Podcast appearances and mentions of Jerry Butler

Send us a textEpisode 130- Singer Terisa Griffin was born on August 25, 1969 in Monroe, Louisiana. She graduated Wossman High School in Monroe, Louisiana and attended Northeastern Louisiana University in Monroe, Louisiana on a music scholarship where she studied operatic singing.Griffin relocated to Chicago, Illinois and sang backup for Diana Ross on a telecast of The Oprah Winfrey Show. She also toured with R&B legend Jerry Butler. Griffin worked for various Chicago advertising agencies recording jingles for commercials. In 1997, Griffin established her own independent music company, My Naked Soul Productions where she wrote, produced and starred in a series of one-woman shows including: One Voice, One Woman, Fantasy-A Tribute to the Divas of Song and Stage: Josephine Baker, Lena Horne, Billie Holiday, Ella Fitzgerald and Sarah Vaughn, Queens of R & B- A Tribute to the Queens of Rhythm and Blues: Dinah Washington, Diana Ross, Aretha Franklin, Donna Summers and Tina Turner, and Songs Divas – A Tribute to Famous Song.In 1998, Griffin released her first album Songbird as an introduction of original and cover works showcasing her vocal skills. In 2002, she toured with Patti LaBelle and performed background vocals. That same year, Griffin produced and presented her one-woman show, One Woman. One Voice: A Musical Tribute to the Queens of Song. She also produced and presented Fantasy: The Divas of Song and Stage, a tribute to Josephine Baker, Eartha Kitt, Billie Holiday, Ella Fitzgerald and Lena Horne. Griffin debuted her first full-length release, My Naked Soul showcasing her talents as a songwriter and producer. In 2007, Griffin established the nonprofit organization, Better Love Yourself, Inc. and served as its CEO and president. In 2011, Griffin provided the title song and appeared in the independent short film The Truth, directed by Hill Harper. She also released her sophomore double-disc, Soulzophrenic ‘Personalities of Soul' R&B and Dance releases. In 2012, Terisa Griffin auditioned for the NBC television reality series The Voice with a performance of Adele's Someone Like You where she was selected as a contestant on NBC's The Voice Season 3. In 2015, Griffin made Billboard Charts with her CD Revival of Soul which peaked at #33 on August 27, 2016. In 2016, Griffin and Better Love Yourself, Inc. celebrated ten years of service.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Juliet and Terence on: the impact of 'Adolescence'; competitive sandcastle building; be a roadie for a day; Atlantic Records at 75; Harry Hill in Hastings; and farewell to Jerry Butler. {sandcastles in the air}

Welcome to The Not Old Better Show, the podcast for those who believe life gets better—and even sweeter—with age. I'm your host, Paul Vogelzang, and today we're diving into the soul-stirring legacy of two musical giants whose voices, harmonies, and vision shaped the very sound of a generation: Curtis Mayfield and Jerry Butler. If you grew up spinning 45s on your record player or gathered around the radio to hear those smooth, soaring harmonies, then you already know that Mayfield and Butler weren't just voices—they were storytellers, activists, and pioneers of a sound that broke barriers. Together, they helped shape the golden age of soul music, and their influence continues to inspire generations. But did you know that before the world knew them as soul legends, they were just two young men from Chicago's Cabrini-Green projects, united by gospel music, ambition, and a dream of something bigger? Today, we'll uncover the fascinating story of how Jerry Butler and Curtis Mayfield met, formed the Impressions, and created hits like the unforgettable “For Your Precious Love.” We'll also explore why Jerry's path ultimately led him to go solo—and how Curtis turned his heartbreak into a revolutionary career that brought soul music into the Civil Rights Movement. Joining us today is returning guest Scott Shea, a writer and expert in music history, whose latest article brings these incredible stories to life. From Curtis Mayfield's genius as a songwriter to Jerry Butler's powerful, underrated baritone, we'll reflect on their journey, their struggles, and their lasting impact on American music and culture. This one's for the music lovers, the memory keepers, and anyone who remembers the days when a song could soothe your soul and spark a revolution. So grab a cup of coffee or tea, sit back, and let's celebrate the legacy of two legends who reminded us all to “Keep on Pushing.” I'm Paul Vogelzang, and this is The Not Old Better Show. Let's get started.

JERRY BUTLER - ORDINARY JOE.ROY AYERS - CAN'T YOU SEE ME (12" VERSION).ROBERTA FLACK - COMPARED TO WHAT.RANDY BROWN - LOVE IS ALL WE NEED.GWEN MCCRAE - KEEP THE FIRE BURNING.ANGIE STONE - WISH I DIDN'T MISS YOU.THE ISLEY BROTHERS - THE HIGHWAYS OF MY LIFE.SAM & DAVE - WHEN SOMETHING IS WRONG WITH MY BABY.THE FRIENDS OF DISTINCTION - AIN'T NO WOMAN (LIKE THE ONE I'VE GOT).BRENTON WOOD - YOU BETTER BELIEVE IT.TONY TONI TONE - SLOW WINE.GWEN MCCRAE - I CAN ONLY THINK OF YOU.JERRY BUTLER - GIVING UP ON LOVE.JERRY BUTLER - I DON'T WANT TO HEAR IT ANYMORE.MICHAEL HENDERSON & ROBERTA FLACK - AT THE CONCERT.ROY AYERS - SWEET TEARS (12" DISCO VERSION).RANDY BROWN - I WAS BLESSED (THE DAY I FOUND YOU).VERTICAL HOLD FEAT. ANGIE STONE - YOU CAN'T GO WRONG.THE ISLEY BROTHERS - LOVER'S EVE.BRENTON WOOD - GIMME LITTLE SIGN.SAM MOORE - PLENTY GOOD LOVIN'.THE FRIENDS OF DISTINCTION - GRAZING IN THE GRASS.JERRY BUTLER - STOP STEPPING ON MY DREAMS.JERRY BUTLER - THANK YOU EARLY BIRD.ROBERTA FLACK & DONNY HATHAWAY - THE CLOSER I GET TO YOU.ROY AYERS - THE MEMORY.RANDY BROWN - I'M HERE.GWEN MCCRAE - 90% OF ME IS YOU.GWEN MCCRAE - LEAD ME ON.ANGIE STONE - MY LOVIN' WILL GIVE YOU SOMETHING.TONY TONI TONE - I COULDN'T KEEP IT TO MYSELF.SAM & DAVE - WHY DID YOU DO IT.ISLEY JASPER ISLEY - CARAVAN OF LOVE.BRENTON WOOD - LOVE IS FREE.THE FRIENDS OF DISTINCTION - LONG TIME COMING MY WAY.ROBERTA FLACK - MISTER MAGIC.JERRY BUTLER - NEVER GONNA GIVE YOU UP.JERRY BUTLER - SINCE I LOST YOU LADY.ROY AYERS - MYSTIC VOYAGE.ROY AYERS - LOVE FROM THE SUN.GWEN MCCRAE - IT KEEPS ON RAINING.RANDOLPH BROWN & COMPANY - IT AIN'T LIKE IT USED TO BE.RANDY BROWN - TOO LITTLE IN COMMON.ANGIE STONE - MAKINGS OF YOU.ANGIE STONE - NO MORE RAIN (IN THIS CLOUD).ROBERTA FLACK & DONNY HATHAWAY - WHERE IS THE LOVE.JERRY BUTLER & BRENDA LEE EAGER - THE LOVE WE HAD STAYS ON MY MIND.

