar el fin de semana como en la gloria. DISCO 1 MILES DAVIS Shout (Cara 1 Corte último) DISCO 2 RUDIMENTAL & LIANNE LA HAVAS Breathe (17) DISCO 3 TOWA TEI & Bahamadia & Bebel Gilberto Happy (3) DISCO 4 TSHA Giving Up feat Mafro  DISCO 5 ATLANTIC STARR I’m In Love With You  DISCO 6 DIDDY, Bryson Tiller Gotta Move On  DISCO 7 JOHN LEGEND feat. JID Dope(Edited) (7) DISCO 8 MAYSA Can We Change The Word (6) DISCO 9 BOBBY BLUE BAND The Right Place At The Right Time (6) DISCO 10 KENDRICK LAMAR, Summer Walker, Ghostface Killah Purple Hearts DISCO 11 TARRUS RILEY  Superman (6) DISCO 12 PRECIOUS PEPALA My Eyes Only  DISCO 13 LAMONT DOZIER & GREGORY PORTER How Sweet It is (2) Escuchar audio

Willow Pill - I Hate People (@djroland01 Club Mix) @davismallory - Cologne @djtheogomez, @alliromusic - I Never (Original Mix) @dj-estebanlopez - Jaguar (2k21 Mix) Tom Siher, Pol Rossignani, Binomio - Running (@dj-estebanlopez & @javier-solana Remix) Geez, @dj-head-dj - Music Is My Art (Mauro Mozart Remix) @officialeddiemartinez - Dance With Me (Original mix) @dj-estebanlopez, Javier Solana - Fable 2k22 (Extended Mix) @dannyverde, Phil Romano, Anna Buckley - See The Light (Original Mix) @pedropons74 - Cafe Del Mar (Original Mix) @moussa - Guy Scheiman, Inaya Day - High Energy (Moussa Official Vocal Mix) Tiesto & Ava Max - The Motto (@enricomeloni Remix) Daniel Bovie & Roy Rox Fet Nelson -Love Me(@isaksalazar Big Room Mix) Las Bibas from Vizcaya - Sky High (@toy-armada Club Remix) Micky Friedmann, Hayla Assulin - Happy Nation (@dj-estebanlopez & @pedropons74 Remix) Beyoncé - Sweet Dreams _21 (@thiago-antony-913597629 Remix) Christina Aguilera - Genie In A Bottle _21 (@thiago-antony-913597629 Remix) Shouse - Shouse - Love Tonight (@thiago-antony-913597629 Remix) Melodika - Torn (@oscarvelazquez Remix) Allten Fellder - Deep Inside - Patrick Sandim, Fran Nunes, Rafael Rosa (@allten-fellder Rework) Kate Bush - Running Up That Hill ''22 (@thiago-antony-913597629 Remix) @dj-estebanlopez, Pablo Bravo - Siempre Bien (Original Mix) Filipe Guerra - Keep On Movin_ (@thiago-antony-913597629 Remix) @rafaelbarretodj - Una Vez Mas feat. Julie Sensacional (Original Mix) Sia - Unstoppable _22 (@thiago-antony-913597629 Remix) @pedropons74, Andrea Pol - Be My Lover (Original Mix) @nch - Rhythm Plans (Black 2 Black Paulo Pacheco & Mauro Mozart Remix) Rafael Daglar - Time to Funky (@adrian_lagunas_official Remix) Zoe - Constant Craving (@toy-armada Remix) Soundwave, Sharon O'Love - Sandstrom (@melodikaofficial2018 Remix) Jaymes Young - Infinity (@tonydelucaxxx Festival Remix) League of Heroes pres. @dancemusicprod - League Of Heroes pres. Tony Moran - Save A Prayer (Jose Spinnin Cortes SubWoofer Remix) @dancemusicprod ft Jason Walker -I'm In Love With You @toy-armada & DJ GRIND Club Mix @mstermiss - Narcotic Thrust - I Like It (JETFIRE X MISTERMISS REMIX) @dancemusicprod, Nile Rodgers, Kimberly Davis - My Fire (Tony Moran/Bissen Extended)

| Good For Us  | 03:30  | Lydia Persaud  | 2022 | I Can See It  | 03:54  | Brandon Beal  | 2008 | Love Uprising  | 02:41  | Mr T.  | 1972 | Love Uprising  | 02:32  | The Chi-Lites  | 1971 | (Until You) Come Back To Me (feat. Andre Cruz)  | 03:57  | Chris Lujan  | 2022 | Yours With Love  | 03:58  | Special Gift  | 1996 | Wish  | 03:52  | Miriam Dance  | 2019 | Let Me Be The One  | 05:09  | Beautiful Bobby Blackmon  | 2011 | I Can Feel The Tears  | 03:26  | Act III  | 1970 | Where Did Peace Go  | 03:18  | Larry Sanders The Prophet Of Soul  | 1971 | Can I Get That  | 04:02  | Teri Tobin  | 2011 | The Greatest Emotion  | 04:13  | TK Soul  | 2011 | Give Me Love  | 02:55  | Terrie Rimson  | 2022 | Take Me Back  | 02:59  | The Three Reasons  | 1971 | Out The Spirit  | 04:44  | Royalty Duo  | 2022 | In Love With You  | 03:30  | John Gary Williams  | 1972 | Please Come Home  | 04:59  | Eddie and the Valiants  | 2022 | Never Stopped Loving You  | 03:52  | Tyrone Davis  | 1980 | Would You Rather  | 02:35  | The Georgettes  | 1970 | You And Me Babe  | 04:17  | Homegrown Syndrome  | 2015 | Love Is What You Make It  | 02:55  | The Sweet Cherries  | 1969 | Come Inside  | 04:49  | Kevin  | 2014 | Prove My Love To You  | 03:19  | The Quadraphonics  | 1974 | When I Hold Your Hand  | 04:14  | Roland Johnson  | 2011 | Love Story  | 03:36  | Joi Starr  | 2022 | Love Brought You Here  | 03:30  | Pat Johnson  | 1972 | Round Two  | 05:12  | Carol Riddick  | 2011 | Why Can't Our Love Be Like It Was Before?  | 05:20  | Oral Caress  | 1977 | Thinkin' 'bout Cha  | 12:21  | The New Lost Generation  | 2001

Wow we are so close to the big 200 but let's take a second to get hyped for this episode because it is with one of my favorite DJ/Producers in the game, Return of the Jaded ! I caught up with Zoltan over Zoom and had such a blast getting his full story in this one

Solardo present: The Spot. A 60 minute insight into their world, bringing you the most cutting edge house & techno from around the globe, whilst also including the Spot Light mix series featuring some of the hottest artists going. Hit subscribe and enter The Spot! Mihalis Safras - On The FloorBen Kim - Wanna DoGreen Velvet - Bigger Than PrinceENNE & Lucas Bahr - Cintura (Original Mix)Stacey Pullen - Feel It (Full Force Mix)ID - Super Duper Sharp ShooterGAWP - Lost and FoundKing Topher & MOYA - I Got Joy (Extended Mix)GIANT - Get Down (Extended Mix)GUZ, Havoc & Lawn - Come Back (Extended Mix)Catz 'N Dogz feat. Raymond - RendezvousReturn Of The Jaded feat. MELLY OHH - I'm In Love With You

Collin Oliver - Ripple Effects Episode 049Tracklist:1. Stephan Duy - Together - Toolroom2. Hyslop - Like I Do (Extended Mix) - DVINE Sounds3. Paul Parsons & Block & Crown - Understand This Groove 4. Huxley - Who Sez (Extended) - Toolroom5. The Sanctuary - hold on (Lawrence Hart Extended Mix) - The 6. Sanctuary7. Return Of The Jaded - I'm In Love With You ft. MELLY OHH (Extended Mix) - TECHNE8. salute - Joy (Extended Mix) - SIGNAL >> SUPPLY9. Makree - Heading South (Extended Mix) - Wh0 Plays10. Adapter - Shaky Break - Saved Records11. Northend - Happy Days feat. Michelle Wallace (Felix da Housecat & 12. Chris Trucher Remix) - Kookoo Records13. Sebb Junior, Hatiras - I See You (Original) - Spacedisco Records14. Surrender - This Feeling (Extended Mix) - Spinnin' Deep15. Block & Crown - Stay The Night (Extended Mix) - Tactical Records16. clavette ft. Black Gatsby - Up To Something (Original Mix) - Quincy Boy Records

"Your weekly dose of Funky House Music from Around the World." - DJ MIDIMACK Oct 2021 Mix Pt. 5 (Ep 200) Playlist: Old Good Time by NUMA A TFIVE (France) Happiness by Super Disco Club (Australia) feat. Sadako Pointer Disco Trippin by Luca Debonaire (The Netherlands)/Maickel Telussa (The Netherlands) Ain't No Sunshine by Laurent Simeca (France/USA)/Crazibiza (USA/Hungary) The Change by Earth N Days (Hungary) Dancer Delight by Lissat (Germany)/Paul Jockey (Italy) Took My Love Away by Soulvation (The Netherlands) Turbojeans by Andrea Laddo (Italy) Funky Ways by Ministry Of Bounce (Mexico) Prisoner by Luca Debonaire (The Netherlands)/Frederik Abas (The Netherlands) Better Than Before by Uri Mood (Spain) My Night by Claptone (?)/APRE (?) I Want You To Know by HP Vince (The Netherlands) Your Honor by CASSIMM (London) feat. Leela D I'm In Love With You by Return of the Jaded (Canada) feat. MELLY OHH My Love by CASSIMM (London) Soul Searcher by Kideko (UK)/Wh0 (UK) Here We Go by ROMBE4T (The Netherlands) Take A Look Around by Killed Kassette (UK) Hands Up by Nari (Italy)/Laurent Simeca (France/USA) www.themixbagpodcast.com www.patreon.com/djmidimack Thank you for listening! Support this podcast

