Podcast appearances and mentions of Kim Weston

Today, Raha meets Kim. Kim Weston is a fitness trainer who's helped over 500 women lose weight without restricting their diet. She specialises in working with pre and post natal ladies. Quality of life is about happiness and fulfillment.Me time is crucial for mental well-being.Finding joy in daily activities is important.Embracing change can lead to new opportunities.Produced by Pineapple Audio Production and supported by TRXاليوم، تلتقي رها مع كيم. كيم ويستون هي مدربة لياقة بدنية ساعدت أكثر من 500 امرأة على فقدان الوزن دون تقييد نظامهن الغذائي. وهي متخصصة في العمل مع النساء قبل وبعد الولادة. - جودة الحياة تعتمد على السعادة والرضا. - تخصيص وقت للنفس ضروري للصحة النفسية. - إيجاد السعادة في الأنشطة اليومية أمر مهم. - تقبل التغيير يمكن أن يفتح أبوابًا لفرص جديدة. من إنتاج **Pineapple Audio Production** وبدعم من **TRX**. Hosted on Acast. See acast.com/privacy for more information.

Today, Raha meets Kim. Kim Weston is a fitness trainer who's helped over 500 women lose weight without restricting their diet. She specialises in working with pre and post natal ladies. Quality of life is about happiness and fulfillment.Me time is crucial for mental well-being.Finding joy in daily activities is important.Embracing change can lead to new opportunities.Produced by Pineapple Audio Production and supported by TRXاليوم، تلتقي رها مع كيم. كيم ويستون هي مدربة لياقة بدنية ساعدت أكثر من 500 امرأة على فقدان الوزن دون تقييد نظامهن الغذائي. وهي متخصصة في العمل مع النساء قبل وبعد الولادة. - جودة الحياة تعتمد على السعادة والرضا. - تخصيص وقت للنفس ضروري للصحة النفسية. - إيجاد السعادة في الأنشطة اليومية أمر مهم. - تقبل التغيير يمكن أن يفتح أبوابًا لفرص جديدة. من إنتاج **Pineapple Audio Production** وبدعم من **TRX**. Hosted on Acast. See acast.com/privacy for more information.

Thank you for tuning in this season on the Learning Through Experience podcast! In this season 3 reflection episode, I take a step back to reflect on the key themes, conversations, and experiences that shaped the show. This season featured several insightful and impactful conversations. I highlight discussions with guests like Lisa Lahey on overcoming change, Mark Brackett on emotional intelligence and attunement, Liliana Milkova and Jenny Frederick on the definition of education, Avi Kluger on feedback, Kim Weston on personal transformation through art, and Amy Bloom on writing to be read. As the podcast looks ahead to the new season, I am grateful to the students, team members, and listeners who have supported the podcast. I am so glad you're here! Learning Through Experience is produced through the Yale School of Management. For more insights about each episode, subscribe to the LinkedIn newsletter. Watch this episode on YouTube.

Nueva entrega de la serie dedicada a recordar canciones que alcanzaron su puesto más alto en las listas pop de EEUU en noviembre de 1964. Aunque el único nuevo número 1 del mes queda en manos de unas adolescentes de Nueva York, la cantidad de bandas de la invasión británica que se sitúan en lo más alto sigue siendo abrumadora.Playlist;(sintonía) THE VENTURES “Slaughter On Tenth Avenue” (top 35)THE SHANGRI-LAS “Leader of the pack” (top 1)J. FRANK WILSON and THE CAVALIERS “Last Kiss” (top 2)MARVIN GAYE “Baby don’t you do it” (top 27)MARVIN GAYE and KIM WESTON “What good I am without you” (top 61)THE VELVELETTES “Needle In A haystack” (top 45)THE NASHVILLE TEENS “Tobacco road” (top 11)THE KINKS “You really got me” (top 7)THE ANIMALS “I’m cryin’” (top 19)GERRY and THE PACEMAKERS “I like it” (top 17)THE HONEYCOMBS “Have I the right” (top 5)THE DAVE CLARK FIVE “Everybody knows (I still love you)” (top 15)PETER AND GORDON “I don’t want to see you again” (top 16)THE SEARCHERS “When you walk in the room” (top 35)JAY and THE AMERICANS “Come a little bit closer” (top 3)GARNET MIMMS “Look away” (top 73)BRENDA LEE “Is it true” (top 17)LESLEY GORE “Hey now” (top 76)DIONNE WARWICK “Reach out for me” (top 20)Escuchar audio

Learning through experience is dynamic, not static. As you'll hear in this episode with artist Kim Weston, her photography is a way of deepening understanding of ourselves and the world around us, seen and unseen.  Through compelling story and image, Kim takes us on a journey where each photograph tells a story of heritage, community and spirit. As she says, “Our ancestors are with us; the people we loved in the past are still beside us, even though we can't see them with the naked eye.” Tune in to discover how Kim's evocative work is transforming spaces and touching lives, inviting each of us to engage, reflect and experience life through the lens of art. Watch this episode on YouTube. Key Topics 03:37 Finding Art: From the Bronx to the Museum Early experiences shape lifelong learning and creativity. Kim reflects on her childhood exposure to art in New York—immersive experiences that informed her sense of self and future as an artist.  06:25 Identity Through Art Representation in art can challenge societal norms and expand our understanding of beauty and identity. Kim describes her early fascination with the strength and diversity in Renaissance paintings.  09:31 The Power of Mentorship and Community Mentorship serves as a relational experience, shaping identity and purpose. Kim recalls formative years at Jamaica Arts Center, where mentors like Thelma Golden helped her realize the potential of her work.  10:37 A Path to Spirit Photography Personal challenges can reshape our life's work. Kim shares the transformative impact of a health crisis, leading her to capture “spirit” and energy in her photography.  20:52 Art as Community Experience at Yale Discussion about Kim's art installation at Yale School of Management, in a shared space where students can encounter Native American cultural expressions through the images. These works invite connection and reflection, bridging personal identity with shared experience. 27:12 Movement in Stillness: Capturing the Essence of Life Heidi reflects on the “kinetic stillness” of Kim's photographs, which capture multiple moments in one image, creating a sensation of life in motion. Kim shares the intentional artistry behind her technique, which aims to convey both presence and spirit. 30:52 Connection, Heritage and Earth Stewardship Reflect on the spiritual, experiential aspects of learning. Kim's art is a reminder of our collective journey. Additional Resources  kimwestonimages.com + wabi.gallery @kimwestonimages + @wabigallery From Wabi Arts to Westfield, Kim Weston Grows Her Artistic Footprint (Arts Council Greater New Haven—2022)

Con Billie Eilish, The Goodfellas, The Four Lads, Caterina Valente, The Sacados, They Might Be Giants, Tia Simon, Scott Bradley's Postmodern Jukebox, Stella Katherine Cole, Yvonne Fair, Kim Weston, Sandra Thomas, Miley Cyrus, James Brown, Bruno Lomas con sus Rockeros y Los Johnny Jets

Con Billie Eilish, The Goodfellas, The Four Lads, Caterina Valente, The Sacados, They Might Be Giants, Tia Simon, Scott Bradley's Postmodern Jukebox, Stella Katherine Cole, Yvonne Fair, Kim Weston, Sandra Thomas, Miley Cyrus, James Brown, Bruno Lomas con sus Rockeros y Los Johnny Jets

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 second part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we’re looking at the career of Marvin Gaye from 1963 through 1970, as well as his duet partners Mary Wells, Kim Weston, and Tammi Terrell, whose tragically short life comes with a great many content warnings. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode, on “In-A-Gadda-Da-Vida” by Iron Butterfly And if you just can’t get enough of me talking, I’ve also guested this week, with Tilt and Gary from The Sitcom Club, on our friend Tyler’s podcast Goon Pod, talking about the 1974 film Man About The House. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

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…

THE ELDER AND YOUTH MIX WITH BABA KENTU & LEGENDARY KIM WESTON WITH A TRIBUTE TO J DILLA.