Welcome to Season 6, Episode 5 of the Hall of Fame Show—the official program of NotInHallOfFame.com.. Join hosts Kirk Buchner and Evan Nolan for a profound journey through the world of Hall of Fame legacies, sports, entertainment, and personal memories.This episode packs everything from heartfelt tributes and candid banter to deep dives into wrestling, football, music, and more. Together, Kirk and Evan discuss:-The latest Hall of Fame inductions, including WWE legends Triple H and Lex Luger.-Reflections on iconic figures, from musical great Roberta Flack to unforgettable actors like Gene Hackman.-The complex careers of NFL standouts like Zack Martin and Dwight Howard.-Honest and sometimes humorous takes on the lives, careers, and untimely losses of numerous legends.The episode also offers poignant moments, as the hosts grapple with the personal losses that have shaped their perspectives. This installment is not just an exploration of greatness but a celebration of resilience, creativity, and human connection.#HallOfFameShow #NotInHallOfFame #WWEHallOfFame #MusicLegends #GeneHackman #NFLHallOfFame #SportsPodcast #EntertainmentLegends #PodcastLife00:00:34 – Introduction & Welcome: Kirk and Evan kick off the show and tease upcoming topics, from WWE inductions to U.S. Athletics updates.00:03:34 – WWE Hall of Fame Inductions: The hosts discuss wrestling legends, including Triple H and Lex Luger's well-deserved recognition.00:09:32 – Shock Master Memories: Kirk pauses for a laugh about the infamous debut of Shock Master and other tag team nostalgia.00:13:44 – Lex Luger's Legacy: A heartfelt dive into Luger's inspiring journey, from hardships to WWE's overdue acknowledgment.00:16:16 – NFL Legacy Focus: Zack Martin's retirement and his Hall of Fame prospects, alongside discussions of legendary guards.00:22:10 – Tributes to Music Greats: Reflecting on the incredible contributions of Jerry Butler, Roberta Flack, and Angie Stone, among others.00:41:05 – Dwight Howard's Orlando Magic Legacy: Kirk and Evan explore Dwight Howard's career, from his dominance in the early years to his challenges adapting to the changing game of basketball.00:48:11 – Hockey Reflections: A discussion of Brad Marchand's trade and the shifting dynamics of the Boston Bruins.00:53:04 – Sports Figures We Lost: Honoring notable sports figures who recently passed away, including Craig Wolfley, Meg Collier, and Joe Fusco.01:12:00 – Gene Hackman's Legacy: A tribute to Hackman's incredible career, spanning movies like The French Connection and Unforgiven.If you loved our exploration of legendary figures and Hall of Fame greatness, make sure to LIKE this video, COMMENT with your favorite memory or figure discussed, and SUBSCRIBE to our channel for more engaging episodes. Don't forget to ring the BELL ICON to stay updated on future uploads!

Athol Fugard's plays, like Blood Knot and Master Harold and the Boys, were about the emotional and psychological consequences of Apartheid. He also formed an integrated theater company in the 1960s, in defiance of South African norms. The playwright, who died Saturday, spoke with Terry Gross in 1986. And we remember soul singer/songwriter Jerry Butler, who sang with Curtis Mayfield and The Impressions before going solo. Jazz historian Kevin Whitehead marks the centennial of the birth of Roy Haynes, one of the most in-demand drummers of the genre.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Jerry Butler, St. Paul's in Nampa

Athol Fugard's plays, like Blood Knot and Master Harold and the Boys, were about the emotional and psychological consequences of Apartheid. He also formed an integrated theater company in the 1960s, in defiance of South African norms. The playwright, who died Saturday, spoke with Terry Gross in 1986. And we remember soul singer/songwriter Jerry Butler, who sang with Curtis Mayfield and The Impressions before going solo. Jazz historian Kevin Whitehead marks the centennial of the birth of Roy Haynes, one of the most in-demand drummers of the genre.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

RIDE INTO THE SUN - The Velvet Underground I'LL BE YOU - The Replacements TIME LIKE THIS - Slim Dunlap AS TEARS GO BY - Marianne Faithfull  THE BALLAD OF LUCY JORDAN - Marianne Faithfull BROKEN ENGLISH - Marianne Faithfull GOING UNDERGROUND - The Jam IN THE CITY - The Jam ABSOLUTE BEGINNERS - The Jam FOR YOUR PRECIOUS LOVE - The Impressions ONLY THE STRONG SURVIVE MOON RIVER - Jerry Butler TRASH - The New York Dolls LOOKING FOR A KISS - New York Dolls MELODY - David Johansen WE GOT TO GET OUT OF THIS PLACE/DON'T BRING ME DOWN - David Johansen  

SOUL DECADES TRIBUTE SHOWJERRY BUTLER ROBERTA FLACK GWEN McCRAE & CHRIS JASPER HITMIX RADIO 107.5FM

What a week for soul music! We lost Randy Brown, Jerry Butler, Roberta Flack, Gwen Mcrae and Angie Stone in a week, I pay tribute to these artists on this show. As I type this Roy Ayres and Yamwho also passed today! Classic soul music represented followed by some soulful and deep house in the […]

Viajamos a marzo de 1965 para recordar singles que llegaron a su puesto más alto en las listas de pop estadounidense en este mes de hace 60 años. Nuevo episodio de esta serie en donde, además de disfrutar recordando grandes canciones, podemos palpar la evolución de la música popular y la gran mezcla de estilos que se daban cita en el Billboard Hot 100.Playlist;(sintonía) BILLY STRANGE “Goldfinger” (top 55)SHIRLEY BASSEY “Goldfinger” (top 8)THE BEATLES “Eight days a week” (top 1)THE TEMPTATIONS “My girl” (top 1)THE SUPREMES “Stop! In the name of love” (top 1)THE VELVELETTES “He was really sayin something” (top 64)JOHNNY RIVERS “Cupid” (top 76)SAM COOKE “A change is gonna come” (top 31)THE IMPRESSIONS “People get ready” (top 14)JERRY BUTLER “Good times” (top 64)THE RONETTES featuring VERONICA “Born to be together” (top 52)THE TRADE WINDS “New York is a lonely town” (top 32)THE BEACH BOYS “Please let me wonder” (top 52)JOE TEX “You better get it” (top 46)FONTELLA BASS and BOBBY McCLURE “Don’t mess up a good thing” (top 33)LITTLE ANTHONY and THE IMPERIALS “Hurt so bad” (top 10)RAY CHARLES “Cry” (top 58)JOHN BARRY and HIS ORCHESTRA “Goldfinger” (top 72)Escuchar audio

This episode includes in memoriam selections for Jerry Butler and Roberta Flack (pictured) as well as music from the Roberta Martin Singers, Gospel Clefs, Cosmopolitan Church of Prayer Warriors, Jessie Mae Renfro Sapp, Two Gospel Keys, and others.

We are continuing the celebration of Black History Month. On A Bowl of Soul we are celebrating Classic Soul, R&B and Pop artist, the Iceman, Jerry Butler. Jerry Butler was a American soul singer-songwriter, producer, musician, and politician and the original lead singer of the Impressions who were inducted into the Rock & Roll Hall of Fame.  Jerry Butler has left his mark on R&B and Pop and we celebrate him on A Bowl of Soul. Keep it locked on A Bowl of Soul A Mixed Stew of Soul Music. #classicsoul #ranb #jerrybutler #theiceman Get up to 2 months free podcasting service with our Libsyn code=ABOS. Sign up & bring your  podcast to life! Get on Apple & Spotify, get critical stats & all the support you need to sound your best and grow your show!! Sign up here: https://signup.libsyn.com/?promo_code=ABOS You can listen to the A Bowl of Soul Radio Network on Live365.com giving you 24/7/365 days of Soul Music. Stop on by and listen:  A Bowl of Soul Radio Network on Live365 You can support A Bowl of Soul and Buy Me A Coffee. Just click: Buy A Bowl of Soul A Cup of Coffee Purchase your A Bowl of Soul T-Shirt and other merchandise. Just click: Get Your A Bowl of Soul Merch Follow me: @proftlove on Threads                   @proftlove on Instagram                   @abowlofsoul.bsky.social - Bluesky                                  @A Bowl of Soul A Mixed Stew of Soul Music on Facebook Promote your product or service on the podcast and the radio network. You can sponsor A Bowl of Soul by getting your product or service in front of listeners. Email us at: abowlofsoul@gmail.com  Thank you for your Support!!! Promote your product or service on the podcast and the radio network. You can sponsor A Bowl of Soul by getting your product or service in front of listeners. Email us at: abowlofsoul@gmail.com  Thank you for your Support!!!