This week we sat down with Louis Bryant and Stevens Thegenus of Reggae Lou & The Kind Budz and talked about their future tour plans, their roots and inspirations and then they played a few tunes for us in the 561 Music Lounge. NOTE: The Tune "I'm In Love With You was originally written by Ricky Bolufe (aka Ricky Bobby). Reggae Lou & The kind Budz can be found at the following links: Facebook: https://www.facebook.com/louisbryantmusic Instagram: https://www.instagram.com/reggae_lou/ Website: https://www.reggaelou.com/ Enjoy their music on Spotify, Apple Music, or wherever you stream your music, or you can find her on the new 561 Music Playlist we created of various local artists that we will be continually updating. Reggae Lou & The kind Budz on Spotify: https://open.spotify.com/artist/5cT96h26vRy4tm7dwCEW8x?si=Y8mE88rVS7-P1WI5q8MWiA&dl_branch=1 Reggae Lou & The kind Budz on Apple Music: https://music.apple.com/us/artist/reggae-lou-and-the-kind-budz/1557887005 561 Music Playlist: https://open.spotify.com/playlist/7y2i0AgJTGRMtxMADgZ7AZ?si=Zp77sqBTuewWTDouxH2g 561 Music Links: Facebook: https://www.facebook.com/561musicpodcast Instagram: https://www.instagram.com/561musicpodcast Twitter: https://twitter.com/561musicpodcast YouTube: https://www.youtube.com/c/561musicpodcast A huge thank you to our sponsors this week. Our official weekly sponsor, Handlebars Bar, and Grill, and additional sponsors this week, Harmony Management Group and Paddy Mac's in Palm Beach Gardens. HANDLEBARS BAR AND GRILL Handlebars is a little biker bar in Tequesta FL with a lot of history. Famous with bikers around the world in its previous incarnation as Judy's, the new owners have kept the feel and vibe of the place while upgrading the quality of the food and drink. From its bike nights that fall every 2nd Thursday of the month to its daily great food and drink and cool atmosphere, Handlebars is a destination bar for anyone who owns a bike, and even if you don't ride you are welcome to come and soak in the vibe with an ice-cold beer. Go online and check the place out at www.handlebars-bar-and-grill.com or find us on Facebook to keep up with events and find out about bookings and menu items. HARMONY MANAGEMENT GROUP Does it overwhelm you to walk into your small business or home office? Sometimes all you need is just a little help and that is where Harmony Management Group can help you. Offering anywhere from just a few hours a week of office help for basic office tasks like filing and organizing to full-service business offerings like bookkeeping, payroll, tax services, data entry, scheduling, invoices, and much much more. She is slowly becoming the go-to accountant for artists and musicians because of her understanding of the music and art business. She can service all of your business needs and tailor plans specific to your business spectrum. There is no need to stress and worry about the little things in your business (or the big things for that matter!). Take a deep breath and call Mary at Harmony Management Group at (561) 420-5652 and tell her Ben and Hector from 561 Music sent you. You won't be disappointed and in fact, you will be relieved you did. Let Harmony Management Group put the ZEN Back Into Your Life! PADDY MACS IRISH PUB Paddy Mac's is the real thing. It's like they took an Irish pub straight out of Ireland and put it in Palm Beach Gardens. The owner, Hugh, is so down to earth and has created a traditional Irish pub feel with authentic food that is sure to make you feel right at home. The Killbillies have made Paddy Macs their home away from home and so should you. Traditional Irish food, full bar, cold beer flowing by the pints, and live music...what more could you want? 561 Music Podcast was recorded by our producer Justin Hucker at Live Music Community, which offers podcasting, video production, live stream, music lessons, recording and so much more. Check them out and take a virtual studio tour here: https://www.livemusiccommunity.com and make sure you check out the livestream Sunday nights on their YouTube Channel. Special Guest: Reggae Lou & The Kind Budz.

The day has finally come. The RBAY! boys are finally diving into Jessica Simpson's discography, after 3.5 years of Joel relentlessly pestering David to do this. The Southern belle pop diva and 2000s pop culture icon we are celebrating is famed as one of The JB's Fab Four legends - alongside Britney Spears, Christina Aguilera and Mandy Moore. Together Joel and David get into Jessica's early years leading into her shining debut in 1999 as Tommy Mottola's new teen pop sensation with 'I Wanna Love You Forever'. They get into highlights of Successica Simpson's multi-platinum-selling debut album "Sweet Kisses", which featured Destiny's Child and her then-beau Nick Lachey. Whether we're pressing play on skyscraper power ballads or premium bops like 'I Think I'm In Love With You', 'Irresistible' and 'A Little Bit' - there really is more than meets the eye with Jessica's story. If you mostly know Jess from the MTV Newlyweds era onwards, this is a comprehensive and loving guide to her formative years in the spotlight - with some stories gleaned from her heartfelt memoir "Open Book" (a must-read!). Follow Right Back At Ya! https://www.instagram.com/rightbackpod/ https://twitter.com/rightbackpod https://www.facebook.com/rightbackpod Check out our Spotify playlists https://open.spotify.com/user/1c3ks5jdh2x4j7jdg1o0aglwg Follow Joel https://www.instagram.com/dr_joelb/ https://twitter.com/DR_JoelB Follow David https://www.instagram.com/lovelimmy/ https://twitter.com/lovelimmy Email us rightbackpod@gmail.com 

Total Freedom is a weekly radio show, on air on:Mio Radio (Turkey) Tuesday 03 PMSpace FM Romania (Romania) Tuesday 01 AMAIR GAY RADIO (France) Wednesday 10 PMJR.FM Radio Network (Usa) Friday 04 PMRadio Amistad 101.9 FM (Dominican Republic) Friday 11 PMDanceRadio.ca (Canada) Friday 03 AMBeats2dance Radio (Holland) Saturday 05 PMCUEBASE-FM (Germany) Monday 06 PMTempo Radio Mx (Mexico) Saturday 10 PMReloaded on iTunes: http://apple.co/1NijFVJTracklist:01 DJ S.K.T feat. Iris Gold - 4AM In London (Extended Mix)02 Diego Donati & Frank Hernandez - Feels Like Stars (IDOL Mix)03 Danny Ventura - Can't Sleep Alone (Extended Mix)04 I.D - 100 Years (MESZCA Extended Mix)05 Menrva - Play it Cool (feat. Island Banks) [Extended Mix] [Perfect Havoc]06 ROMBE4T - My Life (Extended Mix)07 gavrill feat meredith sanders - want to stay (rino sparacino extended remix)08 Sonny Fodera - Angel feat. Clementine Douglas (Extended Mix)09 CASSIMM - My Love (Extended Mix)10 Low Steppa - Make It Through (Extended Mix)11 Malive - Shelf (ft. Burlington) (Extended Mix)12 Otis Redding & Carla Thomas - Tramp (Korky Buchek Remix)13 Return Of The Jaded - I'm In Love With You ft. MELLY OHH (Extended Mix)14 Rony Rex - Awake Me (feat. SACRE) [Extended Mix]15 Shaun Frank x SNBRN x Dope Earth Alien - King Kong (Extended Mix)

This week: Indy Lopez mixing the best Tech House feat. Atari Safari, Hollaphonic, Juliana Mendez many more 1 Franky Redente - All Night - Street Tracks 2 Roddy Lima & Gabriel Rosin - STROBE - LOW CEILING 3 Mark Boson - Grimy (Extended Mix) Wh0 Plays 4 Harvard Bass - After Hour Sweets (Truncate Remix) Bump City Records 5 Harvard Bass - Im The One (Seth Troxler Remix) Bump City Records 6 Harvard Bass - Techno Nites (Loco Dice Remix) Bump City Records 7 DJ Dove - Spiritual Dancin - Freakin909 8 Josh Davids - Deeper (Extended Mix) - Wh0 Plays 9 Return Of The Jaded - I'm In Love With You ft. MELLY OHH (Extended Mix) TECHNE 10 Irregular Synt - Tonight (robbie Rivera Remix) - Dirty Minds 11 DIM FLO - NASTY - HIGH GROUND 12 Kaiser Souza - The Man With The Red Face (Classic 2021 Redux) [Valiant Records] Thanks to all the labels and Artists for his promos. All tracks selected and mixed by Indy Lopez. Indy Lopez (Producer,Dj & Artist) Send your Promos to:promo@indylopez.com ENJOY ALL MY MUSIC HERE More info: WWW.INDYLOPEZ.COM TWITTER INSTAGRAM FACEBOOK YOUTUBE SHAZAM Bookings Worldwide: Musiczone Records: bookings@indylopez.com Encoded and Host by MUSICZONE PODCAST SERVICES