KIM WESTON Born in Detroit, Michigan, Weston's biggest solo hits with Motown were "Take Me in Your Arms (Rock Me a Little While)"  later covered by the Isley Brothers;  and "Helpless" previously recorded by The Four Tops on their album, Four Tops Second Album). Her biggest claim to fame was singing the classic hit "It Takes Two" with Marvin Gaye in 1966, and her later recording of the Black National Anthem, "Lift Every Voice and Sing"

Join Blow Up this week for another 2 hours of music from across the decades. Matt, Sammy & Frankie play tracks from Ocean Colour Scene, The Love Affair, Kim Weston, Small Faces and Bob Marley.Plus Sydney's DJ Juana Granados returns for a long overdue Latin Quarter and introduces us to a couple of banging boogaloo classics.Tune into new broadcasts of Blow-Up, Sunday from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.For more info visit: https://thefaceradio.com/blow-up///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.

Valerie Richardson is joined in the studio by photographer Kim Weston and Jennifer Reynolds-Kaye, director of the Housatonic Museum of Art. Kim's exhibition Sweetgrass: Dancing with My Ancestors opens at the Museum on November 29, 2023

The daughter-in-law of an elderly woman scammed out of $100,000 believes the bank should've picked it up. The Auckland victim was tricked into sending the money overseas to unlock an imaginary Covid subsidy payment. Kim Weston say her mother-in-law made 13 international money transfers in person at her local ASB. "She's been with the bank for 25 years, she'd never transferred any money before- maybe the first one would have been alright, but with the amount of times she's been in there, I thought if would have brought red flags straight away." The Banking Ombudsman is investigating the case. LISTEN ABOVESee omnystudio.com/listener for privacy information.

TOPIC : Tuskegee Airmen ... Black servicemen of the U.S. Army Air Forces who trained at Tuskegee Army Air Field in Alabama during World War II. TA overcame racist opposition to become one of the finest US fighter groups in World War II ...

SPECIAL THANKS TO KIM WESTON, WES, KWAME and DR. RHONDA

COPYRIGHT 107 .. . / SHOUT OUT TO WES and CHAK

This re-release of Marvin Gaye: Musical & Cultural Icon looks at the chaotic, turbulent and troubled life of sweet Marvin Gaye. One of the most beautiful voices to sing any form of Rock & Roll. His was the voice of a generation of Americans. Marvin was passionate, conflicted and believed we could conquer hate with love, although his life choices didn't always reflect that strong belief within him. We discuss the hard truths of his life, and his struggle with mental illness. Musically, solo success aside, his duets with Kim Weston and Tammi Terrell were legendary. Enjoy the ride on this classic episode of the podcast. Listen to this cool episode, and then get caught up here!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

This re-release of Marvin Gaye: Musical & Cultural Icon looks at the chaotic, turbulent and troubled life of sweet Marvin Gaye. One of the most beautiful voices to sing any form of Rock & Roll. His was the voice of a generation of Americans. Marvin was passionate, conflicted and believed we could conquer hate with love, although his life choices didn't always reflect that strong belief within him. We discuss the hard truths of his life, and his struggle with mental illness. Musically, solo success aside, his duets with Kim Weston and Tammi Terrell were legendary. Enjoy the ride on this classic episode of the podcast. Listen to this cool episode, and then get caught up here!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

We've been out there shaking the trees again, and come up with some new old 45 rpm Soul, R&B, Mod, and garage rock singles from the 1960s to share. The radio dance party includes Luv Bugs, Cupcakes, The Choir, The Monarchs, and even the Serenaders! Plus, you'll hear Shirley Ellis, Bo Diddley, Otis Redding, Kim Weston, Darrell Banks and more. All original vinyl singles, all for dancing, all with That Driving Beat! Originally broadcast July 23, 2023 Willie Mitchell / That Driving BeatJames Davis / I'm Gonna Tell It On YouThe Luv Bugs / Mama's Gonna' Whip YouDelores Hall / Good Lovin' ManKim Weston / HelplessBob & Earl / The SissyThe Poets / She Blew a Good ThingSerenaders / If Your Heart Says YesFreddie Scott / Run JoeThe Cupcakes / Pied PiperClarence Henry / Little SuzyDebbie Dovale / I'm My Own DoctorLittle Anthony & The Imperials / Goodbye GoodtimesMichael & The Messengers / Up Til NewsOtis Redding / (Your Love Has Lifted Me) Higher and HigherThe Choir / It's Cold OutsideThe Ikettes / Don't Feel Sorry For MeShirley Ellis / The Nitty GrittyBobby Bell / Drop Me A LineShirley Ellis / Give Me A ListBilly Stewart / Fat BoyGerry & The Pacemakers / Skinny MinnieThe Artistics / I'll Leave It Up To YouThe Monarchs / Guess WhoMarathons / Peanut ButterSam the Sham & The Pharaohs / Take What You Can GetReggie La Mont / How Lonely (Can One Man Be)Darrell Banks / I've Got That FeelingLittle Richard / I Don't Want To Discuss ItThe Choir / I'm Going HomeBilly Butler & the Enchanters / Gotta Get AwayClassics IV Feat. Dennis Yost / StormyFrankie Valli & The Four Seasons / The NightBo Diddley / Say! (Boss Man)Sugar Pie De Santo / I Don't Wanna FussDelores Hall / W-O-M-A-N Hosted on Acast. See acast.com/privacy for more information.