It's been a sorry couple of weeks with many legends falling, including just this morning news that the great Angie Stone of the Sequence tragically passed away overnight. Othere legends lost recently include singer/producer/songwriter Jerry Butler, singer pianist Roberta Flack, Keyboard player for the Isley Brothers (and Isley Jasper Isley, and solo material): Chris Jasper. We play some tunes for these fallen greats and celebrate their lifetimes of music. Brought to you by K & J and special guest Jarrod.

Hosts Jim DeRogatis and Greg Kot share new music they're digging that flies under the mainstream radar, buried treasures! They also pay tribute to singer-songwriter Jerry Butler.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:girlpuppy, "Champ," Single, Captured Tracks, 2024The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Jerry Butler, "Only the Strong Survive," The Ice Man Cometh, Mercury, 1969Jerry Butler and The Impressions, "For Your Precious Love," Single, Vee-Jay, 1958Loveworms, "Heartbeat," Heartbeat, Antena Krzyku, 2025Jetstream Pony, "Captain Palisade," Single, Spinout Nuggets, 2024Meat Wave, "Dehydrated," Voicemail / Dehydrated, Self-Released, 2025Maruja, "Break The Tension," Single, Music for Nations, 2024Prism Shores, "Tourniquet!," Out From Underneath, Meritorio, 2025Denison Witmer, "Making Love," Anything At All, Asthmatic Kitty, 2025Psycho-O-Positive, "Mothra!," Single, Self Released, 2025The Penrose Web, "I Dreamt I Woke Up Dead," It's....The Penrose Web, Gare du Nord, 2025Middle Part, "Dial*," Disruptor, Little Planet, 2024The Sewerheads, "It Came as a Surprise," Despair is a Heaven, Tall Texan, 2024Wand, "The Leap," In A Capsule Wardrobe, Drag City, 2017L.A. WITCH, "777," 777 (Single), Suicide Squeeze, 2025Joveth, "Bubblegum," Bubblegum (Single), Voracious, 2024Sly and the Family Stone, "Everyday People," Stand!, Epic, 1968See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this week's episode, Patrick and Tommie honor the Long Island student who developed a prosthetic leg for a dog, wonder if the Pope plays a musical instrument, celebrate music legends Fats Domino and Johnny Cash, mourn the loss of singers Jerry Butler and Roberta Flack, take a look at the longest-running murder-mystery on Broadway and the then-controversial film adaptation, get a thrill discussing the Michael Jackson album Thriller, chew on some pistachios, get an update on the Texas measles outbreak, review the good and bad news from the Supreme Court, Tommie declares drag queens are the ambassadors for life on earth, they enjoy a moment of schadenfreude and an omelet over lagging ticket sales at the Kennedy Center and Republican town hall meetings, review old and new films, mock the Trump voters with voter regret, and name rarely-used names they'd like to see make a comeback.

Join us for an exciting opportunity to hear from a truly inspiring young preacher who leads one of the fastest-growing churches in the nation! Pastor Mike is not only a dynamic speaker but also a celebrated gospel singer who harnesses the power of new technologies to reach and engage his expanding audience. Before Pastor Mike takes the spotlight, we will hear a powerful story from the mother of a Florida airman who was tragically shot and killed by a former sheriff's deputy. This heartfelt account promises to shed light on important issues that touch us all. We’re also thrilled to welcome Dr. Gina Paige from African Ancestry, adding further depth to our discussions. Music historian Bill Carpenter will be with us as well, sharing insights on the recent losses of legendary singers Jerry Butler, Gwen McCrae, Roberta Flack, and Chris Jasper.See omnystudio.com/listener for privacy information.

In this episode dive into the cancellation of The ReidOut, the firing of Gen. CQ Brown, and the upcoming February 28 economic boycott. Plus, we analyze the new NBA All-Star Game format and break down the Delta crash in Toronto. Finally, we honor the legacies of music icons Jerry Butler, Roberta Flack, Chris Jasper, and Gwen McCrae.

Nueva entrega de Música de Contrabando, semanario de actualidad musical ( 27/02/2025)Entrevistas:- Allan McCarthy. La historia de este ex recluso músico sigue dando la vuelta al mundo: un libro, un documental de la BBC, nuevas grabaciones, una película, y un concierto en la prisión son las principales novedades de la bola de nieve mediática, que se ha extendido a los USA.- Clara Plath se suben de nuevo al escenario junto a Nada Surf. - Glas y Madbel unidos por 'Dime' de la eurovisiva Beth. Atención al estreno de su versión del clásico de Osvaldo Farrés, quizás...Noticias:Semana aciaga para la música: nos dejaron Roberta Flack, Jerry Butler, Gwen McCrae, Chris Jarper. Problemas de salud de Peter Doherty. La película Pink Floyd At Pompeii regresa restaurada en cine y en vinilo. The Residents lanzan nuevo disco, 'Doctor Dark'. Olly, ganador de San Remo, renuncia ir a Eurovisión. Alcalá Norte Premio Ruido al mejor álbum debut. La cultura y el periodismo británico plantan cara al gobierno británico lanzando un disco mundo frente a la IA. La música grabada creció de nuevo en España, pero baja la venta de vinilos. Wu-Tang Clan se reunirán para última gira. The Smile comparten remites. Franz Ferdinand versionean con orquesta a Britney Spears. Karla Sofía Gascón asistirá a la gala de los Oscars; confirmadas actuaciones de LISA, Doja Cat y RAYE. Canela Party confirma a Blonde Redhead. Murcia acoge la II edición de Igualdad es Murcia con numerosas actuaciones (Karlan).Novedades musicales:VIVA SUECIA, Deerhoof, The Horrors, Hurray For The Riff Raff, Fontaines DC, Marlon Williams % Lorde, Hope Tala, Yawners, The Bug Club, Deacon Blue, Julien Baker & Torres, Momma, Miki Berenyi Trío, Surprise Chef, Unknown Mortal Orchestra, Jaywood, Deep Sea River, Girlpuppy, M76, Loganz, Papa Topo, Memocracia, Bria Salmena, Darkside, Sen Senra & Ed Maverick.Agenda de Conciertos:Nada Surf, LeVerse, Marwan, Repion, caracazador, Joseba Irazoki, Corizonas, A Mares, Pole, ElyElla, Glas, Madbel, Arroye, Sueiro, Muerdo, Clara Plath...

Today's Affirmation:"She Let's Me Watch Her Mom and Pop Fight"Writers: N. Blagman*, S. BobrickAlthough she isn't much to look at,And she isn't very bright.I love her, I love her,Oh boy how I love her'Cuz she let's me watch her mom and pop fight.To see a lamp go through the windowAnd watch them kick and scratch and bite.I love her, I love her,Oh boy how I love her'Cuz she lets me watch her mom and pop fight.And Friday night,It's something wonderful to seeWhen her pop comes home withOnly half his check.We split a candy barAnd watch World War III,It's got necking beat to heck!I'm gonna make that gal my steadyBecause they're at it every night.I love her, I love her,Oh boy how I love her'Cuz she let's me watch her mom and pop fight.