Boldy James & The Alchemist - Photographic Memories (feat. Roc Marciano & Earl Sweatshirt) Hemo - Les premiers, les derniers (feat. Ron Brice) Steeve Beezy - Trame exquise (feat. Lewis Dice) Donnie Freeman - Cherries (feat. Mori$$ Regal & Blue November) Gabe 'Nandez - Osiris Dave East & Harry Fraud - Uncle Ric (feat. Benny The Butcher) Rome Streetz & Futurewave - Most High Big Twins - Cannoli (feat. Ransom & Mooch) Brother Ali - Not So Super Eight Mickey Factz, Blu & Nottz - Freedom (feat. Kota The Friend & Tarriana Tank Ball) Eli Tha Don & Hot Take - Princess Amidala ZIMBA & Laizlo - Yeah! Napoleon Da Legend & DUS - Full Nelson Bobby Sessions - Gold Rolex (feat. Benny The Butcher & Freddie Gibbs) E R R O R - FIRE IN MY SOUL (feat. Dexgod) Pink Siifu - Bussin' (Cold) (feat. Turich Benjy) Laylow - SPECIAL (feat. Nekfeu & Fousheé) Amaria - Got Me Like (feat. Mick Jenkins) Dave - Verdansk 404Billy - 88% (Window) (feat. Benjamin Epps) DA Uzi - Génération 90 Tha God Fahim & Nicholas Craven - Lost His Way (feat. Your Old Droog) Ka - We Living feat. Navy Blue OutKast - Two Dope Boyz (In A Cadillac) OutKast - Elevators (Me And You) 112 - In Love With You Aaliyah - If Your Girl Only Knew Westside Gunn - Rayful Plug Westside Gunn - Eric B Westside Gunn - Hall & Nash (feat. Conway The Machine) Westside Gunn - Rixh Lord Poor Lord (feat. Vast Air of Cannibal Ox) Westside Gunn - Bon Jovi (feat. Benny The Butcher) Westside Gunn - Rolacks (feat. Skyzoo) Westside Gunn - Dear Winter Bloody Flegs Westside Gunn - Aunt Rosie's Westside Gunn - The Cow (feat. Conway The Machine) Westside Gunn - Mr. Fuji (feat. Conway & Smoke DZA) Westside Gunn - Nitro (feat. Conway & Benny The Butcher) Westside Gunn - Down State (feat. Styles P & Benny The Butcher) Westside Gunn - RIP Booby (feat. Conway) Westside Gunn - GiGis (feat. Benny The Butcher) Westside Gunn - Amherst Station 2 Westside Gunn - SLY (feat. Slide Wit It) Westside Gunn - Evidence Joint Westside Gunn - FCKNXTWK (feat. DJ Drama) Westside Gunn - Banana Yacht (feat. Estee Nack) Westside Gunn - Broadway Joes Westside Gunn - It's Possible (feat. Jay Worthy & Boldy James) Westside Gunn - Lucha Bros (feat. Curren$y & Benny) Westside Gunn - Claires Back (Feat. Conway The Machine, Benny The Butcher & DJ Clue)

Track listing: 1966:Nancy Sinatra - These Boots Are Made For Walkin'  (2:45)Lovin' Spoonful - Summer In The City  (2:41)The Supremes - You Can't Hurry Love  (2:54)The Monkees - Last Train To Clarksville (2:46)Question Mark & The Mysterians - 96 Tears  (2:56)Sgt Barry Sadler - The Ballad Of The Green Berets  (2:28)1967:Stevie Wonder - I Was Made To Love Her  (2:35)Tommy James & The Shondells - I Think We're Alone Now  (2:04)Young Rascals - Groovin'  (2:33)Music Explosion - Little Bit O'soul  (2:22)The Turtles - Happy Together  (2:56)Frankie Valli - Can't Take My Eyes Off You  (3:22)Nancy Sinatra & Frank Sinatra - Somethin' Stupid  (2:44)The Doors - Light My Fire  (7:06)The Monkees - I'm A Believer (2:46)Bobbie Gentry - Ode To Billie Joe  (4:15)The Box Tops - The Letter  (1:54)1968:Tommy James & The Shondells - Mony, Mony  (2:54)Archie Bell & The Drells - Tighten Up (3:12)Simon & Garfunkel - Mrs Robinson  (3:50)Jeannie C. Riley - Harper Valley P.T.A.  (3:11)Hugo Montenegro - The Good, The Bad And The Ugly  (2:40)Burt Bacharach (Feat. Herb Alpert & The Tijuana Brass) - This Guy's In Love With You  (4:00)Cream - Sunshine Of Your Love  (4:12)The Rascals - People Got To Be Free  (3:01)Otis Redding - Sittin' On (The Dock Of The Bay)  (2:45)

Dans cet épisode, c'est l'un des piliers de la French Touch, Alan Braxe qui nous accueille dans son studio. La French Touch, vous savez, ce mélange de techno house à la française apparu à la fin des années 90.Stardust , Music Sounds Better With You, ça vous parle ?Alan Braxe, Thomas Bangalter (ex-moitié de Daft Punk) et Benjamin Diamond, ont composé ce titre qui fait encore danser la planète entière. Alan Braxe nous explique tout !Il décortique également, rien pour nous, In Love With You, single sorti en 2003 et le tube Intro qu'il a fait avec Fred Falke.Branchez le casque, montez le son, on écoute.On attend vos retours sur le compte insta de @MelodyMakersPodcast et vos super notes et commentaires sur les applis de podcast. Merci.

“Your Hit Parade” was an American radio and television music program that was broadcast from 1935 to 1959. It was sponsored by American Tobacco's Lucky Strike cigarettes. During this 24-year run, the show had 19 orchestra leaders and 52 singers or groups.Not surprisingly, listeners were informed that the "Your Hit Parade survey checks the best sellers on sheet music and phonograph records, the songs most heard on the air and most played on the automatic coin machines, an accurate, authentic tabulation of America's taste in popular music." However, the exact procedure of this "authentic tabulation" remained a secret. Here are 21 hits from 1950. Enjoy. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 **** or by email at dannymemorylane@gmail.com **** In this episode you'll hear:1) Hoop-Dee-Doo by Kay Starr (with Frank DeVol Orchestra)2) I'll Always Love You (Day After Day) [Charted for 16 weeks] by Dean Martin3) Rag Mop by The Ames Brothers4) April In Paris by Frank Sinatra5) If I Knew You Were Comin' I'd 've Baked A Cake by Georgia Gibbs6) There's No Tomorrow by Tony Martin7) Blue Light Boogie, Parts by Louis Jordan & His Tympany Five8) All My Love (Bolero) [First reached #1 on the Disk Jockey chart on 10/29/50 - Lasted 5 weeks] by Patti Page9) Mona Lisa [First reached #1 on the Disc Jockey chart on 7/8/50 - Lasted 8 weeks] by Nat King Cole10) Zing Zing, Zoom Zoom by Perry Como (with The Fontane Sisters)11) Chattanoogie Shoe Shine Boy [First reached #1 on the Juke Box chart on 2/11/50 - Lasted 8 weeks] by Red Foley12) Nevertheless (I'm In Love With You) by The Mills Brothers13) A Bushel And A Peck (from the Broadway musical Guys and Dolls) by Doris Day14) If I Were A Bell by Jan Garber & His Orchestra (with Roy Cordell, vocal)15) Love, Look Away by Tony Bennett16) Nice Work If You Can Get It by Sarah Vaughan17) Count Every Star by Ray Anthony & His Orchestra (with Dick Noel, vocal)18) Sam's Song (The Happy Tune) by Bing Crosby (with Gary Crosby, Bing's son's record debut @ age 17])19) Teardrops From My Eyes by Fran Warren20) Harbor Lights [First reached #1 on the Juke Box chart on 11/18/50 - Lasted 4 weeks] by Sammy Kaye (with Tony Alamo & The Kaydetts, vocals)21) As Time Goes By by Tommy Dorsey & His Orchestra

Burton Lane, composer of such celebrated Broadway shows as FINIAN'S RAINBOW and ON A CLEAR DAY YOU CAN SEE FOREVER, along with songs for over thirty films including ROYAL WEDDING and BABES IN ARMS, discusses his career. He recounts his early songwriting efforts in Hollywood with Frank Loesser and Harold Adamson, Broadway collaborations with E.Y. “Yip” Harburg and Alan Jay Lerner, writing songs for Fred Astaire, and discovering a young Judy Garland when she was performing as part of The Gumm Sisters. Featured songs: “Overture from FINIAN'S RAINBOW,” “Everything I Have Is Yours,” “How D'ya Like to Love Me?” “I Hear Music,” “The Lady's In Love With You,” “How About You?” “Don't Let It Get You Down,” “The World Is In My Arms,” “Old Devil Moon,” “Look to the Rainbow,” “When the Idle Poor Become the Idle Rich,” “How Could You Believe Me When I Said I Love You When You Know I've Been A Liar All My Life,” “Too Late Now,” “On A Clear Day (You Can See Forever,” “Come Back To Me,” and “Where Have I Seen Your Face Before.” Originally produced and broadcast in 1986. For more information go to AnythingGoesPL.com or BPN.FM/AnythingGoes. Theme music arranged by Bruce Coughlin. Sound mixing by David Rapkin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

. José Díaz - The House Music Adventure - Deep House 193 . WEB: https://soundcloud.com/wavinmusic . YOUTUBE: https://www.youtube.com/channel/UCRoEGazMioRQ_WSM9BQ7LgQ/videos . BEATPORT CHART: https://www.beatport.com/chart/jose-diaz-deep-house-193/680465 . TRACKLIST: . Weston & Engine - Build A Bridge (Rory Cochrane Remix). . Rory Cochrane Feat. Sanna Hartfield - Focus. . Robot Needs Oil - Little Jack (Rishi K. Remix). . Juli Lee - Discobird (Vocal Mix). . Greenfish - I`m In Love With You. . Mahonie - Rosa. . Juan Deminicis - Prana. . Fulltone - Lazy Cloud. . Da Brownie - Stuck On You. . Blood Groove & Kikis - Close To You. . Martin Herrs Santanamusique - Meibe (blood Groove Kikis Remix). . Edem, Govan - Ankh. . The House Music Adventure.