Although one of the most successful artists and songwriters of the 60's, Marvin Gaye had not released a solo studio album for two years prior to In the Groove, his eighth studio album.  Instead he had been releasing duet performances with artists like Kim Weston and Tammi Terrell.  Gaye was one of the primary artists shaping what would become the Motown sound, first as a session player, then as a solo artist and songwriter.  Gaye formed a vocal quartet called The Marquees shortly after leaving the Air Force in the late 50's.  The Marquees performed in the D.C. area, connecting with Bo Diddley who co-wrote their first (and only) single, "Wyatt Earp."  The group disbanded in 1960, and Marvin Gaye relocated to Detroit, connected with Barry Gordy around Christmas of 1960, and signing with Tamla, a Motown subsidiary.  By 1962 Gaye was a success as a singer, session musician, and writer.In the Groove was released in August of 1968, and would see its third single, I Heard It Through the Grapevine released in October.  This single would become Gaye's first number 1 hit.  October would also bring tragedy, when his vocal duet partner Tammi Terrell collapsed from exhaustion into Gaye's arms, later being diagnosed with a brain tumor which would eventually claim her life.  After the monster international success of I Heard It Through the Grapevine, the entire album would be re-released under that title.  The album was both a critical and commercial success.John Lynch brings us this soulful selection. I Heard It Through the GrapevineAlthough one of Gaye's most successful songs, he was not the first artist to record or release the song.  It was intended to be released by Gladys Knight & the Pips, who did so in September 1967.  The Miracles also recorded the song and released it in 1968.  Gaye's version would become the classic rendition.YouThis was the first single from the album, released in December of 1967, months before the album.  The song was about a man wanting to keep his relationship with a woman secret, because she was upper class and he was working class.  It featured a rougher Gaye vocal part than was typical of his previous songs, and  went to number 34 on the pop charts.ChainedThe second single would be released in August 1968, the same month as the album release.  Frank Wilson wrote and produced this song which went to number 32 on the Billboard Hot 100.  The lyrics are about a man pining for a woman he lost and wants back.Some Kind of WonderfulThis deeper cut was not released as a single.  The Drifters originally released this song in 1961, and it was written by Gerry Goffin and Carole King.  Many artists would cover this one, including Carole King and most recently Michael Bublé.  ENTERTAINMENT TRACK:Barbarella by The Bob Crewe Generation (from the motion picture “Barbarella”) Jane Fonda's cult classic of bad science fiction films would appear in the theaters in October 1968. STAFF PICKS:On the Road Again by Canned Heat Bruce starts the staff picks with a blues and harmonica jam off Canned Heat's second album “Boogie with Canned Heat.”  The group takes its name from a 1928 Tommy Johnson song entitled "Canned Heat Blues."  Canned Heat's lead vocalist was Bob "The Bear" Hite, but Alan "Blind Owl" Wilson takes the lead for this song.  Chewy Chewy by Ohio ExpressRob features a happy bubblegum pop number from Mansfield, Ohio.  Ohio Express consisted of session musicians who put out the music for Super K Productions.  The group had a previous hit in "Yummy, Yummy, Yummy."Sunshine Help Me by Spooky Tooth Wayne brings us an acid rock deep cut written by Gary Wright of “Dream Weaver” fame.  The song itself is about letting the sunshine clear the singer's mind.  Spooky Tooth was a blues/psychedelic band from England active between 1967 and 1974.  This song was not a hit, but did appear on their greatest hits album.Hey Jude by The BeatlesLynch's staff picks is  one of the Beatles' biggest hits, though it was not released on a studio album at the time. It is also the longest single in the Beatles' catalog, running 7:11, the longest single ever released at the time.  It was written by Paul McCartney for John and Cynthia Lennon's son Julian when John and Cynthia were going through a divorce.     NOVELTY TRACK:Mr. Tambourine Man by the William ShatnerSomehow Shatner was able to put this song in the hopper while simultaneously starring as Captain Kirk in the original run of the TV show, Star Trek.  We'll let you decide whether he missed his calling as a rock star.

Training to Love God for God Scripture: Psalm 63:1–8 Speaker: Jon Morales, Lead Pastor of Oak Pointe Church Late in 1965, in Detroit, Marvin Gaye and Kim Weston recorded “It Takes Two,” a song that depicted many things in life (dreams, love, wishes, etc.) being better with two people instead of one. But human relationships require diligent and ongoing work to flourish, and both parties must contribute. Our relationship with God is no different. If we're going to love God for God, then God must do something, and we must do something. In this week's message, we'll discover those two things.

Training to Love God for God Scripture: Psalm 63:1–8 Speaker: Jon Morales, Lead Pastor of Oak Pointe Church Late in 1965, in Detroit, Marvin Gaye and Kim Weston recorded “It Takes Two,” a song that depicted many things in life (dreams, love, wishes, etc.) being better with two people instead of one. But human relationships require diligent and ongoing work to flourish, and both parties must contribute. Our relationship with God is no different. If we're going to love God for God, then God must do something, and we must do something. In this week's message, we'll discover those two things.

special thanks to ANGELA STANTON-KING, ANDREW WYATT, DELORES BROWN, ANTIONETTE POINDEXTER, KIM WESTON and TIEA WHITAKER

Originally Broadcast February 27, 2023James and Uwe have been wandering the countryside looking for records, and found some real treasures by The Halos, Buddy Lamp, the Precisions, Arthur Conley, The Metros, Hal Blaine, Kim Weston, The Hesitations, The Superiors, an unearthed Aretha Franklin tune, some popcorn gold, plus a few real obscurities. It's a real unplanned mess of new stuff we've found, all for dancing.Willie Mitchell / That Driving BeatHarold Hopkins / Ooh BabyCasinos / Forever And A NightThe Halos / Do I?Verdelle Smith / Walk TallThe Lovelites / How Can I Tell my Mom & DadThe Seminoles / I Can't Stand ItAretha Franklin / MockingbirdTrade Martin / That Stranger Used to Be My GirlJoe Jones / When Your Hair Has Turned To SilverJohn Thomas and Orchestra / Heartbreak (It's Hurting Me)Arthur Conley / Where You Lead MeThe Coasters / Love Potion Number NineLeon Thomas / L-O-V-ESoulosophy / Take Me To The PilotKathy Keegan / Nobody's Gonna Hurt YouBenny Spellman / Please Mr. GenieRoy Milton / I'm Forgettin' About YouThe Superiors / What Would I DoThe Masqueraders / I Don't Want Nobody To Lead Me OnThe Living Legends / Monkey Don't CareThe Scavengers / I Don't Need Her NowThe Barbarians / What the New Breed SayThe Teddy Neely Four / Jet SetThe Kinks / Never Met a Girl Like You BeforBilly "The Kid" Emerson / The Whip (Prt. 1)The Isley Brothers / The SnakeBig Dee Irwin / Donkey WalkThe Metros / Let's GrooveHal Blaine His Drums and Orchestra / Drums A Go GoSandy Nelson / Drums A Go GoThe Volumes / Gotta Give Her LoveThe Precisions / A PlaceBuddy Lamp / My TearsKim Weston / Looking For The Right GuyThe Hesitations / Soul Kind of LoveMicki Lynn / Sure Is Something Hosted on Acast. See acast.com/privacy for more information.