Soul-funk singer Gwen McCrae, known for hits like “Rockin' Chair” and “Funky Sensation,” passed away on Sunday, Feb. 23, at 81. Celebrated for her lasting impact on soul and disco, McCrae's music influenced generations. Her passing came just days after the death of three-time Grammy nominee and Rock and Roll Hall of Famer Jerry Butler, a leading soul singer of the 1960s, who died at 85. Nicknamed the “Ice Man,” Butler had numerous hits, including “For Your Precious Love” and “Make It Easy on Yourself.” His niece, Yolanda Goff, told The Associated Press that Butler died of Parkinson's disease at his home in Chicago. Rest in peace to Gwen McCrae and Jerry Butler. Learn more about your ad choices. Visit megaphone.fm/adchoices

2.24.2025 #RolandMartinUnfiltered: "The Great Resegregation", Pastor Jamal Bryant Target fast, MSNBC cancels Joy Reid's show Every day, we witness hard-fought civil rights being stripped away. Atlantic reporter Adam Serwer wrote an article titled "The Great Resegregation: The Trump Administration's Attacks on DEI."He'll explain how the attacks on DEI specifically aim to reverse the civil rights movement. Georgia Pastor Jamal Bryant will join us to discuss the upcoming Target fast and share his thoughts on the Black individuals who attended the White House Black History celebration, calling for FBI Director Kash Patel to take action against him. MSNBC cancels Joy Reid's show. Former Vice President Kamala Harris took center stage at the 56th NAACP Image Awards, where she received a prestigious honor. We will show you her acceptance speech, in which she warned about the current MAGA administration and offered guidance on navigating these challenging times. The music world mourns the loss of two giants tonight: Roberta Flack and Jerry Butler. #BlackStarNetwork partner: Fanbasehttps://www.startengine.com/offering/fanbase This Reg A+ offering is made available through StartEngine Primary, LLC, member FINRA/SIPC. This investment is speculative, illiquid, and involves a high degree of risk, including the possible loss of your entire investment. You should read the Offering Circular (https://bit.ly/3VDPKjD) and Risks (https://bit.ly/3ZQzHl0) related to this offering before investing. Download the #BlackStarNetwork app on iOS, AppleTV, Android, Android TV, Roku, FireTV, SamsungTV and XBox http://www.blackstarnetwork.com The #BlackStarNetwork is a news reporting platform covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.See omnystudio.com/listener for privacy information.

Un lundi nouveautés percuté par trois décès dans la planète Soul. Et pas des moindres.Roberta Flack - Feel Like Makin' LoveUTO - White FlagDj Python - Besos Robados feat. Isabella LovestorySalt-N-Pepa - Push ItSaya Gray - How Long Can You Keep Up a Lie?Saya Gray - Shell (Of a Man)Roberta Flack - The First Time Ever I Saw Your Face Roberta Flack - Compared to whatGwen McCrae - 90% of Me is YouGwen McCrae - All This Love That I'm GivingGwen McCrae - Funky SensationGwen McCrae - Rockin' ChairInfinit' & Zequin - SCANNERInfinit' & Limsa Daulnay - 20m3 Eloi - METAL KID from ELOIDaphni - Fly Away (Deetron Mix)Lil' Louis & The World - Nyce & Slo (The Luv Bug)Jerry Butler - I'm Your Mechanical ManJerry Butler - Make It Easy On YourselfMaureen -daddy-maureen-daddyAya Nakamura - Chimiyé

New gig at Meta… Crypto theft, biggest in history… Look at lotto… Texas lotto courier service under fire… Ashley files Paternity suit against Elon… Elon security deputized U.S. Marshalls... Email: Chewingthefat@theblaze.com Sag-Aftra Awards… Killers of the Flower Moon... Severance tv show… Who Died Today: Roberta Flack 88 / Jerry Butler 85 / Peter Jason 80 / Lynn Marie Stewart 78 / Ken Rosenthal 81 / Eric Priest 50… Joy Reid out at MSNBC… Thieves buy winning lottery ticket with stolen card… Bird drops severed hand in school yard... Joke of The Day…from Kim… Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Hermene Hartman, Chicago media pioneer and founder of N'Digo, joins Lisa Dent to share stories about her friend, and soulful singer, Jerry “Ice Man” Butler. Later, Dr. Hartman discusses the activism and influence of singer Roberta Flack had on the industry and pop culture of the time.

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Episode 410: I will discuss The Febo Restaurant in Chicago and read its menu. This week, the award ceremony was held for me, and a tribute to singer Jerry Butler.

Episode 410: I will discuss The Febo Restaurant in Chicago and read its menu. This week, the award ceremony was held for me, and a tribute to singer Jerry Butler.

Peter Boyles is back (on his own show!) with Open Lines! Topics include: Social Security, What to do with Palestinians, Trump's First Month, Jerry Butler's Death, and more! See omnystudio.com/listener for privacy information.

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Dean shares his report on things to do this weekend, his review of “Cleaner,” and which company bought the James Bond franchise. Bob also talks about the death of R&B musician Jerry “The Iceman” Butler.

Did you know that one of the greatest musical friendships ever existed between soul icons Curtis Mayfield and Jerry Butler? In the 1960s, Jerry was constantly at the top of the charts as a solo artist and so was Curtis with his trio, the Impressions. But, did you know the Impressions started out as a quintet with Jerry as lead singer? Though he was only with them for less than a year, his song “For Your Precious Love” was their first big hit. In his latest article for the Strange Brew, music historian and author Scott G. Shea details their story and tells why Jerry left and how Curtis Mayfield, in turn, helped get his solo career off the ground. It coincides with Beat Goes On Records forthcoming release of a quartet of Jerry Butler late-1960s Mercury LPs.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Scott G. Shea, leading music historian and author of the best-selling book, “All the Leaves Are Brown: How the Mamas & the Papas Came Together and Broke Apart.” Curtis Mayfield & Jerry Butler: Music historian Scott Shea shares their forgotten story

Did you know that one of the greatest musical friendships ever existed between soul icons Curtis Mayfield and Jerry Butler? In the 1960s, Jerry was constantly at the top of the charts as a solo artist and so was Curtis with his trio, the Impressions. But, did you know the Impressions started out as a quintet with Jerry as lead singer? Though he was only with them for less than a year, his song “For Your Precious Love” was their first big hit. In his latest article for the Strange Brew, music historian and author Scott G. Shea details their story and tells why Jerry left and how Curtis Mayfield, in turn, helped get his solo career off the ground. It coincides with Beat Goes On Records forthcoming release of a quartet of Jerry Butler late-1960s Mercury LPs.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Folks, things happen. Plans are made, plans fall through. It's no big deal for us though, because even if we got nothing, we can always pull a playlist out of thin air using our patent-pending Emergency Pod format. It helps to have the amazing and imminently available Shannon Hurley on hand. Shan is always down to clown, and brings the goods in a true emergency Emergency Pod with a complete top ten list of amazing songs we put together on the spot.If you like what you hear with this format, you should know it's usually reserved for our friends over at Patreon, who are kindly contributing $2 a month and in turn are receiving one of these Emergency Pod episodes featuring our favorite guests every month. Find out more at https://www.patreon.com/c/alltimetoptenShannon is up to as much creative stuff as she can get her hands on these days. Follow her on Instagram or go to her website for updates:https://shannonhurley.com/

On this week's show, we revisit albums that would've topped past year-end lists if they hadn't been blocked by Bruce Springsteen albums. We also revisit the pesky Bruce Springsteen records that blocked them. All this & much, much less! Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Label: Bell 672Year: 1967Condition: MLast Price: $30.00. Not currently available for sale.Wow! The A side is a decent cover of the Jerry Butler & Impressions classic, but wait'll you get a load of the powerhouse on the B side! Talk about a dance master... you'll have 'em up on the floor in no time flat. Note: This beautiful copy comes in a vintage Bell Records factory sleeve.