A post-apocalyptic, comedy audio play about falling in love in a world that doesn’t want you to. It’s the year 2099 in The Free People’s Republic of New Kettering. A world without gender, sexuality and race, but also a time of no freedom, democracy or hope. Robin, a lifelong litter picker, is getting along with their mundane life quite happily. Until they meet Alex, and everything changes.They fall in love (which is against the law), they have sex (which is REALLY against the law), and they have a huge decision to make. Fight their robot overlords in a bid to be together, or run for their lives…Winner of the 2020 Take Off Award for New Writing, Oh For F*cks Sake (I’m In Love With You) is a brand new play from East Midlands writer and director Samson Hawkins. Samson is currently Resident Director at Eton College, an Associate at New Perspectives and a Leicester Curve Resident Artist. His recent credits include radio play We are in this Love Story which starred Sarah Gordy and was produced by Rural Arts and the BBC.

Rock Talk With Mitch Lafon presents the legendary - Suzi Quatro   We discuss her new album The devil In Me and so much more.       Press Release - SUZI QUATRO The Devil In Me 26 March 2021 Tracklisting: 01. The Devil In Me 3:24 02. Hey Queenie 4:08 03. Betty Who? 3:57 04. You Can‘t Dream It 3:10 05. My Heart And Soul 5:13 (long version) 06. Get Outta Jail 3:18 07. Do Ya Dance 2:44 08. Isolation Blues 3:36 09. I Sold My Soul Today 2:37 10. Love‘s Gone Bad 4:35 11. In The Dark 3:08 12. Motor City Riders 3:54 LP Bonustracks: 13. Can I Be Your Girl 3:34 14. Desperado 3:37 Info / Bio (English): It’s got to be a very special release that has Suzi Quatro announce proudly: “The Devil In Me is the best album in my career to date!” After all, the American rock vocalist would hardly utter such superlatives lightly. Suzi’s enthusiasm for her latest offering has many reasons, twelve of them to be precise. Because The Devil In Me consists of exactly a dozen songs, each of them – from the opening track and title song to the final ‘Motor City Riders’ – a real highlight. The reasons for Suzi’s remarkable creative explosion: on the one hand the lockdown, which kept her from her usual touring life in spring 2020, and on the other another collaboration with her son Richard Tuckey, which had already worked out extremely well on her predecessor album No Control. Suzi: “Starting spring 2020, almost one hundred of my shows were cancelled and Richard would also have been on tour with his band had not all concerts been cancelled or postponed. So I said to him: ‘We should make the most of our free time, write new material and allow ourselves to be inspired by the things that are currently going on in the world.’ I already knew that Richard and I make a brilliant team, after all No Control had been a major success and a very special recording for us. Although I would never have thought that we’d be able to surpass it. But everybody who’s heard The Devil In Me and all the people who had worked on the previous album have told us: ‘This album is even stronger!’” Suzi Quatro, now in her 57th year of writing and performing, certainly knows what she’s talking about. Since the beginning of her career as a 14-year-old singer and bassist she has achieved almost everything a musician could possibly hope to achieve. Her charismatic voice, her powerful bass style and global hits such as ‘Can The Can’, ‘48 Crash’, ‘Devil Gate Drive’, ‘If You Can`t Give Me Love’, ‘She`s In Love With You’ and ‘Stumblin In’ made her a rock music icon in the 1970s. To this day, her motto is: “I won’t retire before I turn around, shake my ass and there’s silence.” That this moment is still a long way in the distant future is partly due to The Devil In Me. “I have to confess that I could hardly wait to work on new material again with Richard after the release of No Control,” Suzi explains. “Every album has its own creative history and I know that it’s impossible to plan success. But Richard and I were certain of one thing: We knew we’d be a good team again.” And every single note on The Devil In Me proves just how good this team is. The album presents Suzi’s full range of musical diversity plus a number of surprises. From rock tracks such as ‘The Devil In Me’, ‘Get Outta Jail’, ‘Motorcity Riders’ and ‘Hey Queenie’ (“these four songs are typical of me and continue the tradition of my 1973 debut album”) to fairly unusual numbers such as the pub atmosphere-inspired ‘Isolation Blues’ with its intimate mood or ‘In The Dark’ which is accompanied by elegant piano and provocative saxophone sounds, Suzi presents herself from a whole range of different aspects. “Richard wanted this album to have a through line, so that you could put any track on, and it just fit… he also said he wanted this album to be as important and ground breaking as my first one. So that is how we approached this project, and that is what we accomplished.” ‘My Heart And Soul’ shows just how creative Suzi and Richard could be – it’s without a doubt one of the most beautiful Christmas songs of recent years. Says Suzi: “I have a little studio at my house. Richard was in the studio working on ideas, I was sitting on the patio, relaxing, and heard this absolutely beautiful track coming out of the open studio door. It was a bass line, with a sparse guitar chord, and drums. It was immediate for me. I ran into the studio, mask on of course, it was like a magnet. I asked him: ‘What is this?’ I told him to set up a microphone, I said: ‘Quick, quick, quick!’ And without thinking, without writing anything down, I sang the first for lines of the song exactly as they ended up. That`s when you know you have a great song ... and we do!” And so the lead single ‘My Heart And Soul’ (scheduled for release on 4 December 2020) hails an album that – you can’t help but agree with Suzi – probably really has turned into the best of her career so far. Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.

A little information on Herb Alpert. He sang This Guy's In Love With You and Rise.

To get live links to the music we play and resources we offer, visit This show includes the following songs: Cheri Smith - You And Me  Ed & Carol Nicodemi - Heart and Soul  Leslie Beauvais - The Valentine Song  Juli Tapken - Hopin' It's Snowin'  Newport - I'm In Love With You   Christine Elise - I Got Love for You  Instant Karma! featuring Andrea French - Love Is All That Matters  Louise Alexandra - Until You  Eli Li - This is the Love  Kirby Heard - Can't Find The Words  Amy Elise - At Last  Phoebe Blume (writer Felice Kaye-Cooper) - This Love  Levy Perry - I Love Love   Heather Layne - Complete Me  Angela Bond - Happy With You  For Music Biz Resources Visit and Visit our Sponsor Felice Cooper at Visit our Sponsor Visit our Sponsor Ed & Carol Nicodemi at Visit our Sponsor Christine Elise at Visit our Sponsor Nancy-Angel Doetzel at   Visit our Sponsor Laini Risto at Visit our Sponsor Bluestone Sisters at Visit our Sponsor Bandzoogle at:

Last LIVE HOUR for the week.  More booth work for the Voice Over Business Today, Friday, and Saturday!  Thanks!  Appreciation!!  Gratitude…to all the artists that allow me to share their art, to the weeks featured artists The 905s, The Fiction, and SFB!  As well as to next week's artists in the spotlight…Shplang, Kit Shields And Mooner, and Chris Church!  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat daily on Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! AND NOW ON MORNINGS IN CANADA!  https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening? How does and can one listen in? Let me list the ways...Listen LIVE here - https://fastcast4u.com/player/jamprell/ Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast! Please check out my shows special recorded hour, Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT Now Rocking The KOR! www.koradio.rocks ALSO! Hear a completely different recorded hour of Power Pop, Rock, Soul, Rhythm & Blues...NO TWO LIVE SHOWS THE SAME, Friday, Saturday, and Sunday on Pop Radio UK 6PM UK, 1PM ET, 10AM PT! February 11, 2021 Thursday last one this week…Greg Pope - 03 Guiding Star [Guiding Star]Lexington Avenue - Good To MeThe Explorers Club - 7. Dawn [The Explorers Club] (Goldstar Recordings)Justine and the Unclean - I'm In Love With You, Jackass (Rum Bar Records) (Red On Red Records)Buffalo Tom - Sodajerk [Big Red-Letter Day]SFB - 13 Kamikaze Krazy [Loud, Fast Rules Is Our Salvation - LIVE at Funk N Waffles Downtown Syracuse, New York]Slim & The Gems - Stop, Drop, And Roll [Feeling Cocky]Kelly's Heels - 10 Every Schoolboy Knows [Ringing In Your Ears!]The Barracudas - Subway Surfin'The 905s - 01 - Cardboard World [Sub Zero]The Push Stars – Hanging By A Thread [Paint The Town Deluxe Edition]The Jigsaw Seen - 11. My Name Is Tom [For The Discriminating Completist]Paul Weller – SavagesThe Fiction - 08 Mess Of Me [Ramona]Deadbeat Poets - Johnny Sincere [Hallelujah Anyway] (Pop Detective Records)Sorrows - Television [Bad Times Good Times] (Bomp!)Shplang - I Want to Be Someone [IPO Vol 5]Kit Shields and Mooner - 05 Talk Dirty To Me [EML 101 Vol. 2]Chris Church - 06 Look Out, You've Got It Made [Goodbye Blue Monday]Thank You – John Mellencamp

Make a donation to Unity Center of Norwalk "The Third Week of Advent - Joy & Love and Hope & Peace Abide in Me." Rev. Shawn Moninger @ Unity Center of Norwalk CT (12/13/20) You can see this talk and others on YouTube at http://www.youtube.com/c/UnityCenterNorwalk Last Week's word from Rev. Shawn: 2nd Week of Advent “Peace” “Physical Distancing and Social Presence” Hey Everybody, Hey, usually, I would talk about something ethereal around the week of peace, but I thought I’d chat about something else that may lead to a more peaceful understanding of how to think and live in our current circumstances. Every day we hear about “social distancing.” In a chat with a friend the other night he introduced a concept I hadn’t heard yet: “Physical distancing and Social Presence.” THAT MAKES SO MUCH SENSE! We place too much emphasis on the physical and not enough on the spirit. “Social distancing” says “Get away from me.” It says, “I can’t be near you.” “Physical distancing” with “Social presence” says, I’m standing over here while I’m loving you over there. Socially, I can love you and appreciate you from here. Peace prevails when we find the loving way. In our current way, it is loving to be Socially present for ourselves and each other. We have Zoom, we have the telephone and we have the outside where we can stand a bit apart but hold each other’s heart. Rather than bemoaning that it isn’t the way that it was, rejoice that Love is still the way that it is. Remember “Physical distance and Social presence.” Let’s affirm together, “The Superconscious Mind is awake in me now!” In Love With You, Rev. Shawn

Kirk Buchner and Andrea Tessman look at 1968's "This Guy's In Love With You" by Herb Albert.