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. 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 Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Defining a genre for the group War is a difficult process.  There are elements of Latin, R&B, funk, soul, and rock mixed in.  Some call it progressive soul.  War came from Long Beach, California in 1969, and began as a backing band for Deacon Jones.  The band was originally led by Eric Burden of the Animals and were known as Eric Burden and War for their first tow albums, then as War after Burden left the group.  Their seventh studio album, Why Can't We Be Friends? would continue a tradition of successful albums for the band, going to number 8 on the US charts, number 1 on the R&B sharts, and two singles would be nominated for the Grammy awards in 1976.War had a large number of musicians, and much of their personnel rotated in and out of the group.  For this album the group was Howard Scott on guitar, B.B. Dickerson on bass, Lonnie Jordan on organ, Papa Dee Allen on conga and bongos, Charles Miller on clarinet and sax, and Lee Oskar on harmonica.  All members are also listed on percussion and vocals.War was a band with a purpose.  The goal of the band from the beginning was to spread a message of brotherhood and harmony, and to speak out against racism, hunger, gangs, and crimes.Bruce brings us this funky fusion band for discussion.. Why Can't We Be Friends?The title track reached number 6 on the Billboard Hot 100.  Each band member gets their own verse to sing.  The title is sung 44 times.  It was played in outer space during the Apollo-Soyuz Test Project.  Smash Mouth did a cover in 1998 as the second single from their debut album.  HeartbeatThis is a deeper cut with a lot of funk.  You could easily hear George Clinton and Parliament doing this piece.  The lyrics are about not worrying about things, but being in the present.  "Ain't no need a-worryin' about the future.  Ain't no need a-worryin'."Don't Let No One Get You DownLeading off the album, this song is a piece of encouragement, letting the listener know they will always be lifted up by the singer.  "Don't let no one get you down, cause if they do, if they do, I'll be around."Low RiderThe big hit off the album would become iconic over time.  The song is about a car and a culture in Southern California.  A low rider is a car modified with hydraulic lifts so the wheels can be lowered and make the car bounce.  The band maintains that the references are not to drug culture, although the song did make it into a couple of Cheech and Chong movies.. ENTERTAINMENT TRACK:Main Theme to the motion picture "Jaws"This movie was keeping everyone out of the water in the summer of 1975.   STAFF PICKS:Welcome to My Nightmare by Alice CooperWayne starts off the staff picks with the title song from a concept album that chronicles a journey through the nightmares of a child named Steven.  Cooper would later perform this song on "The Muppet Show."  It peaked at number 45 on the Billboard Hot 100.Take Me In Your Arms (Rock Me a Little While)  by The Doobie BrothersRob brings us a cover from Motown.  Holland-Dozier-Holland wrote this one, originally performed by Kim Weston in 1964.  While the original version peaked at number 50 on the Billboard Hot 100, the Doobie Brothers version was more successful, peaking at number 11.Sister Golden Hair by America Brian features a track that went to number 1 on the charts.  This is a relationship song according to Gerry Beckley, and it was made as a demo before America recorded their fourth album.  It didn't make the cut for that album, and so was included in their next album. Magic by PilotBruce's staff pick is the first hit single from short-lived Scottish pop rock band pilot.  The inspiration for this song is a sunrise on Blackford Hill in Edinburgh.  Lead singer David Paton also worked with the original lineup of The Alan Parson's Project, and worked with Kate Bush, Camel, and Rick Wakeman.  The band had a couple of other hits before splitting in 1977.   NOVELTY TRACK:You Never Even Called Me By My Name by David Allen CoeThe perfect country and western song was released in 1975, and reached number 8 on the Billboard Hot Country Songs chart.

THE ISLEY BROTHERS  MY LOVE IS YOUR LOVE (FOREVER).KIM WESTON  I'M STILL LOVING YOU (STEREO VERSION).THE SPINNERS  SWEET THING.HATTIE LITTLES  LOVE,TROUBLE, HEARTACHE AND MISERY.THE VELVELETTES  THAT'S A FUNNY WAY.MARVIN GAYE  MY LOVE FOR YOU.THE FOUR TOPS  LOVING YOU IS SWEETER THAN EVER.THE MARVELETTES  I'LL KEEP HOLDING ON.IVY JO  DON'T STOP LOVING ME.THE TEMPTATIONS  WHAT AM I GONNA DO WITHOUT YOU?MARY WELLS  DOES HE LOVE ME? JIMMY RUFFIN  LUCKY, LUCKY ME. THE SPINNERS  I'LL ALWAYS LOVE YOU.MARTHA REEVES & THE VANDELLAS  YOU'VE BEEN IN LOVE TOO LONG.THE FOUR TOPS  ASK THE LONELY. KIM WESTON  A THRILL A MINUTE.THE CONTOURS  DANGER, HEARTBREAK DEAD AHEAD.GLADYS KNIGHT & THE PIPS  THE THINGS THAT TIME CAN'T ERASE.IVY JO  WHERE ARE YOU?MARTHA REEVES & THE VANDELLAS  MY BABY LOVES ME.SMOKEY ROBINSON & THE MIRACLES  CAN YOU LOVE A POOR BOY?THE ISLEY BROTHERS  WHY WHEN LOVE IS GONE?THE MONITORS  SHARE A LITTLE LOVE WITH ME (SOMEBODY).THE VELVELETTES  HE'S THE ONE.THE SPINNERS  MEMORIES OF HER LOVE KEEP HAUNTING ME.THE TEMPTATIONS  LAST ONE OUT IS BROKENHEARTED.MARVIN GAYE  YOU.RITA WRIGHT  WHERE IS THE LOVE?THE TEMPTATIONS  TRULY YOURS.THE ISLEY BROTHERS  BEHIND A PAINTED SMILE.THE FOUR TOPS  YESTERDAY'S DREAMS.GLADYS KNIGHT & THE PIPS  THE STRANGER.CHUCK JACKSON  WE'LL FIND A WAY.BARBARA LEWIS  ASK THE LONELY.EDWIN STARR  I CAN'T ESCAPE YOUR MEMORY.IVY JO HUNTER  ONLY A LONELY MAN WOULD KNOW.THE ORIGINALS  YOU'RE THE ONE.DAVID RUFFIN  LET SOMEBODY LOVE ME.MARVIN GAYE  IT'S A DESPERATE SITUATION.IVY JO HUNTER  I CAN FEEL THE PAIN.THE STOVALL SISTERS  YES TO THE LORD.BOBBY TAYLOR  ONE TOO MANY HEARTACHES.RONNIE DYSON  JUST A LITTLE LOVE FROM ME.RONNIE WALKER  CAN YOU LOVE A POOR BOY?CURT DARIN  TWO ON A CLOUD.ARETHA FRANKLIN  WITHOUT LOVE.THE DELLS  SLOW MOTION.WEE GEE  HOLD ON (TO YOUR DREAMS).

Arts Respond with Lucy Gellman: Kim Weston and Babz Rawls-Ivy by WNHH Community Radio

This Month on Live Culture! My Guests are Jay Kemp and Victoria McCraven from NXTHVN to talk about Their Black History's NXT Future: an ode to black voices event celebrating poetry and Black History Month followed by a discussion with Kim Weston, Visual artist, photographer and founder of WABI gallery about to open soon in New Haven! https://www.eventbrite.com/.../black-historys-nxt-future... https://wabi.gallery/

"It takes two!" sang Marvin Gaye & Kim Weston. Or does it? This week, unicameral and bicameral assemblies and parliamentary innovations with Dr. Andrew Williamson. Enjoy!

https://gofund.me/1c19b522 Best known as a duet partner of Marvin Gaye, Kim Westonalso charted with some of her own solo sides during the '60s, although she never had the breakout success of a Martha Reeves or Diana Ross. Born Agatha Natalie Weston in Detroit in 1939, she started singing in her church choir at age three, and by her teenage years had joined a touring gospel group called the Wright Specials She enjoyed her biggest solo hit in 1965 with "Take Me in Your Arms (Rock Me a Little While)" and followed it up in 1966 with the equally soulful "Helpless," both of which helped make her reputation among soul collectors  

LoveBabz LoveTalk With Babz Rawls-Ivy: Kim Weston, Wábi Gallery by WNHH Community Radio

Podcast del programa Submarino Amarillo 2.0, emitido en Radio Círculo el 15 de Octubre de 2021. Escuchamos los nuevos temas de Eels, Mystic Braves, Band of Horses, Curtis Harding o Love of Lesbian, revisamos el nuevo proyecto alrededor de la banda de Manchester por excelencia Oasis y homenajeamos a los malogrados Exploding Hearts. Rescatamos un disco espectacular de 1971 como fue el Leaving it all Behind de Grass Roots, y buscamos tesoros de Kim Weston y Rodríguez. Y llegamos a Liverpool con una canción que John Lennon compuso antes de que existieran los Beatles y que decidieron rescatar años más tarde para editarla como single. Con Iván Ramos y Andrés Jiménez. No nos faltéis viajeros del rock and roll.