01:00 If early vote numbers hold up, we'll know Trump has won by election day, https://www.youtube.com/watch?v=9VXg7dCV71g https://www.nytimes.com/2024/10/22/opinion/donald-trump-ezra-klein-podcast.html https://www.nationalreview.com/the-morning-jolt/the-chronically-underestimated-kamala-harris/ Trump vs Harris Update, https://www.youtube.com/watch?v=0vXVB1AIims https://www.latimes.com/entertainment-arts/business/story/2024-10-21/sean-diddy-combs-enablers-lawsuits-bad-boy https://en.wikipedia.org/wiki/Jerry_Butler_(actor) https://en.wikipedia.org/wiki/Ron_Jeremy https://en.wikipedia.org/wiki/Harvey_Weinstein https://odysee.com/@LukeFordLive, https://rumble.com/lukeford, https://dlive.tv/lukefordlivestreams Superchat: https://entropystream.live/app/lukefordlive Bitchute: https://www.bitchute.com/channel/lukeford/ Soundcloud MP3s: https://soundcloud.com/luke-ford-666431593 Code of Conduct: https://lukeford.net/blog/?p=125692 http://lukeford.net Email me: lukeisback@gmail.com or DM me on Twitter.com/lukeford, Best videos: https://lukeford.net/blog/?p=143746 Support the show | https://www.streamlabs.com/lukeford, https://patreon.com/lukeford, https://PayPal.Me/lukeisback Facebook: http://facebook.com/lukecford Book an online Alexander Technique lesson with Luke: https://alexander90210.com Feel free to clip my videos. It's nice when you link back to the original.

Label: Mercury 72898Year: 1969Condition: M-Price: $15.00This is far from an obscure soul nugget (which I usually reserve the Classic 45s jukebox for), but I got serious goosebumps when playing it today and realized I just don't hear it often enough! Dave Marsh has it pegged just right, slipping it in the top 100 of his list of the 1,001 greatest singles of Rock'n'Soul — a triumph for both the singer and for the writer/producers and their nascent Philly Soul style. Note: This beautiful copy comes in a vintage Mercury Records factory sleeve.