Our mission here at the Music Museum is to support all Vietnam Veterans and those who serve the United States, then and now. We thank you for your service. ****** Early-on, in Vietnam, soldiers turned to music as a lifeline to the home front they’d promised to defend. Rock & roll (R&R) really became rest & relaxation (R&R) for the troops. It was this music that got you through another day, another day closer to going home. Music was a big part of a soldier’s down time that centered within the hooches of Vietnam. The music that was popular during the Vietnam War was, and is still, therapy. There are songs you can remember, and then there are songs you REALLY remember. Many of these songs will have a special meaning for you. A place, a brother, a time gone by. This program is for you, the Vietnam Vets, who will never forget. ****** Our goal with The Vietnam War: The Music is to honor the fallen and the survivors with the music that got them through “just one more day”. Our shows are broadcast around the world. They say thank you & “welcome home” to all Vietnam Vets. There is no opinion offered on the War. It’s all about the music. ******* For your service and your sacrifice, this is The Vietnam War: The Music. If you were in country while they danced at your prom, this one’s for you. We owe you a debt that can’t be repaid. Thank you. ********* This episode is called Prom Night - This Guy's In Love With You (1968) ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 **** or by email at dannymemorylane@gmail.com **** In this episode you’ll hear: 1) Dance To The Music by Sly & The Family Stone 2) Special Occasion by Smokey Robinson & The Miracles 3) Mony Mony by Tommy James & The Shondells 4) Stand By Your Man by Tammy Wynette 5) Jumpin' Jack Flash by The Rolling Stones 6) Some Things You Never Get Used To by Diana Ross & The Supremes 7) The Eyes Of A New York Woman by B. J. Thomas 8) Just Dropped In (To See What Condition My Condition Was In) by Kenny Rogers & The First Edition 9) Itchycoo Park by Small Faces 10) Sweet Blindness by The 5th Dimension 11) (Sittin' On) The Dock Of The Bay by Otis Redding 12) This Guy's In Love With You by Herb Alpert & The Tijuana Brass 13) Walking On The Water by Creedence Clearwater Revival 14) Son-of-a Preacher Man by Dusty Springfield 15) Girl Watcher by The O'Kaysions 16) Those Were the Days by Mary Hopkin 17) Will You Love Me Tomorrow by Frankie Valli & The Four Seasons 18) Give Me One More Chance by Wilmer Alexander, Jr. and The Dukes 19) Both Sides Now by Judy Collins 20) I Found A True Love by Wilson Pickett 21) On The Road Again by Canned Heat 22) To Sir With Love by Lulu 23) Ain't Nothing Like The Real Thing by Marvin Gaye & Tammi Terrell 24) With A Little Help From My Friends by Joe Cocker 25) Spooky by Classics IV 26) Respect by Aretha Franklin 27) Kind Of A Drag by The Buckinghams 28) Angel Of The Morning by Merrilee Rush & The Turnabouts 29) For Once In My Life by Stevie Wonder 30) Tighten Up by Archie Bell & The Drells 31) All You Need Is Love by The Beatles 32) Red, Red Wine by Neil Diamond 33) Groovin' by The Young Rascals 34) Turn Around, Look At Me by The Vogues 35) The Happening by The Supremes 36) I Will Always Think About You by New Colony Six 37) I've Gotta Get A Message To You by The Bee Gees 38) If I Can Dream by Elvis Presley 39) Baby, Now That I've Found You by The Foundations 40) Lady Willpower by Gary Puckett & The Union Gap 41) Kiss Me Goodbye by Petula Clark

Hola amigos, para esta nueva edición de JUST ROCK, presentamos novedades y temas clásicos. Disfrutarlo y un saludo de toda la familia que realizamos, Just Rock. Puedes comentar y pedir temas en el Chat de IVOOX y a través de Facebook, También puedes suscribirte, es gratis y estarás al día cuando se suba cada PostCast. Y recuerda ,Si te gusta "No seas egoísta y comparte" Rock On!!! Y de nuevo gracias a todos esos musicos, gente de otros medios, que poco a poco con sus Saludos, ya forman parte importante de JUST ROCK. ¡¡¡ We Are Different !!! Playlist: 1.TOWER CITY- Closer To The Heart. 2.VAN STEPHENSON-Fist Full Of Heat. 3.DEPARTURE- LuvSick 4.BLACK COUNTRY COMMUNION-One Last Soul 5.BROKE [N] BLUE-I Will Be There. 6.91 SUITE-Down To You. 7.DEMON DRIVE- She's In Love With You. 8.LIONVILLE-Every Little Thing. 9.THUNDER-Gimme Some Lovin´. 10.HACKERS-Tocando Fondo. 11.XTASY-Play With Fire 12.P!NK-Trouble. 13.DUKES OF THE ORIENT-The Monitors. 14.HEART 2 HEART-Sleeping Away 15.HANDFUL OF RAIN - Saints And Sinners. 16.FEE WAYBILL - Faker. 17.MIKE DELLA BELLA PROJECT - I Won't Follow You. 18.ZINATRA - Rock And Roll Hangover

Intro Song – Muddy Waters, “I Want To Be Loved”, Hard Again First Set – Nappy Brown, “Your Love Is Real”, Something Gonna Jump Out The Bushes Shakey Jake, “Keep A-Loving Me Baby”, Good TimesKid Ramos, “You Don't Love Me”, Two Hands Two HeartsAnthony Geraci, “Love Changes Everything”, Daydreams In Blue Second Set –Tom Holland & The Shuffle Kings, “Don't Know Why I Love You”, Tom Holland & The Shuffle Kings Solomon Burke, “Please Send Me Someone To Love”, Proud Mary – The Bell SessionsLittle Walter, “I Just Keep Loving Her”, Rock BottomLouis Jordan, “Love You ‘Til Your Money's Gone Blues”, Let The Good Times Roll (1938-1954) Third Set – WIB Shemekia Copeland, “Big Lovin' Woman”, Turn The Heat UpSamantha Fish, “I'm In Love With You”, Wild HeartRuth Brown, “Love Contest”, Miss Rhythm (Greatest Hits and More)Dawn Tyler Watson, “Love To Burn”, Mad Love Fourth Set – JW Jones, “Bye Bye Love”, Sonic DeparturesOmar & The Howlers, “Special Love”, Courts Of LuluSonny Rhodes, “Ten Pounds Of Love (In A Five-Pound Sack)”, A Good Day To Play The Blues

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ This Is How We Walk On The Moon by Arthur Russell on Another Thought (Point Music) 5′09″ Slipped, Tripped, and Fell In Love by Ann Peebles on Straight From the Heart (Fat Possum) 7′38″ Harlan County by Jim Ford on Harlan County (Sundown Records) 11′07″ Borstal Boys by Faces on Ooh La La (Warner Records) 13′54″ Your Eyes Are Looking Down by Help Yourself on Help Yourself (Parlophone Records) 18′21″ Deep Blue See by Art Lown on Sad About the Times (Anthology Recordings) 22′23″ Nothing Was Delivered by The Byrds on Sweetheart of the Rodeo (Columbia) 25′51″ Ooh Las Vegas (Live) by Emmylou Harris on Elite Hotel (Warner Bros.) 29′37″ This Girl's In Love With You by Aretha Franklin on This Girl's In Love With You (Atlantic) 35′24″ Kansas by Neil Young on Homegrown (Reprise) 37′37″ Acquainted with the Night by Ezra Feinberg on Recumbent Speech (Related States) 43′11″ Amps by Steve Gunn and William Tyler on The Storehouse Bandcamp Compilation (The Storehouse) 54′29″ To The Golden Lady in Her Graham Cracker Window by Mal Waldron and Marion Brown on Songs of Love and Regret (Free Lance) Check out the full archives on the website.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ This Is How We Walk On The Moon by Arthur Russell on Another Thought (Point Music) 5′09″ Slipped, Tripped, and Fell In Love by Ann Peebles on Straight From the Heart (Fat Possum) 7′38″ Harlan County by Jim Ford on Harlan County (Sundown Records) 11′07″ Borstal Boys by Faces on Ooh La La (Warner Records) 13′54″ Your Eyes Are Looking Down by Help Yourself on Help Yourself (Parlophone Records) 18′21″ Deep Blue See by Art Lown on Sad About the Times (Anthology Recordings) 22′23″ Nothing Was Delivered by The Byrds on Sweetheart of the Rodeo (Columbia) 25′51″ Ooh Las Vegas (Live) by Emmylou Harris on Elite Hotel (Warner Bros.) 29′37″ This Girl's In Love With You by Aretha Franklin on This Girl's In Love With You (Atlantic) 35′24″ Kansas by Neil Young on Homegrown (Reprise) 37′37″ Acquainted with the Night by Ezra Feinberg on Recumbent Speech (Related States) 43′11″ Amps by Steve Gunn and William Tyler on The Storehouse Bandcamp Compilation (The Storehouse) 54′29″ To The Golden Lady in Her Graham Cracker Window by Mal Waldron and Marion Brown on Songs of Love and Regret (Free Lance)

The post Beat Club: This Guy’s In Love With You appeared first on NiTfm.