A salute to "The Motortown Revue", includes Martha & The Vandellas, The Marvelettes, Barret Strong, The Supremes, Kim Weston, The Miracles, Marvin Gaye & Tammi Terral, Kim Weston & Marvin Gaye, The Temptations, Gladys Night & The Pips, The Four Tops, Mary Wells, The Isley Bros., Junior Walker & The All-Stars, The Contours, The Jackson 5, Lil Stevie Wonder, and Marvin Gaye.

Todd Killian from Christmas Clatter joins Jay and Scott to discuss Motown Christmas Songs. Artists include Kim Weston, Smokey Robinson and The Miracles, The Four Tops, Aretha Franklin, The Soul Stirrers, and The Temptations. https://jinglejank.com/episodes/032.html

Weston's biggest solo hits were "Take Me in Your Arms (Rock Me a Little While)" (R&B #4, Pop #50, 1965, later covered by The Isley Brothers, Blood, Sweat & Tears and The Doobie Brothers, and "Helpless" (R&B #13, Pop #56, 1966, previously recorded by The Four Tops on their Second Album LP). Her biggest claim to fame was singing the classic hit "It Takes Two" with Marvin Gaye in 1966 and her later recording of the Black National Anthem, "Lift Every Voice and Sing". It was the success of "It Takes Two"  She and her then-husband William "Mickey" Stevenson both atMGM Records. Weston cut a couple of singles for MGM, "I Got What You Need," and "Nobody," which went largely unnoticed due to lack of airplay and promotion. She made an album for the label, This Is America, which included her popular version of the Black National Anthem, "Lift Every Voice and Sing." This was released as a single and featured in the movie Wattstax. All the money from the single was donated to the United Negro College Fund.

Weston's biggest solo hits were "Take Me in Your Arms (Rock Me a Little While)" (R&B #4, Pop #50, 1965, later covered by The Isley Brothers, Blood, Sweat & Tears and The Doobie Brothers, and "Helpless" (R&B #13, Pop #56, 1966, previously recorded by The Four Tops on their Second Album LP). Her biggest claim to fame was singing the classic hit "It Takes Two" with Marvin Gaye in 1966 and her later recording of the Black National Anthem, "Lift Every Voice and Sing". It was the success of "It Takes Two"  She and her then-husband William "Mickey" Stevenson both atMGM Records. Weston cut a couple of singles for MGM, "I Got What You Need," and "Nobody," which went largely unnoticed due to lack of airplay and promotion. She made an album for the label, This Is America, which included her popular version of the Black National Anthem, "Lift Every Voice and Sing." This was released as a single and featured in the movie Wattstax. All the money from the single was donated to the United Negro College Fund.

Brian welcomes Arizona native singer/songwriter, violinist, band leader, mom, poet, entrepreneur and self described "love doctor" Kim Weston to the table where she recounts the music that inspired her growing up, her work in various show choirs in her early years, her dad's lost demo tapes (of which she shares one), auditioning for American Idol, balancing being a mother and an artist, the fateful night we first met, and her numerous and varied projects. And yes, we did enjoy the flatbread. https://kimwestonsings.com/ (https://kimwestonsings.com/) & https://weddinggalslive.com (https://weddinggalslive.com). This episode is sponsored by http://www.uptownmedispa.com (http://www.uptownmedispa.com).

This week we talk about game preservation and how services like Game Pass, PlayStation Now, and Nintendo Online can save old games from disappearing forever. Greed has made the AAA gaming industry undependable and Indies are exposing that fact. We talk a little about some Anime we've gotten into and review Godzilla vs Kong as well as It Takes Two.     Close: "It Takes Two" by Marvin Gaye and Kim Weston

Marvin Gaye was an American singer, songwriter, and record producer. He helped to shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of hits, earning him the nicknames «Prince of Motown» and «Prince of Soul». Gaye's Motown hits include «Ain't That Peculiar», «How Sweet It Is (To Be Loved By You)», and «I Heard It Through the Grapevine». Gaye also recorded duets with Mary Wells, Kim Weston, Tammi Terrell, and Diana Ross. During the 1970s, Gaye recorded the albums What's Going On and Let's Get It On and became one of the first artists in Motown to break away from the reins of a production company. His later recordings influenced several contemporary R&B subgenres, such as quiet storm and neo soul. --- Send in a voice message: https://anchor.fm/biography/message

Welcome to Episode 17 - Black history continues! In this episode, we: discuss our posts during Black History Month (in March… mind your business), review Taj Jackson's three year old GoFundMe project that stands at 29% to goal and THEN we discuss Michael Jackson's Blackest moments. Remember, they're all Black cuz he's Black, but sometimes… it's SUPER Black. Take a deep breath and enjoy. We did it for L.O.V.E. but you can still donate! Support our podcast and get a shout out on the next episode.  www.paypal.me/blackjackestate Follow us on social media User 1 runs the tweets! twitter.com/blkjackestate User 1.5: @reinalatoya User 2: @ashleikblue Instagram: https://www.instagram.com/blkjackestate/ Leave a comment and a rating! -------- Show Notes Wattstax: Intro from Jesse Jackson Sr., Sung by Kim Weston https://www.youtube.com/watch?v=VMaMyVRB1cY Taj Jackson's Gofundme: https://www.gofundme.com/f/the-truth-runs-marathons Michael and LMP wedding video: https://www.youtube.com/watch?v=50IqKvEgP6s Royal Crown Hair Dressing: https://www.google.com/search?q=royal+crown+hair+grease&sxsrf=ALeKk00t6pY2KjkR1Pzy-6YyAqcXII5M8w:1615216335904&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjDhb_f_aDvAhX_RjABHQfQBYgQ_AUoAnoECAMQBA&biw=746&bih=606 John Singleton Interview: https://www.revolt.tv/2017/6/14/20819403/john-singleton-reveals-tupac-taking-an-aids-test-for-poetic-justice-was-an-inside-joke Remember The Time behind the scenes: https://www.youtube.com/watch?v=9oI2eZusFfY Boo Capone: https://www.youtube.com/watch?v=1JP-0VmXGbY Rashida's letter to Tupac: https://uproxx.com/hiphop/rashida-jones-tupac-letter/ Kidada Jones on her relationship with Tupac: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2016/09/13/tupac-was-the-love-of-my-life-kidada-jones-on-her-relationship-with-the-slain-rapper/ Al Sharpton and Michael Jackson: https://www.youtube.com/watch?v=S449-xjooz0 DS vocal warm ups with MJ and Seth Riggs: https://www.youtube.com/watch?v=PjETXaGWPOY James Brown BET Awards: https://www.youtube.com/watch?v=mP711jibSc4&t=175s James Brown Funeral: https://www.youtube.com/watch?v=K477djiX8po

Kim Weston

Here Kim chats about her life in music as a songwriter, performer, record label owner, radio presenter, youth coach and more, right up to the release of her brand new CD ‘Live In Detroit 1978’ in December 2020