In the final episode of What Happened In Alabama, Lee considers the man his father became, despite the obstacles in his way. Later, Lee goes back to Alabama and reflects with his cousins on how far they've come as a family. Now that we know what happened, Lee pieces together what it all means and looks forward to the future. Over the last nine episodes, you've listened to me outline the impact of Jim Crow apartheid on my family, my ancestors and me. I've shared what I've learned through conversations with experts, creating connections to how the effects of Jim Crow manifested in my own family.In the process of this work I lost my father. But without him, this work couldn't have been accomplished.My name is Lee Hawkins and this is What Happened In Alabama: The Epilogue Rev. James Thomas: You may be seated. We come with humble hearts. We come, dear Jesus, with sorrow in our hearts. But dear Jesus, we know that whatever you do,dear God,it is for your will and purpose. And it is always good. We buried my father on March 9, 2019. His funeral was held at the church I grew up in. Mount Olivet Baptist Church in St. Paul Minnesota.Rev. James Thomas: Dear God, I pray that you would be with this family. Like you have been with so many that have lost loved ones and even one day we all know we are going to sleep one day.Thank you for preparing a better place for us.Mount Olivet's pastor, Rev. James Thomas, knew my parents well, especially since my father was part of the music ministry there for 30 years. It was a snowy day, but people came from all over Minnesota and from as far away as Prague to pay their last respects. I looked at the packed parking lot and all the cars lined up and down the street, and I felt a sense of gratitude in knowing that my dad had played such a strong role in so many people's lives, not just the lives of his own children and family.Rev. James Thomas: Brother Leroy is probably playing the guitar over there. We can hear him with that squeak voice “yeeeee.” Jalen Morrison: We could talk about Prince, we could talk about gospel music. He was even up on the hip hop music, too, which kind of shook me up. But I was like, okay, Grandpa [laughter] Naima Ferrar Bolden: He really just had me seeing far beyond where I could see. He had me seeing far past my circumstances. He really changed my perspective, and that was just life altering for me ever since I was a little girl. Herman Jones: He just had the heavy, heavy accent. He still had that booooy. But you know,he was always smiling, always happy all the time. You know, just full of life.As I sat and listened to all the speeches that came before my eulogy of my dad, I couldn't help but recognize both the beauty of their words and the extent to which my father had gone to shield so many of the people he loved from the hardest parts of his life—especially Alabama. It was as if he didn't want to burden them, or, for most of our lives, his children, with that complexity. Most people remembered and honored him as that big, smiling, gregarious man with the smooth, first tenor voice, who lit up any space he was in and lit up when his wife, children, grandchildren, family, or friends walked into a room. He loved deeply; and people loved him deeply in return. And though he was victimized under Jim Crow, he was never a victim. In fact, after he sat for those four years of interviews with me for this show, opening up the opportunity for so many secrets to be revealed, he emerged as even more of a victor.In our last conversation, he told me he wasn't feeling well and that he had been to the doctor three times that week, but was never tested for anything. And Dad,  after that third visit, he just accepted it. I do wonder if there was ever a time in those moments that he had a flashback to his mother being sent home in a similar way - 58 years prior - but from a segregated Jim Crow Alabama hospital. I don't know. I'll never know.Tony Ware: Yeah. Mine. You know, I would always ask my mom, you know, about Alabama. You know, she was one of the five that came up here. That's my cousin Tony Ware. His mom was my Aunt Betty. The “five” that he's talking about were my Dad's siblings who migrated to Minnesota from Alabama -  my aunts Helen, Toopie, Dorothy, Betty, and my Dad. Tony Ware: They kind of hung around together and they would always have sit downs where they would talk. Get a moon pie, a soda. Hmm. Some sardines.Lee Hawkins: Cigarettes. Tony Ware: Cigarettes, sardines. And they would start talking. And some white bread. And they would sit there and talk and we would hear some of it. I sat in my mom's lap, and you know, they're talking about this, and it's like they just went into a different world. When I was a kid in Minnesota, I loved when my dad's sisters and their kids would come over. Us cousins would play hide-and-seek and listen to our music while our parents sat around the dining room table, talking and laughing, and listening to their own music. Our soundtrack was always great – Prince, Michael Jackson, New Edition, Cameo – but theirs was, too, with Curtis Mayfield, Aretha Franklin, Jerry Butler, Johnny Taylor, and Bobby Womack. The food was even better. They'd talk over one another, smoke clouding the air under the chandelier, and my allergy-sensitive nose could detect that smell from three rooms away. Sometimes, I'd sneak a quick sip from an unattended can of beer in the kitchen. Despite the bitter taste, getting away with it always gave me a thrill. But then, someone would mention the word “Alabama,” and that festive energy would suddenly vanish.Tony Ware: But I heard Alabama. I heard this. I heard names that I never, you know, heard, you know, because all I knew was my aunt Dorothy, Lee Roy, you know, all I knew was. But then I heard certain names, uncles such and such. And I'm like, Who? Who, what, what? To us as kids, "Alabama" was more than a place—it was a provocative word that brought a suffocating heaviness to our lives. My cousin Gina remembers, even as a child, that mysterious word and the weariness it triggered in her mother. It left her feeling utterly helpless.Gina Hunter: And I would just sit there and listen to them talk about home and all the things that bothered them. Oh, my God. And yeah, it would hurt my feelings because I would see my mom just break out and cry for nothing. They would be talking and a song would be playing and Betty would just kind of get, she'd well up. Lee Hawkins: Yeah. Gina Hunter: And I'm like, Why are they so sad? Why are they so depressed? They they're together. They've got their kids. We're visiting, we're having fun. But it wasn't fun for them.That veil of secrecy our parents kept around Alabama, prevented us from seeing it as anything other than ground zero for, in our family, dreadful despair. Even when they talked about the happy memories— the church revivals that they called “big meeting,”  and picking fresh strawberries right off the vine – it seemed like a thread of fear just wove through almost every story. Tony Ware:I knew something was going on more than what I knew here, you know, at a young age. So. I was always interested in finding out. But through my mom, you know, she she would talk about how nice it was down there, how beautiful it was down there. But she never wanted to go back there.And as Gina remembers– and I agreed– it  colored every facet of how they raised us. As she spoke, I just sat there, marveling at the fact that she could have replaced her mom's name with my dad's name, or any one of those siblings, and her observations would still be spot on. Gina Hunter:My mom was and Aunt Helen, they were super, super close. And there was always just a deep seeded paranoia of people in general, just like everything. And I would think, why are these people why are they so scared and nervous and afraid of life and people and experiencing things? It seemed like it led them to live a super sheltered life.The central question of this podcast is, "What happened in Alabama?"What happened was Jim Crow apartheid—a crime against humanity committed by the American government against five generations of Black families like mine. This apartheid lasted for nearly hundred years, officially ending in 1964, and created generations of people who perished and millions who survived. I refer to these individuals as Jim Crow apartheid survivors. However, America has yet to acknowledge that Jim Crow was apartheid, that it was a crime against humanity, and that the millions of people who lived through it should be formally recognized as survivors.In the prologue, I explained that so-called Jim Crow segregation was not merely about separate water fountains and back-of-the-bus seating. Through the accounts of family trauma I've shared, we now understand it was a caste system of domestic terrorism and apartheid, enforced by a government that imposed discrimination in every aspect of life through laws and practices designed to maintain white supremacy. The myth of "separate but equal" masked a reality far more sinister and pervasive than what most of us were taught in school.We often think of white supremacy as fringe hate groups, but we've overlooked its traditional and far more damaging form—a government-imposed system that oppressed Black people for a century after emancipation. This isn't a distant academic concept or an opinion or a loaded political statement; it's a fact. This is recent American history, and it deeply impacted our families, controlling every aspect of our lives physically, mentally, and emotionally for five generations after slavery.Since 1837, every generation of my family in America has had a member murdered, often with no consequences for the white perpetrator. The fear, caution, and grief were passed down by those who stood around the caskets, including my father. The daily indignities only compounded this grief, leading to accelerated aging and chronic stress that I believe ultimately killed my father. Yes, Jim Crow apartheid killed my father.Still, I'm encouraged because I have the platform to tell this aspect of the story. Sharing this story has been extremely difficult, but I've been lifted not just by my faith and ancestors but also by my family, their support, optimism, and determination. With this new information, we live with the awareness of the effects of slavery and Jim Crow, striving to break their negative cycles and be empowered by the accomplishments of our families who found ways to thrive despite the oppression caused by those crimes. Telling this story has fortified my resolve, reminding me that our past is not just a story of struggle, but of relentless triumph and dignity. For generations, we have managed to thrive together as a family. By infusing even more consciousness and evolution into our families with each generation, we can continue to thrive.That's why I'm grateful for my cousins, including my first cousin, David Stanley, the son of my dad's sister, Aunt Weenie, who articulated this sentiment powerfully during an interview with my cousins, my father's sisters' children.David Stanley: I think it's a new form of freedom, OK. And even though they faced the backwardness of Jim Crow and all those things that our ancestors went through, they still had their dreams and dignity. And no matter what happened, it's not about the environment around you, it's the environment inside of you. ‘You're not going to stop us. We're going to continue to grow. So by doing that, they said, ‘Okay, you know what? We are going to plant the seed, our offspring, okay?' You can do this in our generation during this time, but guess what? There's another generation coming up.' And that triggers all the way to us today. And then you got your nieces and your nephew, and then you got grandkids, et cetera. Lee: Yeah. And your kids have all master's degree and PhDs. And then your wife is a superintendent of a school district. David: That's right. Yep. So they left their seed, they left their vision. And my point is that I believe that they are all up in heaven smiling down on us and really proud of us.David: I have to go and take that trip to Alabama and bring my children with me and my grandkids with me, because it's vital. Because you put that out there, I really appreciate that. That's something that's definitely going to be done ,and I think that's something that we all need to do, to rekindle and reconnect and do those things. The past can't hurt you, but my point is that by being in the present right now, now we can solidify our future, you know what unapologetically. And do the things they were always yearning to do, in their lives. And they couldn't do them. But they can do them through us.Lee Hawkins: A lot of it is facing your parents' fears,that's what it id. for them as well. My dad really loved Alabama. He did. And my dad would talk about that in a very nostalgic way, but also the fear was still there. And so when I started going to Alabama, I was going for him as well. Not to mention, I have had a couple of people in the family say, ‘Oh be careful down there.' And Aunt Toopie even said, ‘You went in that field? You went to that cemetery?' That fear was on me when I first went to Alabama. The last trip that we went to, I did it with family.Walking through the cemeteries and the landscapes of Alabama alongside my family who live there transformed my mission, helping me to finally lay my father's fear to rest. Lee Hawkins: Mary Ruth's Southern Food for Southern People Made with Love. I love that. That slogan. Marvin Smith: Welcome to Mary Ruth's. Thank you for coming. Lee Hawkins: You got some grits on the griddle huh. Marvin Smith: Oh I got it all. Got me some grits, cheese grits, patty sausage, salmon croquettes, link sausage, bacon. Whatever you ask for we'll cook it. Pancakes, whatever. Hey, we aint Burger King but you can sure get it your way though. Group: [Laughter] There's so much energy in the cafe. I feel the family. My family. We spend a couple hours eating together. Mapping family connections. People come into the cafe, some grab their food and take a seat, some join us. A woman walks in the door and she recognizes me…. not because she knows who I am, but because of my resemblance to her husband, he's also a Pugh. Erica Page: Y'all got a line that will not just go away. It's strong genes. You'll have strong and strong. Yes, cause I have a daughter and a grandson. Oh, God. Looks just like him Her name is Erica Page. Lee Hawkins: You know, Uncle Ike Pugh? Erica Page: We went to the house several times.At one point, someone pulls out a family reunion book. It's a laminated, spiral bound scrapbook. Someone put a lot of work into making it. We're flipping through the pages together….Lee Hawkins: My grandma was Opie Pugh.Erica Page: I know the name. Lee Hawkins: She was. Well, she was Ike's sister. Erica Page: I know. I know the name.I means she's in the book. We find pictures of our Pugh ancestors, Uncle Ike and my dad's mom, Grandma Opie. I've seen these photos before through my research into the family tree.But suddenly, Alabama feels different from the times I visited before for research. I am not surprised that the shift in my relationship with Alabama was guided by my family members who chose to stay rather than migrate north. They stayed and evolved Alabama to the point where both Montgomery and Birmingham now have African American mayors. They, and the millions of Black people who stayed, led a movement that benefits all Americans today. In discussing the hardships my family endured there, it is important to recognize that the progress of our people and our nation is largely attributable to the activism of the courageous Black Americans who stayed and fought. These same Black Americans welcomed me back to Alabama with open arms and support, encouraging me to move forward with this project. They reminded me not to be resentful or afraid to come home, to give Alabama a chance, and to offer it the same benefit of the doubt and acknowledgment of complexity that I give my country.Understanding that it was our families, the Black descendants of American slavery, who led the movement that resulted in the Civil Rights Act of 1964, ending Jim Crow apartheid and bringing America closer to liberty and justice for all, reinforces the reality that, despite significant trauma, we have remained a solutions-oriented people, some of the most effective activists this nation has ever known.Their legacy and courage have shaped Alabama and America and their spirit of irrepressibility continues to inspire me.In my forthcoming book, "I Am Nobody's Slave: How Uncovering My Family History Set Me Free," published by HarperCollins, I will strive to capture not just the stories of trauma but how we can continue to conquer it as a family, a Black American community, and a nation. Inspired by the spirit of my ancestors and my father, who transcended the limitations Alabama tried to impose on him, I will continue my journalism on several issues discussed in this series.  These include exposing and addressing the long-term effects of corporal punishment in homes and schools, the impact of childhood trauma on the health and well-being of children, encouraging school districts to implement policies of mandatory consequences for hate speech and harassment, and highlighting economic and health inequities along racial lines. I will also focus on the plight and power of Jim Crow apartheid survivors as they strive to quell the ripple effect of historical atrocities on their families.The question now is, what can we all do as a nation to recognize Jim Crow as a crime against humanity and to support the millions of Americans over 60 who lived in the South during this unfortunate period? How can we make our homes, schools, and society safer for the generations of children and grandchildren coming behind them?Together, we can acknowledge our past, honor the strength of those who came before us, and build a future filled with hope, determination, and joy. Let us rise with the resilience of our ancestors and create a world where every child can dream freely and every family can thrive. Lee Roy: You've run the game and you know the Lord and you're doing your thing, man. And that's the best you can do as far as I'm concerned. You have to keep your heart and your head up. I don't know this thing about being proud. I know the Lord and I know the Lord loves me. So if I'm proud, man, please forgive me and if I shouldn't be, but it is a poor dog that don't wag his own tail, son, when you're trying to reach your goals, I'll put it like that, you know. Lee Jr.: Right on. Well, okay buddy, I'm going to hit it, but I'll be in touch, okay? Lee Roy: Yeah, keep going, man, I'm loving it. I'm loving what we're doing, Lee. Lee Jr.: Okay, love you, Dad. Lee Roy: Okay man. Love you. Bye.CREDITS