The post Beat Club: This Guy’s In Love With You appeared first on NiTfm.

The electrician asked me after seeing the studio set up if I got paid to do the show! A common question for visitors, but as always, the answer is “NO”, I do not get paid to do this! For five years and a few months, as this show has grown, and it is YOU that has made that progress happen, I KNOW IN MY HEART OF HEARTS, that I will be getting to do this as a way of making a living! It started as an outlet to get me off of watching so dam much TV while Lori, my wife taught painting classes. I LOVE THE MUSIC AND THE SOUND I PLAY. For now, since I always wanted to make these sounds myself, and I just don't have the genetics to do so, I play these great sounds by great artists. I do this work that I love from my home to get these great people heard! I do love what I do! On a totally unrelated note, aren't Grillo's Pickles the best! Are you listening?Monday's Mona Lisa - Every Piece of you@Trysette - 10 Santa Baby [Shadowgirl]Todd Rundgren - Hello It's Me [Single Version]Justine Covault – TMA PromoJustine and the Unclean - I'm In Love With You, Jackass [Get Unclean] (Rum Bar Records)The Olms – 03_Christmas ThymeDavid Brookings & The Average Lookings - 08 Girl from the North Country [Scorpio Monologues]Eric Peter Schwartz- 18 Maybe One Day [Sushi Keys Cut]Super Doppler - 03 Last Man Standing@Jetty - Christmas KissJoe Sullivan - 01 Mr. Positivity [Growing Up Schlockstar] (Futureman Records)The Gotham Rockets - 04 Nothing But A Man [Blast Off - EP] (Rum Bar Records)Bullet Proof Lovers - 05 Knock Down The Door [Shot Through The Heart] (Rum Bar Records)The Popravinas - Happy Holidays TMAThe Popravinas - Where Are My Christmas PresentsLuck,Now - band - 01 Social Loner [Enough For Now]Sloan Music - 400 Metres [One Chord To Another]The Davenports - I'll Come Down [Sweet Relief 3]@Buckinghams - Don't You CareMidnight Pilot - Slow Down [Let Go]

Rob and Callum are back with your favourite new music pod. Sorry for the break this was a real sad one and is dedicated to Rob’s dearly missed father. Front to back heat as per starting with some of that Stax flavoured soul and finishing with some suburban anxiety, there’s some madcap Japanese prog, some cosmic folk, topical satire, wit and awareness on important shit raised through two absolute pearls. Real strong songs this week. TracklistingKelly Finnigan - I Called You Back BabySleep Eaters - Don’t Sell You SoulOliver Ray - Ol’ CoyoteVanishing Twin - Magicians SuccessAbraham Civelli - Interaction ForteWild Firth - UptownPurple Mountains - All My Happiness Is GoneDe Lorians - A Ship of Mental HealthEzra Cohen - The World’s In Love With YouThe Burning Hell - No PeaceElton John Cena - Beer Pong

Host Deardra Shuler talks with singer Jonathan Butler who was born and raised in Cape Town during Apartheid. Jonathan Butler started singing and playing acoustic guitar as a child. Racial segregation and poverty during Apartheid has been the subject of many of his records. His first single earned a Sarie Award, South Africa's equivalent to the Grammy Awards. Butler  has achieved chart-topping success, Grammy ® nominations and other accolades for his recordings. His self-titled debut album put him on the map internationally and garnered two Grammy ® nominations, which include the R&B-pop vocal statement "Lies" and the poignant instrumental, "Going Home." Butler, a multi-talented musician, produces, arranges, and plays guitar, bass and keyboards. He has released several best-selling Gospel CDs, most notably "Gospel Goes Classical" and "Brand New Day.  He  has come full circle and back to his love of Bacharach with the music of his new album, Close To You. The 11-­song project features 10 Bacharach/David gemstones from the mid-­60s to early 70s (including vocal versions of “The Look Of Love,” “Walk On By,” “I’ll Never Fall In Love Again,” “This Guy’s In Love With You” the first single “What The World Needs Now Is Love,” plus instrumental versions of “Do You Know The Way To San Jose” and his new smooth jazz single “I Say A Little Prayer,” as well as one original composition, the ebulliently autobiographical “Cape Town.”

“The Burns Cage” (Season 27, Episode 17) We’re back! Pat’s now a dad, Craig has a new apartment, and we’ve got a pretty decent episode of the Simpsons on the docket. Life is good! Oh, and Jake Martin returns too! Hosted by Patrick Brennan, Craig Mazerolle, Jake Martin Research by Craig Mazerolle Produced by Patrick Brennan Logo by Stephen Belyea Featuring audio clips from The Simpsons episode “The Burns Cage” and the song “This Guy’s In Love With You” by Herb Alpert. Theme – “Children’s TV 2” by Dorian Kelly

Stick a tube over your finger and join Condition Mint as they salute the wonder of the slide guitar! We have a listen to a couple of numbers, bust wide open some brand new Jimmy Page witchcraft allegations and listen in as both Duffy Flintbottom’s chimp and panther escape from their respective  cages in the booth. Join the conversation with fellow persons of Minterest on our Facebook page If you like any of the music we discuss on the show, support the artist!Buy music. Buy merch. It's not a bloody library! Music discussed this week includes: Rock N Roll Outlaw - Rose TattooFrom: “Rose Tattoo” (1978)   The Weight - Aretha FranklinFrom: “This Girl’s In Love With You” (1970)

Today 10am-11am EST bombshellradio.comBombshell Radio Ice Cream Man Power Pop and Moreall ready to go, I forgot it was Christmas when I started recording but slipped a couple of festive numbers into the fold as well as a nod and a doff of the cap to Pat from The Smithereens, some Fuzzy Vox, Squeeze, The Unswept, Pink Beam and even my own single, introduced by Jim Prell from The Music Authority! First airing tomorrow at 3pm GMT, 4pm CET out of Canada on www.bombshellradio.com. Play loud.Roger And The Gypsies - Pass The Hatchet (Single) The Laynes - Goodbye Lenny (Come On Board LP) The Norvins - She Was Gone (Turnin' Around With....LP) The Smithereens - Behind The Wall Of Sleep (Especially For You LP) Vista Blue - There's A Star (Christmas Sounds EP) David Brookings and The Average Lookings - Time To Go (Self Titled LP) Fuzzy Vox - Eyes On You (Ba-Da-Boom EP) Hop On Pop - This Ain't No Race (One By One LP) Pseudonym - Foreign Talk (Pack Of Lies LP) Captain Groovy and His Bubblegum Army - Captain Groovy and His Bubblegum Army (Single) The Transmitters - Christmas Lights The Weaklings - Revolution Wonderland (single) Squeeze - Another Nail In My Heart (Single) Family Jools - American Dream (Single) Kevin Lee & The Kings - On Top Of The World (Sticks And Stones LP) Ramones - She's The One (Hey Ho Let's Go Anthology LP) The Alrightniks - I'm In Love With You (4 Song EP) Brom Bones - The Victim (Get Down Stay Down LP) The Unswept - The Boy Who Wakes You Up (EP) Pink Beam - This Is Where I'm From (Big Vacation LP) Wayne James & The List Of Names - We All Need Someone To Love (Single)#powerpop #Mod #Ska #Surf #Punk #60'sGarage #Psyche #Soul #IceCreamMAnPowerPopAndMore #BombshellRadio

Intro Song, Trampled Under Foot , “Love My Baby”, May I Be Excused First Set Billy Gibson , “What Is Love?”, The Billy Gibson Band Coco Montoya , “Love Gotcha”, Dirty DealKenny Neal & Billy Branch, “I Just Keep Loving Her”, Double Take Second Set Al Corte, “Love Thang”, MojoScottyboy Daniel Blues Band, “Your Love Is Real”, Mercy! Markey Blue, “When Love Comes Along”, Hey HeyThird Set - WIB Samantha Fish, “I'm In Love With You”, Wild Heart Janiva Magness, “That's What Love Will Make You Do”, Original Willa and Company, “Love Looks Good On Me”, Better Days Fourth SetT-Bone Walker, “I'll Always Be In Love With You”, The Complete Imperial RecordingsJohn Lee Hooker, “I Love You Baby ”, Ride Till I DieBenny Turner, “You've Got To Love Her With A Feeling”, My Brother's BluesBryan Lee, “Just To Prove My Love To You”, My Lady Don't Love My Lady Thanks to Michael Allen Engstrom at the Crossroads Blues Gallery Doublin' Down on Love... Let's make sure we drown out all of those haters in the world.