Did George Harrison write this about his wife or lover?  Why did he ask Joe Cocker to record it? Who recorded his favourite cover? Join Stevie Nix as he answers all of these questions and more on this episode that looks at arguably The Beatles' best song and the covers it has induced.WARNING: This episode contains traces of Maxwell's Silver Hammer.Featured artists [in alphabetical order]:The 5 RoyalesThe BeatlesJames BrownRay CharlesJoe CockerIsaac HayesPomplamoose Elvis PresleyFrank SinatraKim WestonHidden track: George Harrison medley20 Covers Written by A Beatle #1John, Paul, George & A Bit Of Ringo #3John, Paul, George & A Bit Of Ringo #4Best George Harrison lyricsJoin Stevie on Spotify and Instagramwww.songsungnew.com

In this week's episode, we welcome the wonderful Jude Rogers into RBP's very own Gridworld. Live from her native Wales, the far-from-obscure Jude reviews her career as a music scribe from The Llanelli Star to The Word, revisiting interviews with megastar-in-the-making Adele Atkins and wholly reformed cocaine fiend Tony Bennett. Jude also reflects on a 2008 thinkpiece about the Beach Boys' influence on Fleet Foxes, the latter having just "dropped" a rather fine new album, Shore, with minimum fanfare. Additionally, Jude offers her thoughts on the multifarious splendours of Prince's Sign 'O' the Times, the 1987 "double" album oft regarded as his crowning achievement. Hosts Mark, Barney & Jasper reference contemporary reviews of the record and ponder the influence on the purple maestro of departed Revolutionaries Wendy & Lisa.After noting the passing of blue-eyed soul man Roy ('Treat Her Right') Head – with nods to a nice 1966 profile of the Texan by Britain's Bill Millar – your hosts and their guest hear the first of three clips from Martin Aston's 1986 interview with Sonic Youth, wherein Kim, Lee, Steve and Thurston (new solo album out this week!) discuss, among many other matters, obscure guitars and their interpretation of fellow Manhattaniite Madonna's 'Into the Groove(y)'. The episode concludes with a round-up of particularly tasty additions to the RBP librarium, including a 1966 report on "psychedelics", a 1972 interview with the impressively recalcitrant Bill Withers, a 1988 Smash Hits encounter 'twixt Chris Heath and wannabe-soul boys Wet Wet Wet...and pieces about neglected Motown siren Kim Weston and "postmodern-cabaret" man Max Raabe.Pieces discussed: Adele, Tony Bennett, Beach Boys influence, Prince, Princer, Princest, Wendy & Lisa, Roy Head, Roy Head: Club Lingerie, Sonic Youth audio, Psychedelics, Beach Boys, Bill Withers, Sex Pistols, Judas Priest, Wet Wet Wet, Elastica, Louise Criscione, Kim Weston, Salt-N-Pepa and Max Raabe.This show is part of Pantheon Podcasts.

In this week's episode, we welcome the wonderful Jude Rogers into RBP's very own Gridworld. Live from her native Wales, the far-from-obscure Jude reviews her career as a music scribe from The Llanelli Star to The Word, revisiting interviews with megastar-in-the-making Adele Atkins and wholly reformed cocaine fiend Tony Bennett. Jude also reflects on a 2008 thinkpiece about the Beach Boys' influence on Fleet Foxes, the latter having just "dropped" a rather fine new album, Shore, with minimum fanfare. Additionally, Jude offers her thoughts on the multifarious splendours of Prince's Sign 'O' the Times, the 1987 "double" album oft regarded as his crowning achievement. Hosts Mark, Barney & Jasper reference contemporary reviews of the record and ponder the influence on the purple maestro of departed Revolutionaries Wendy & Lisa. After noting the passing of blue-eyed soul man Roy ('Treat Her Right') Head – with nods to a nice 1966 profile of the Texan by Britain's Bill Millar – your hosts and their guest hear the first of three clips from Martin Aston's 1986 interview with Sonic Youth, wherein Kim, Lee, Steve and Thurston (new solo album out this week!) discuss, among many other matters, obscure guitars and their interpretation of fellow Manhattaniite Madonna's 'Into the Groove(y)'. The episode concludes with a round-up of particularly tasty additions to the RBP librarium, including a 1966 report on "psychedelics", a 1972 interview with the impressively recalcitrant Bill Withers, a 1988 Smash Hits encounter 'twixt Chris Heath and wannabe-soul boys Wet Wet Wet...and pieces about neglected Motown siren Kim Weston and "postmodern-cabaret" man Max Raabe. Pieces discussed: Adele, Tony Bennett, Beach Boys influence, Prince, Princer, Princest, Wendy & Lisa, Roy Head, Roy Head: Club Lingerie, Sonic Youth audio, Psychedelics, Beach Boys, Bill Withers, Sex Pistols, Judas Priest, Wet Wet Wet, Elastica, Louise Criscione, Kim Weston, Salt-N-Pepa and Max Raabe. This show is part of Pantheon Podcasts.

In this week's episode, we welcome the wonderful Jude Rogers into RBP's very own Gridworld. Live from her native Wales, the far-from-obscure Jude reviews her career as a music scribe from The Llanelli Star to The Word, revisiting interviews with megastar-in-the-making Adele Atkins and wholly reformed cocaine fiend Tony Bennett. Jude also reflects on a 2008 thinkpiece about the Beach Boys' influence on Fleet Foxes, the latter having just "dropped" a rather fine new album, Shore, with minimum fanfare. Additionally, Jude offers her thoughts on the multifarious splendours of Prince's Sign 'O' the Times, the 1987 "double" album oft regarded as his crowning achievement. Hosts Mark, Barney & Jasper reference contemporary reviews of the record and ponder the influence on the purple maestro of departed Revolutionaries Wendy & Lisa.After noting the passing of blue-eyed soul man Roy ('Treat Her Right') Head – with nods to a nice 1966 profile of the Texan by Britain's Bill Millar – your hosts and their guest hear the first of three clips from Martin Aston's 1986 interview with Sonic Youth, wherein Kim, Lee, Steve and Thurston (new solo album out this week!) discuss, among many other matters, obscure guitars and their interpretation of fellow Manhattaniite Madonna's 'Into the Groove(y)'. The episode concludes with a round-up of particularly tasty additions to the RBP librarium, including a 1966 report on "psychedelics", a 1972 interview with the impressively recalcitrant Bill Withers, a 1988 Smash Hits encounter 'twixt Chris Heath and wannabe-soul boys Wet Wet Wet...and pieces about neglected Motown siren Kim Weston and "postmodern-cabaret" man Max Raabe.Pieces discussed: Adele, Tony Bennett, Beach Boys influence, Prince, Princer, Princest, Wendy & Lisa, Roy Head, Roy Head: Club Lingerie, Sonic Youth audio, Psychedelics, Beach Boys, Bill Withers, Sex Pistols, Judas Priest, Wet Wet Wet, Elastica, Louise Criscione, Kim Weston, Salt-N-Pepa and Max Raabe.This show is part of Pantheon Podcasts.