Justin and Olivia are joined by guest host Chris Jones (former host of the wonderful "Hall of Songs" podcast, you can find him as @jonesca17 on social media) to explore the surprisingly heartfelt and thought-provoking world of songs that either reference or are about Elvis, explicitly or implicitly. Spanning a wide array of genres, eras and artists, each of us pick five of our favorites to examine the common themes that begin to surface like fame, commercialization, celebrity obsession, mythology, religion, the Deep South, America, transportation/travel, class, race relations, and the closeness of family. For Song of the Week, Olivia selects "Drums of the Islands", a "Paradise Hawaiian Style" track that's rooted in real Polynesian culture. Justin chooses to delve into "Only the Strong Survive," Elvis' cover of Jerry Butler's classic 1968 hit, and Chris takes us home by covering Elvis' down and dirty 1971 version of the iconic holiday blues number, "Merry Christmas Baby." A special episode playlist: https://open.spotify.com/playlist/1yrvYGYK6c7W8ysEwbh7nM?si=f9e75a2706694579 If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. 

Listen every Tuesday from 21 till 22 (Moscow time) Jazz FM (radiojazzfm.ru) Subscribe in iTunes: https://itunes.apple.com/ru/podcast/funk-and-beyond-weekly/id1063844118?mt=2 for more details please visit beyondfunk.ru Tracklist: 1. The Teques - Don't Push My Love Cup 2. Brockingtons - I Just Got to Know 3. The New Cymbals - L. C. Funk 4. Jerry Butler; Jerry Peters - Speak the Truth to the People (Frankie's Theme) 5. Trevor Dandy - Is There Any Love 6. The Lost Generation - This Is The Lost Generation 7. Bobby Patterson - I Get My Groove From You 8. Bertrand Burgalat - Les Choses Qu'on Ne Peut Dire à Personne 9. Freddie Allen - We've Only Just Begun 10. Black Velvet - What Am I To Do 11. South Street Soul Guitars - Poppin' Popcorn 12. Sister Love - You've Got To Make The Choice 13. Sly & The Family Stone - Sing A Simple Song 14. Casey Jones - Good Thing (Part 2) 15. Soul Brothers Six - You Gotta Come A Little Closer 16. UPC All-Stars - Don't Get Discouraged 17. Kris Peterson - Mamas Little Baby (Is A Big Girl Now) 18. Philly Four - Elephant 19. The Brothers Seven - Evil Ways 20. Bobby Williams - Get into it 21. The Soul Lovers - Gonna Have Fun Tonight

Mit "From Elvis In Memphis" feiert Elvis Presley 1969 nicht nur sein Studioalbum-Comeback, sondern er erfindet sich auch selbst komplett neu. Der King of Rock'n'Roll ist geboren! Produktionsgeschichte von "From Elvis In Memphis" Elvis musste für dieses Album zunächst sein Label RCA davon überzeugen, einen neuen Weg einzuschlagen und in seiner Wahlheimat Memphis aufzuzeichnen. Dort gab es ein Studio, das wegen des Sounds sehr angesagt war, das American Sound Studio. Elvis wollte etwas Neues ausprobieren und nie wieder einen Song singen, den er nicht singen möchte. Bis dahin machte Elvis fast nur noch Soundtracks für Filme und keine Studioalben. Mit "From Elvis In Memphis" feiert er daher nicht nur sein Studioalbum-Comeback, sondern vollzieht zudem einen musikalischen Stilwechsel in eine Richtung, die damals sehr modern war. Die Aufnahmen zu "From Elvis In Memphis" fanden im Januar und Februar 1969 statt. Währenddessen war Elvis gesundheitlich stark angeschlagen, hat die Produktion dennoch abschließen können, obwohl seine Stimme zwischenzeitlich fast weg war. Das Erfolgsgeheimnis des King of Rock'n'Roll Auf "From Elvis In Memphis" befinden sich vier Original- und acht Cover-Versionen — in einer Zeit der großen Songwriter, wie John Lennon, Paul McCartney oder Bob Dylan. Für Elvis war es jedoch nichts Außergewöhnliches Songs zu covern oder vielmehr zu veredeln. Er hat damit zwar keine musikalischen Innovationen gebracht, aber gemacht, was zu ihm passt — eine unnachahmliche Mischung aus Country, Soul und Funk. Elvis hat seinen Stil in die neue Zeit übertragen und das gelingt offensichtlich genauso gut auch mit Cover-Versionen, wenn nicht durch den Wiedererkennungswert vielleicht sogar noch besser. Um 1970 traf Elvis den Entschluss ein eigenes Markenzeichen zu entwickeln und das "TCB-Logo" wurde geboren: Ein Zeichen mit einem Blitz und den drei Großbuchstaben "TCB", die für "Takin' Care Of Business" (Anmerkung der Redaktion: Sich immer schön um das Geschäft kümmern) stehen. Das war nicht nur Elvis' Lebensmotto, sondern auch der Name seiner Band, die ihn bis zum Ende fast immer auf den Touren begleitet hat. Elvis in Vegas Presleys Manager Colonel Tom Parker fixierte am 31. Juli 1969 einen Auftritt für Elvis in Las Vegas. Nach Elvis' damaligem Karrieretal war das für ihn eine große Chance — und er nahm sie wahr. Die Show wurde ein voller Erfolg! Zweimal am Abend konnte man fortan den King für zwei Stunden live sehen und das über Wochen. "In The Ghetto" Der sozialkritische Titel "In The Ghetto" geht unter die Haut. Er erzählt von einer Geschichte, die heute so aktuell wie damals ist, über den niemals endenden Kreislauf von Armut und Kriminalität im Ghetto von Chicago und hinterlässt ein mulmiges Gefühl in der Magengrube, findet SWR1 Musikredakteur Frank König. Elvis soll selbst Angst davor gehabt haben, dass der Song zu sehr polarisieren könnte. Doch das Gegenteil war der Fall: Die Menschen haben ihn für dieses Lied geliebt — "In The Ghetto" erreichte weltweit Top-Platzierungen, in Deutschland sollte es sogar der einzige Nummer-eins-Hit von Presley werden. Biopic von Elvis Presley Der King of Rock'n'Roll ist nicht nur noch immer einer der größten Musiker aller Zeiten, sondern auch der Solokünstler mit den meisten verkauften Platten. Im Juni 2022 bekam er dazu ein filmisches Denkmal — "Elvis" heißt das Biopic unter der Regie von Baz Luhrmann. Von 1967 bis 1973 war Priscilla Presley mit Elvis verheiratet. Regisseurin Sofia Coppola hat diese Liebesgeschichte auf Vorlage von Priscilla Beaulieu Presleys Buch "Elvis and Me" verfilmt und Anfang 2024 in die Kinos gebracht. "From Elvis In Memphis" von Elvis Presley – Ein Meilenstein der Musikgeschichte Mehr zu Presleys legendären Las Vegas-Shows, warum der Song "Only The Strong Survive" innerhalb von drei Monaten gleich zweimal rauskam, "Suspicious Minds" es nicht auf die LP geschafft hat, obwohl es einer seiner größten Songs war und warum das Album unter massiven Spannungen produziert wurde, das und vieles mehr, hören Sie im SWR1 Meilensteine Podcast "From Elvis In Memphis". __________ Shownotes Offizieller Youtube-Kanal von Elvis Presley: https://www.youtube.com/channel/UCW6G95TBLCh5SdC-DHDSf5w __________ Über diese Songs vom Album "From Elvis In Memphis" wird im Podcast gesprochen (06:31) – "Wearin' That Loved On Look"(09:23) – "Only The Strong Survive"(13:30) – "I'm Movin' On"(16:13) – "Gentle On My Mind"(20:21) – "After Loving You"(21:32) – "In The Ghetto"__________ Über diese Songs wird außerdem im Podcast gesprochen (10:34) – "Only The Strong Survive" von Jerry Butler(24:24) – "Suspicious Minds" von Elvis Presley__________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