Apologies for the sound quality on my links - I was pretty busy this week so recorded them while driving. Hey, if Adam Buxton can record his while walking his dog then I can record mine while driving...! Stay in touch - @oasispodcast on twitter, facebook and instagram oasispod@gmail.com patreon.com/oasispod on Patreon to support 0.04 Vision - Shine On 0.41 JC Intro, discussion of Noel at We Are Manchester 3.54 Peter Kay introduces Noel Gallagher 4.44 Noel Gallagher - Lock All The Doors (Live at Manchester Arena) 5.22 JC Liam update 6.51 Dave Grohl & Lars Ulrich discuss Liam 9.50 JC discuss that and intro Colin Hassard 11.46 Colin Hassard - Teenagers in the 90s https://www.youtube.com/watch?v=DOC_Hxy7RfQ 14.21 Competition info - make sure you are following @oasispodcast and @vinylsoulimages on Twitter and/ or Instagram and send us your chouce for the most iconic image of Oasis 16.17 The Libertines - What Katie Did 16.57 Interview with Katy Georgiou 19.22 Razorlight - Rip it up 30.38 Oasis - Live Forever (Live at Glastonbury 1995) 35.45 Garbage - Stupid Girl 38.51 The Big Moon - Cupid 45.34 Oasis - Fade Away 49.09 Oasis - Listen Up 52.32 Love Actually clip 56.36 Live Forever (2003) clip 1.08.47 Oasis - Cloudburst 1.14.57 Soccer AM clip 1.24.56 Jill Furmanovsky interview https://www.youtube.com/watch?v=SVEYUa04n3k&t=84s 1.36.31 Mendelssohn - Wedding March 1.47.13 Liam give tickets to Irish fans https://www.youtube.com/watch?v=1cnfZ90X5lo 1.53.21 The Vortex - Dirty Soul https://www.youtube.com/watch?v=LE0U-SqIguQ 2.04.14 Anjali Dutt interview Definitely Maybe documentary https://www.youtube.com/watch?v=E2oNRM8lhps&t=1365s 2.09.05 Oasis - Morning Glory (live in Cardiff March 1996) https://www.youtube.com/watch?v=BwW7kbiHSfk&t=1281s 2.23.20 Noel Gallagher - This Guy's In Love With You 2.24.00 JC reads iTunes review and Outro 2.25.35 Oasis - Stay Young

Today’s episode in our series Researching College Options looks at a big option--an option that we have talked about in quite a few USACollegeChat episodes and in our first book, How To Find the Right College: A Workbook for Parents of High School Students. Most recently, we took a careful look at this option about five months ago in Episode 113. However, I have to admit that I am considering it again, based on a new opinion piece by LaGuardia Community College President Gail O. Mellow in late August in The New York Times. The option is community college. As we said in Episode 113, the community college is a marvelous institution in theory, but a somewhat more disappointing institution in reality--or, at least, that has usually been our position. If you are the parent of a high school senior, we know that some of you--perhaps many of you--are thinking about sending your kid to a community college next fall. Maybe that’s for financial reasons, maybe for academic reasons, maybe for maturity reasons, maybe for location reasons, maybe for some other reasons. Whatever your reasons, President Mellow has made us think again; so, let’s take another look. 1. The Pros of Community Colleges: A Review Let’s quickly review some of the pros and cons about community colleges, also referred to as two-year colleges. Here’s an abbreviated list of pros we offered back in Episode 113 (these reasons are conveniently taken from our first book,How To Find the Right College: A Workbook for Parents of High School Students): Two-year colleges offer associate’s degrees, which can be enough for some careers, including high-paying technical careers. Later, if the student wants to do so, the credits earned for an associate’s degree can be transferred to four-year colleges and applied toward credits needed for a four-year bachelor’s degree.   (In fact, some two-year colleges in some states are now authorized to offer bachelor’s degrees over four years, especially in technical fields where workers in the labor force are in short supply.) Two-year colleges offer students who have struggled in high school a chance to improve their academic record and gain the fundamental skills and study habits they will need to succeed in more advanced college study. After doing well at a two-year college, these students can likely get into a better four-year college than they could have gotten into right out of high school. Two-year colleges offer their students core liberal arts courses (which can often be transferred to four-year colleges later) and/or technical training in many different fields at a very low price. That’s critically important if paying for college is a major concern for your family. That last point about very low cost is perhaps the main reason that kids head to a community college right out of high school. The fact that community college is so much cheaper than any four-year option--and the fact that kids can live at home and save even more money--is sometimes irresistible. We know that students can get financial aid of all kinds from four-year colleges, which could make their time there essentially free, but none of those deals is a sure thing. Paying the very low tuition at a community college, especially with whatever financial aid is available, is a sure thing. 2. The Cons of Community Colleges: A Review  So, what’s the downside of going to a community college? As we have said before at USACollegeChat, the choice of a community college for students coming right out of high school is quite different from that same choice when it is being made by adults returning to college or starting college for the first time. My own nonprofit organization has done market studies for quite a few community colleges interested in increasing their adult enrollment (that is, students over the age of 25) and in serving those adult students better. And, to be fair, community colleges are a great institution for getting adults into college study or back into college study. But, we are focused today on your kid, who is going to college right out of high school, and some of the statistics about community college completion rates and transfer-to-four-year-college rates are just plain scary. You have to deal with this statistic: Not even half of community college students complete any college degree in six years--not even a two-year associate’s degree. Admittedly, that statistic includes all kinds of students who attend community colleges--from bright kids right out of high school who just needed to save money to returning adults who have been out of school for a decade to kids who struggled in high school and couldn’t get into a more selective college. Nonetheless, we have quoted evidence in previous USACollegeChat episodes that shows that students are more likely to graduate if they go to a more selective college, for many reasons. That is clearly a reason against having your kid choose a community college for next year. In addition to a seriously low completion rate, the transfer rate of students from community colleges to four-year colleges to earn bachelor’s degrees is also shockingly low, as we reported way back in Episode 64, based on an article in The Hechinger Report. Here is a statistic, which was taken from a report from Teachers College, Columbia University: . . . 80 percent of entering community college students say they intend to earn a bachelor’s degree, but only about a quarter actually make the transfer and 17 percent eventually get the degree. (quoted from the article) Parents, we said in Episode 113 that we thought you should think hard about whether your kid is different from the typical community college student--smarter, harder working, more motivated, more goal oriented. Just being younger might not help enough. The statistics are telling you that he or she is likely not to graduate with even an associate’s degree and is likely not to transfer to that great four-year college you say you are saving up your money for. 3. President Mellow’s Point of View And now we come to President Mellow’s point of view. I have to admit that some of my attitude toward community colleges comes from my belief that kids who can get into a satisfactory four-year college and who can figure out how to pay for it (including through loans and other unpleasant devices) should go directly to that four-year college. I worry that kids who could go to a four-year college, but don’t, will get sidetracked into community college and never get out. But perhaps I have not given sufficient thought to kids who cannot go to a four-year college, especially for financial reasons. Let’s look at some excerpts from President Mellow’s recent opinion piece: You might think the typical college student lives in a state of bliss, spending each day moving among classes, parties and extracurricular activities. But the reality is that an increasingly small population of undergraduates enjoys that kind of life. Of the country’s nearly 18 million undergraduates, more than 40 percent go to community college, and of those, only 62 percent can afford to go to college full time. By contrast, a mere 0.4 percent of students in the United States attend one of the Ivies. The typical student is not the one burnishing a fancy résumé with numerous unpaid internships. It’s just the opposite: Over half of all undergraduates live at home to make their degrees more affordable, and a shocking 40 percent of students work at least 30 hours a week. About 25 percent work full time and go to school full time. (quoted from the article) Of course, some of these students who work full time and go to school full time are adult students over the age of 25--but, not all of them. For example, a lot of students who graduate from urban high schools, like the one we co-founded in Brooklyn, head off to college with both the intention and the necessity of working while they are enrolled. Marie and I worried that our students wouldn’t be able to do both successfully. We worried that they were going to have a hard enough time in college without spending 10 or 15 or 20 hours a week--or more--at a job. But, given their family circumstances, many of them had no choice, just as President Mellow writes. She continues:  As open-access institutions, community colleges educate the majority of our country’s low-income, first-generation students. But public funding for community colleges is significantly less than for four-year colleges, sometimes because of explicit state policies. This means the amount that community colleges can spend on each student--to pay for faculty, support services, tutoring and facilities--is far less as well. Tuition for low-income students can be covered by federal financial aid programs, but these students often have significant other costs--including housing, transportation, food and child care--that regularly pose obstacles to their education. A recent Urban Institute study found that from 2011 to 2015, one in five students attending a two-year college lived in a food-insecure household. A study from the Wisconsin Hope Lab found that in 2016, 14 percent of community college students had been homeless at some point. At LaGuardia Community College in New York, where I am president, 77 percent of students live in households making less than $25,000 per year. With financial pressures like these, studying full time is not an option. It is not uncommon for a student to take between three and six years to graduate from a two-year associate degree program. (quoted from the article) And we can see why. Those statistics are sobering, and they do put community colleges’ lousy completion rates into perspective. Of course, you would still want your kid to come out of a community college on time so that he or she could move forward and transfer to a four-year college or enter the workforce and get a decent job. This is especially true if you, as a parent, can manage to pay the cost of attending a community college and keep distractions for your kid--like working a significant number of hours a week--down to a minimum. Not surprisingly, President Mellow argues for a better financial deal for community colleges and their students, both in government funding and, interestingly, in philanthropy. She writes: Community colleges need increased funding, and students need access to more flexible federal and state financial aid, enhanced paid internships and college work-study programs. Improved access to public supports, like food stamps and reduced public transportation fares, would also make a world of difference. It’s not just that policy must change. Last year, more than $41 billion was given in charity to higher education, but about a quarter of that went to just 20 institutions. Community colleges, with almost half of all undergraduate students, received just a small fraction of this philanthropy. It is imperative that individuals, corporations and foundations spread their wealth and diversify where they donate their dollars. (quoted from the article) I have to tell you that I was so embarrassed that my two alma maters might be on that list of 20 institutions that I didn’t even look at it--because obviously that is just the very definition of unfair advantage and privilege. 4. What’s Herb Alpert Got To Do with It? Some months ago, I wrote a piece for my own blog, ParentChat with Regina, about the importance of music in a child’s education. But the really arresting part of the piece was about Herb Alpert, trumpeter extraordinaire and co-founder of A&M Records. (If you are too young to remember Herb Alpert & The Tijuana Brass, go listen to Alpert’s signature style on YouTube. Start with “Tijuana Taxi” and “This Guy’s In Love With You”--and stay for all the rest.)  As it turns out, Alpert has done what President Mellow wishes more people would do. His foundation--co-founded with his wife, singer Lani Hall--has made a $10.1 million gift to Los Angeles City College (LACC), a two-year public community college. The money will create an endowment, which will be used to raise the number of music majors enrolled from 175 to 250 and to provide ALL of them with FREE tuition. As reported by Carolina A. Miranda in the Los Angeles Times, Alpert said this about his gift:  LACC is a gem of an institution. . . . [My] biggest motivation was helping kids who don’t have the financial energy to go to a major college. At LACC, they’ve nurtured thousands of dedicated students every year. My brother went there. My ex-partner [record producer] Lou Adler went there. I’ve visited the school. It’s alive. It’s kickin’. (quoted from the article) Alpert noted that he was especially interested in supporting a public institution where students of all socioeconomic backgrounds could get a college education. It’s as if he were simply channeling President Mellow. 5. So, What About Community Colleges? So, where does all that leave us--or rather, you? Well, we are probably going to continue to worry when seniors choose a community college as their first step into higher education. We are going to continue to worry that some of them are going to have difficulty graduating from a community college in anything close to two years and/or transferring to a four-year college ever.  But we are also going to admit that financial constraints can cause families to choose a path that might not be as perfect as we would like for their own kids. If that is your situation, talk with your kid and think hard about the community college option. Think about how to keep working hours to a minimum so that study hours can be at a maximum. Talk about how important it is to stay on track and make progress toward graduation every semester. Help make the statistics better. Find our books on Amazon! How To Find the Right College: A Workbook for Parents of High School Students (available as a Kindle ebook and in paperback) How To Explore Your College Options: A Workbook for High School Students (available in paperback) Ask your questions or share your feedback by... Leaving a comment on the show notes for this episode at http://usacollegechat.org/episode135 Calling us at (516) 900-6922 to record a question on our USACollegeChat voicemail if you want us to answer your question live on our podcast Connect with us through... Subscribing to our podcast on Google Play Music, iTunes, Stitcher, or TuneIn Liking us on Facebook or following us on Twitter Reviewing parent materials we have available at www.policystudies.org Inquiring about our consulting services if you need individualized help Reading Regina's blog, Parent Chat with Regina  