In this week's episode, we welcome the wonderful Jude Rogers into RBP's very own Gridworld. Live from her native Wales, the far-from-obscure Jude reviews her career as a music scribe from The Llanelli Star to The Word, revisiting interviews with megastar-in-the-making Adele Atkins and wholly reformed cocaine fiend Tony Bennett. Jude also reflects on a 2008 thinkpiece about the Beach Boys' influence on Fleet Foxes, the latter having just "dropped" a rather fine new album, Shore, with minimum fanfare. Additionally, Jude offers her thoughts on the multifarious splendours of Prince's Sign 'O' the Times, the 1987 "double" album oft regarded as his crowning achievement. Hosts Mark, Barney & Jasper reference contemporary reviews of the record and ponder the influence on the purple maestro of departed Revolutionaries Wendy & Lisa. After noting the passing of blue-eyed soul man Roy ('Treat Her Right') Head – with nods to a nice 1966 profile of the Texan by Britain's Bill Millar – your hosts and their guest hear the first of three clips from Martin Aston's 1986 interview with Sonic Youth, wherein Kim, Lee, Steve and Thurston (new solo album out this week!) discuss, among many other matters, obscure guitars and their interpretation of fellow Manhattaniite Madonna's 'Into the Groove(y)'. The episode concludes with a round-up of particularly tasty additions to the RBP librarium, including a 1966 report on "psychedelics", a 1972 interview with the impressively recalcitrant Bill Withers, a 1988 Smash Hits encounter 'twixt Chris Heath and wannabe-soul boys Wet Wet Wet...and pieces about neglected Motown siren Kim Weston and "postmodern-cabaret" man Max Raabe. Pieces discussed: Adele, Tony Bennett, Beach Boys influence, Prince, Princer, Princest, Wendy & Lisa, Roy Head, Roy Head: Club Lingerie, Sonic Youth audio, Psychedelics, Beach Boys, Bill Withers, Sex Pistols, Judas Priest, Wet Wet Wet, Elastica, Louise Criscione, Kim Weston, Salt-N-Pepa and Max Raabe. This show is part of Pantheon Podcasts.

The NFL Will Play 'Lift Every Voice And Sing' Before Each Season-Opener Game. The song known as the Black national anthem will play at the start of every season opener game, coming before "The Star Spangled Banner. "Lift Every Voice and Sing" was written as a poem by NAACP leader James Weldon Johnson, and set to music by his brother John Rosamond Johnson in 1899. It was first performed in 1900 at a segregated school in Florida by a group of children commemorating the birthday of President Abraham Lincoln. Subsequent landmark performances in the intervening decades include those by Kim Weston in 1972, Melba Moore in 1990, Gladys Knight and BeBe Winans in 2012 and Beyoncé in 2018. In addition to her Tony Award, Moore's music career brought additional accolades. She was nominated for a Grammy Award in 1971 for 'Best New Artist'. Her 1975 second album, Peach Melba, saw her get a Grammy nomination. In 1976, she earned another Grammy nomination for Best Rhythm & Blues Vocal Performance - Female for the song "Lean on Me",.[19] Moore was also nominated for Best Female Rock Vocal in 1986 for "Read My Lips". Moore is also the 2012 Recipient of the Atlanta Black Theatre Festival Theatre Legend Award. Moore was inducted into the Official Rhythm & Blues Music Hall of Fame on October 4, 2015, in Detroit. Moore received the prestigious 2015 Sandy Hosey Lifetime Achievement Award during the Artists Music Guild's 2015 AMG Heritage Awards broadcast held on November 14, 2015, in North Carolina.[20] Ms. Moore stars in the Westcoast Black Theatre Troupe's production of "Lady Day at Emerson's Bar and Grill" to great acclaim in the sold-out run. http://www.melbamoore.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bj-murphy9/support

Sarah Vaughan will bring us her version of the Stephen Sondheim anthem Send in the Clowns, a theme song appropriate to the circus that is 2020, plus well hear other artists whove graced the stage at the Montreal Jazz Festival over the years, including Oscar Peterson, Abbey Lincoln, and Dominique Fils-Aime. Well hear a movement-building set with songs from Jay Nemor, Speedometer feat. James Junior, and Nina Simone, plus well hear songs of freedom from Kim Weston, Arrested Development, and Navasha Daya.

Sarah Vaughan will bring us her version of the Stephen Sondheim anthem Send in the Clowns, a theme song appropriate to the circus that is 2020, plus well hear other artists whove graced the stage at the Montreal Jazz Festival over the years, including Oscar Peterson, Abbey Lincoln, and Dominique Fils-Aime. Well hear a movement-building set with songs from Jay Nemor, Speedometer feat. James Junior, and Nina Simone, plus well hear songs of freedom from Kim Weston, Arrested Development, and Navasha Daya.

This week music from Curtis Lee, Bobby Hebb, Kim Weston, Jackie Wilson, & Omar to name a few.Artist of the week is Otis Redding, Tune of the week, Diggin Our Discs, as well as the Chillout zone.Tune into Tizzy Terrell's Eastside Soul, every Thursday from 1 PM - 3 PM EST / 6 PM - 8 PM GMT.For a complete track listing, visit: https://thefaceradio.com Instagram: https://www.instagram.com/eastside.soulMixcloud: https://www.mixcloud.com/tizzyeastsidesoul/Twitter: https://twitter.com/eastsidesoulWeb: http://eastsidesoul.co.uk Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

Wednesdays 2pm-4pm EST Today’s Bombshell (Bombshell Radio) Bombshell Radio Jazzamatazz Double Header FRIDAYS 1pm-3pm EST 6pm-8pm BST 10am-12pm PDT bombshellradio.com Sundays 7pm-8pm ESTSmiling Sixties is a collection of non-stop hits & classics from the 1960s. A blend of Rock'n'Roll,Soul,Pop,Beat,Rock & lots more groovy sounds from a great decade of music. 22 tracks that still put smiles on faces over half a century later. Volume 14.#oldies, #pop, #rock, #soul, #r&b, #classics, #rocknroll1 Going Up The Country Canned Heat 2 Poor Me Adam Faith 3 Sweet Soul Music Arthur Conley 4 Tainted Love Gloria Jones 5 Paint It, Black The Rolling Stones 6 In the Country Cliff Richard & The Shadows 7 Happy Birthday Sweet Sixteen Neil Sedaka 8 Piece Of My Heart Big Brother & The Holding Company 9 A Well Respected Man The Kinks 10 Good Vibrations The Beach Boys 11 It Takes Two Marvin Gaye & Kim Weston 12 Twenty Four Hours from Tulsa Gene Pitney 13 I Put A Spell On You Alan Price 14 Runaround Sue Dion 15 When My Little Girl Is Smiling Craig Douglas 16 I Saw Her Standing There The Beatles 17 Tell Me When The Applejacks 18 Surfin USA The Beach Boys 19 Who Are You The Who 20 The Wind Cries Mary The Jimi Hendrix Experience 21 Come Together The Beatles 22 L.A. Woman The Doors

CLICK ON TITLE FOR TRACK LISTING

The Imbalanced History of Rock And Roll looks at the chaotic, turbulent and troubled life of Sweet Marvin Gaye. One of the most beautiful voices to sing Rock and Roll. He was a voice of a generation of Americans. Marvin was passionate, conflicted and believed we could conquer hate with love, although his life choices didn't always reflect that strong belief within him. His duets with Kim Weston and Tammi Terrell were legendary. Buckle in and enjoy the ride that is an overview of the music and life of Sweet Marvin Gaye.This show is part of Pantheon Podcasts.

The Imbalanced History of Rock And Roll looks at the chaotic, turbulent and troubled life of Sweet Marvin Gaye. One of the most beautiful voices to sing Rock and Roll. He was a voice of a generation of Americans. Marvin was passionate, conflicted and believed we could conquer hate with love, although his life choices didn't always reflect that strong belief within him. His duets with Kim Weston and Tammi Terrell were legendary. Buckle in and enjoy the ride that is an overview of the music and life of Sweet Marvin Gaye. This show is part of Pantheon Podcasts.