On this new broadcast of A Bowl of Soul we celebrate Springtime R&B and Hip Hop. It's time to get outside in the warm air finally and bump some Spring R&B and Hip Hop jams from our cars, radios and other musical devices. Are you ready? I am ready!!!! A Bowl of Soul has a fabulous line up in this broadcast from Jerry Butler to the Intruders with some Alternative R&B mixed in with some classic Hip Hop. It's gonna be a bumpy and funky ride with yours truly, Professor T-Love. Enjoy this podcast because it's Spring Again. Happy Mother's Day to all the mothers out there!! Keep it locked with A Bowl of Soul!!! You can support A Bowl of Soul by doing the following:  Get up to 2 months free podcasting service with our Libsyn code=ABOS. Sign up & bring your  podcast to life! Get on Apple & Spotify, get critical stats & all the support you need to sound your best and grow your show!! Sign up here: https://signup.libsyn.com/?promo_code=ABOS You can listen to the A Bowl of Soul Radio Network on Live365.com giving you 24/7/365 days of Soul Music. Stop on by and listen:  A Bowl of Soul Radio Network on Live365 You can support A Bowl of Soul and Buy Me A Coffee. Just click: Buy A Bowl of Soul A Cup of Coffee Purchase your A Bowl of Soul T-Shirt and other merchandise. Just click: Get Your A Bowl of Soul Merch Follow me: @abowlofsoul on Twitter                   @proftlove on Instagram                   @A Bowl of Soul A Mixed Stew of Soul Music on Facebook

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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 Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

This R&B singer was raised in Chicago, in the Cabrini-Green housing projects. He sang in the Northern Jubilee Gospel Singers with Curtis Mayfield. Jerry Butler and Mayfield joined a group which later became the “Impressions.” A couple years later he left the group for a solo career. Jerry was a soul singer, musician, producer, and politician. He had over 55 Billboard Pop and R&B hits. Maybe you remember Tony Orlando and Dawn reviving his hit “He Don't Love You Like I Love You.” This was a very short interview and I don't remember why. Apparently, he called and I didn't have much time left in the show. We did have time to talk about one of his hits that he was kidded about by many DJs around the country. Jerry is in the Rock and Roll Hall of Fame with the Impressions. In my opinion, he should be in there as a solo artist.

Séptimo capítulo dedicado a recordar y reivindicar las Mod Jazz Series, compilaciones que fueron editadas por la escudería Ace Records, en donde abordaban desde distintos ángulos el abanico de sonidos de jazz que escuchaban los mods británicos. (Foto del podcast por PoPsie Randolph; Bobby Donaldson en 1960)Playlist;(sintonía) FREDDIE McCOY “Collard greens”ALBERT KING “C.O.D.”HANK JACOBS and THE TKO’S “Tam-a-rind”BOBBY DONALDSON “Bash dance”IKE TURNER’S KINGS OF RHYTHM “Daddy’s blues”IKE TURNER’S KING OF RHYTHM “Camel walk”CHUCK HIGGINS “All around the world”RICHIE and THE PS 54 SCHOOL YARD “Listen to Louie”THE MILES GRAYSON TRIO “Sweet bread”AFRO BLUES QUINTET “La la la”DEE CLARK “Senor blues”JERRY BUTLER “Motherless child”MICHELLE HARRIS-SPIVEY “Walk tall”THE MERCED BLUES NOTES “Whole lotta something”THE MERITS “Arabian jerk”DALE CUNNINGHAM “Too Young”GOOGIE RENE COMBO “Soul zone 65”GEORGE BRAITH “Cantelope woman”Escuchar audio

Each year, there are the movies that perhaps are not on Mikey's, Dave's, or #XLessDrEarl's top fives or top tens, but they are still movies that surprised everyone... and delighted everyone... unexpected pleasant moviegoing experiences if you will.     And we give our top five in this category in our annual Surprise & Delights episode... and like always, Friend of the Show, Miss Independent himself, Jeremy Burgess joins to give his fave underrated and unexpected performances as well. First up, some chatter about movies that should be nominated for Best Picture, and a look at d$'s Christmas Gift to Burgess, the David Cronenburg film "Videodrome". Then, the top five Surprise & Delights of the year, including Sydney Sweeney facing Reality... much love for a Sophia Coppola joint... several name drops for Jerry Butler... the differences in the movie and the 3 part series "Blackberry" on AppleTV... the year in horror... and much more. Finally, the 2024 Burgentine's Day commences, as assignments are given from the likes of Aussie Nate... Melissa R... and the trio on the Deucecast. Films discussed:        Air (Amazon Prime) Birth/ReBirth (Shudder) Blackberry (AMC+) Cha Cha Real Smooth (AppleTV+) David Holmes: The Boy Who Lived (MAX) Godzilla Minus One (in theaters) Gran Turismo (Netflix) The Iron Claw (in theaters) It's a Wonderful Knife (Shudder) Jesus Revolution (Netflix) Kim's Video (unavailable) Plane (Starz) Polite Society (Amazon Prime) Poor Things (in theaters) Priscilla (for rental) Reality (MAX) The Royal Hotel (for rental) Shin Godzilla (for rental) Sick (Peacock Premium) Skinamarink (Hulu/Shudder/AMC+) Totally Killer (Amazon Prime) Wonka (in theaters) You Are So Not Invited to My Bat Mitzvah (Netflix) You Hurt My Feelings (for rental) You're Killing Me (Showtime)

This week Pete covers classic artists such as Vicki Anderson, Marvin Gaye & The Fatback Band, whilst he brings his listeners some new and recent releases from Principles Of Joy, Brainstory and Thee Sinseers. There are the usual birthday celebrations, this week for Jerry Butler, Donald Byrd and for Willie Hutch. Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

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