“I don’t know, Love, It’s pretty nice” - Jack Danzey ---Track List--- Ray Charles - Georgia On My Mind (1960) --- The Reels - This Guy’s In Love With You (1982) --- Connan Mockasin - Im The Man, That Will Find You (2014) --- Sonya Spence - Let Love Flow (1981) --- Peter Visti - Rain (2007) --- Bill Withers - Just The Two Of Us (1980) --- Laid Back - Fly Away / Walking In The Sunshine (1983) --- The Knife - Heartbeats (2003) --- Hip Edits 02 - Never Let Go (2015) --- Larry Heard - The Sun Can’t Compare (2006) --- C.o.m.b.i - Loving Ecstasy (2013) --- Canyons - When I See You Again (2012) --- The Motels - Total Control (1979) --- Donny Benet - Your The One (2012) ---

Intro Song Andy T Nick Nixon Band, “Gate's Salty Blues”, Numbers Man, Blind Pig Records, Nominated Album of the Year First Set Billy Branch & the Sons of Blues, “Blues Shock”, Blues Shock, Blind Pig Records, Instrumentalist-Harp Anthony Geraci & The Boston Blues All-Stars, “Heard the Tutwiler Whistle Blow”, Fifty Shades of Blue, Delta Groove Music, Pinetop Perkins Piano Player, Best Song of the Year, Traditional Blues Album Bob Corritore & Henry Gray, “Let's Get High”, Blues Won't Let Me Take My Rest, Delta Groove Music, Historical Album of the Year Second Set - WIB Karen Lovely, “Ten Miles of Bad Road”, Ten Miles of Bad Road, Contemporary Blues Female Artist, Gaye Adegbalola, “Grandma & Grandpa's House”, Blues In All Flavors, Hot Toddy Music, Acoustic Artist Samantha Fish, “I'm In Love With You”, Wild Heart, Contemporary Blues Female Artist,Shemekia Copeland, “I Always Get My Man”, Turn The Heat Up, Contemporary Blues Female Artist, Third Set Bob Corritore & John Primer, “The Clock”, Knockin' Around The Blues, Contemporary Blues Male Artist, Eric Bibb, “Every Wind In The River”, Deeper In The Well, Acoustic Album, Acoustic ArtistGuy Davis, “Down South Blues”, Sweetheart Like You, Acoustic Artist, Acoustic AlbumJohn Nemeth, Mother In Law (Live), Blues Live, BB King Entertainer of the Year, Junior Wells, Hey Lawdy Mama, Hoodoo Man Blues, Historical Album Thanks to the Blues Foundation for making all of this possible! Become a member today so you can vote in the future! Thanks to Michael Allen from the Crossroads Blues Gallery  

2100 hrs (UK) This Saturday at 9pm: More late night vibrations to wobble your air waves with Paul Housden… from Electronic Soul to late night House and all head noddin’ beats in between. Pull up an armchair and turn on the smoke machine…. It’s Really You (Jan Schulte Edit)- Tarney Spencer Band Bloom – Rob Shields Make It Last Forever- Inner Life & Jocelyn Brown Maracatu Atomico – Gilberto Gil Ain’t Nobody (Hallucinogenic Version) – Rufus & Chaka Khan Seen It All Before (Greg Wilson & Derek Kaye Remix) – Steve Mason Birdshell (Burnt Island Casuals Remix) – Craig Bratley We Start Over (Apiento And Lx Remix)- Steve Cobby, Trudie Dawn Smith Feel Me (Greg Wilson & Derek Kaye Remix) – Blancmange Eye Know (Burnt Island Casuals Remix) – Hotel Motel Come With Me – Tania Maria Never Did I Stop Loving You – Alice Clark This Girl’s In Love With You – Marva Whitney Hear My Song – Crazy P Mexicans – Kane West Calling Card – Jessy Lanza, The Galleria Quem Vai Querer – Aroop Roy No Love (Terrence Parker Remix) – Kaily Boogie In Zero Gravity (Hot Toddy Remix) – Black Strobe Galaxy – Alex Metric & Oliver Lost For Words (Original) – Death On The Balcony 3Rd Eye (Luvless Remix)- Pools

2100 hrs (UK) This Saturday at 9pm: More late night vibrations to wobble your air waves with Paul Housden… from Electronic Soul to late night House and all head noddin’ beats in between. Pull up an armchair and turn on the smoke machine…. It’s Really You (Jan Schulte Edit)- Tarney Spencer Band Bloom – Rob Shields Make It Last Forever- Inner Life & Jocelyn Brown Maracatu Atomico – Gilberto Gil Ain’t Nobody (Hallucinogenic Version) – Rufus & Chaka Khan Seen It All Before (Greg Wilson & Derek Kaye Remix) – Steve Mason Birdshell (Burnt Island Casuals Remix) – Craig Bratley We Start Over (Apiento And Lx Remix)- Steve Cobby, Trudie Dawn Smith Feel Me (Greg Wilson & Derek Kaye Remix) – Blancmange Eye Know (Burnt Island Casuals Remix) – Hotel Motel Come With Me – Tania Maria Never Did I Stop Loving You – Alice Clark This Girl’s In Love With You – Marva Whitney Hear My Song – Crazy P Mexicans – Kane West Calling Card – Jessy Lanza, The Galleria Quem Vai Querer – Aroop Roy No Love (Terrence Parker Remix) – Kaily Boogie In Zero Gravity (Hot Toddy Remix) – Black Strobe Galaxy – Alex Metric & Oliver Lost For Words (Original) – Death On The Balcony 3Rd Eye (Luvless Remix)- Pools

  Intro SongVictor Wainwright & the Wild Roots, “Subliminal Criminal”, Lit Up!, WildRoots Records First Set Billy the Kid & The Regulators, “Who”, I Can't Change, produced by Damon Fowler Albert Cummings, “Blues Makes Me Feel So Good”, True To Yourself, 2005 Blind Pig Records Jason Ricci, “Done With The Devil”, Done With The Devil, Eclecto Groove RecordsSecond Set Randy McQuay, “Rehab Blues”, Blues, 2015 IBC Blues Compilation CDSamantha Fish, “I'm In Love With You”, Wild Heart, 2015 Ruf RecordsGina Sicilia, “Poverty”, Blues For A Cure, Vol. 7, Tony's Treasures CDThird Set John Nemeth, “Do You Really Want That Woman”, Soul Live, John Nemeth MusicMike Zito, “Dirty Blonde ”, Pearl River, Eclecto Groove Records, Sean Carney, “Sugar Sweet”, Blues For A Cure, Vol. 7, Tony's Treasures CD   Fourth Set Coco Montoya, “Nothing But Love”, Suspicion, 2000 Alligator RecordsKeb Mo, “More For Your Money”, Bluesamericana, A Kind of Blues Music CDVictor Wainwright & the Wild Roots, “Saturday Night Sunday Morning”, Boom Town, Brand new 2015 Blind Pig Records   Shout Outs to all the musicians and friends who joined me at the Heritage Music BluesFest 2015! It was great to see everyone! Especially Sean, Lee, Gordon and his wife, David, and LB! I had a super time! Thanks to Bruce and family! Check out my "BluzNdaBlood Dave" Facebook site for lots of pictures! And the BluzNdaBlood You Tube site for new videos!