The Imbalanced History of Rock And Roll looks at the chaotic, turbulent and troubled life of Sweet Marvin Gaye. One of the most beautiful voices to sing Rock and Roll. He was a voice of a generation of Americans. Marvin was passionate, conflicted and believed we could conquer hate with love, although his life choices didn't always reflect that strong belief within him. His duets with Kim Weston and Tammi Terrell were legendary. Buckle in and enjoy the ride that is an overview of the music and life of Sweet Marvin Gaye.This show is part of Pantheon Podcasts

The Imbalanced History of Rock And Roll looks at the chaotic, turbulent and troubled life of Sweet Marvin Gaye. One of the most beautiful voices to sing Rock and Roll. He was a voice of a generation of Americans. Marvin was passionate, conflicted and believed we could conquer hate with love, although his life choices didn't always reflect that strong belief within him. His duets with Kim Weston and Tammi Terrell were legendary. Buckle in and enjoy the ride that is an overview of the music and life of Sweet Marvin Gaye. This show is part of Pantheon Podcasts

Muzikaal thema is recente aankopen met muziek van Nat Couty, Kim Weston, El Vez, Raymond van het Groenenwoud, Johnny Carroll en The Kik.

In this episode I share how its contents are out of sequence in the song-by-song order that I encountered Marvin's music. Yet, due to info I've come across recently thru my research; making an episode on the music Marvin made with Tammi Terrell has become necessary to produce now, before I can move forward into discussing upcoming songs that Marvin recorded after his albums with her. I take us through Marvin's early career and share how there was a sensible reason that he recorded his first duet album with Mary Wells, and later his duet album with Kim Weston. I address the fact that, in my opinion, there has inadvertently been a folklore and sensationalism that surrounds Marvin and Tammi. Yet, I sift thru all of that to offer my take on the true nature and essence of Marvin and Tammi's "musical soul-mates" experience they shared with each other. The impact this experience had on Marvin is described by others, as having made him: one person when Tammi was in his life, and another person once she was no longer in his life. That is such a paramount statement, that I have been able to agree with, and therefore made it necessary that I release this episode NOW, so that songs I will later discuss will be able to be understood from the correct vantage point. Keywords from this episode include: Duets, Mary Wells, Smokey Robinson & The Miracles, The Four Tops, The Temptations, The Supremes, Jr. Walker, Gladys Knight & The Pips, Justin Timberlake, Beyonce, Jazz, Motown Sound, Broadway, Greatest Hits, Kim Weston, Jan Gaye, Documentary, Cary Grant, Katherine Hepburn, Spencer Tracy, Hollywood, Musicals, Singin' In the Rain, Ashford & Simpson, Soulmates Please visit our PInterest page which is full of some very hard and fun work I'm putting in to capture all of the beautiful and relevant imagery I can find, of our revered subject: Marvin. It really is my goal for you to be able to see (and hear, via many videos I'm finding) for yourself, relevant references I make in these episodes. I've got nearly 1000 pictures & videos of rare television and concert performances, documentaries, and even the one and only MOVIE that Marvin made!! You can find us at: https://www.pinterest.com/marvingaye_enduring_gifts/ marvin gaye abraham martin and john, marvin gaye ain't no mountain high enough, marvin gaye albums, marvin gaye and kim weston, marvin gaye and tammi terrell, marvin gaye belgium, marvin gaye best album, marvin gaye best songs, marvin gaye biography, marvin gaye biopic, marvin gaye can i get a witness, marvin gaye come get to this, marvin gaye discography, marvin gaye documentary, marvin gaye duets, marvin gaye easy, marvin gaye ecology, marvin gaye ego tripping out, marvin gaye environmental song, marvin gaye era, marvin gaye every great motown hit, marvin gaye everybody needs love, marvin gaye famous songs, marvin gaye film, marvin gaye genre, marvin gaye get it on, marvin gaye got to give it up, marvin gaye grapevine, marvin gaye greatest hits, marvin gaye heard it through the grapevine, marvin gaye here my dear, marvin gaye hits, marvin gaye how sweet it is to be loved by you, marvin gaye i heard it through the grapevine, marvin gaye i want you, marvin gaye if this world were mine, marvin gaye in concert, marvin gaye in our lifetime, marvin gaye in the groove, marvin gaye inner city blues, marvin gaye is that enough, marvin gaye it takes two, marvin gaye jazz, marvin gaye joy, marvin gaye just like, marvin gaye just like music, marvin gaye just to keep you satisfied, marvin gaye let's get it on, marvin gaye little darling, marvin gaye live, marvin gaye love songs, marvin gaye mercy mercy me, marvin gaye midnight love, marvin gaye motown, marvin gaye movie, marvin gaye music, marvin gaye national anthem, marvin gaye no mountain high enough, mar

The Motown legend behind "Dancing in the Street," "Stubborn Kind of Fellow," "It Takes Two," "Devil with a Blue Dress On," and "Beechwood 4-5789" opens up about his life and career. EPISODE DETAILS: PART ONE Scott and Paul talk about Pearl Snap Studios, their new rock star Patreon subscriber, Motown's 60th anniversary, and that lost Marvin Gaye album. PART TWO - 12:43 mark Scott heads over to Mickey’s house to get the lowdown on why he almost stormed out of his first meeting with Berry Gordy; how he assembled Motown’s legendary Funk Brothers; the trick he used to convince Marvin Gaye to ditch jazz and become an R&B singer; why “Dancing in the Street” was a message song -- but not the message many people think; the pep talk he would give to Motown’s artists and songwriters; the reason he’d have to kick a young Stevie Wonder out of the studio; why he’s a champion of songwriting collaborations over writing solo; and the real reason he departed Motown. ABOUT MICKEY STEVENSON William “Mickey” Stevenson was hired as Motown Records’ first A&R Director, signing a variety of artists to the label including The Four Tops and Stevie Wonder. He assembled the legendary Motown studio band known as the Funk Brothers and produced such Motown classics as “What Becomes of the Brokenhearted” and “Uptight (Everything is Alright).” As a songwriter, Stevenson partnered with Marvin Gaye to write The Marvelettes' hit “Beechwood 4-5789,” as well as Gaye’s own hit recordings of “Stubborn Kind of Fellow,” “Hitch Hike,” and “Pride and Joy.” Mickey is perhaps best known as the co-writer of “Dancing in the Street,” a massive hit for his former assistant, Martha Reeves, that was written with Gaye and Ivy Jo Hunter. The song was inducted into the Library of Congress’s National Recording Registry and the Grammy Hall of Fame. Additional hits from the pen of Mickey Stevenson include “Devil with a Blue Dress On” for Mitch Ryder & The Detroit Wheels, “Ask the Lonely” for The Four Tops, “Nothing’s Too Good for My Baby” for Stevie Wonder, “It Take Two” for Marvin Gaye and Kim Weston, and “It Should Have Been Me” for Gladys Knight and the Pips. The long list of artists who’ve recorded Mickey’s songs includes Diana Ross, Otis Redding, Wilson Pickett, Little Richard, The Jackson 5, The Everly Brothers, Bruce Springsteen, Bonnie Raitt, Rod Stewart, Phil Collins, Tina Turner, Dusty Springfield, The Kinks, Van Halen, David Bowie, Mike Jagger, The Rolling Stones, and many others.

Listen to The Playthings, Kim Weston, Johnny Howard, Diana Ross and even the 7th Avenue Aviators and a whole lot more... Enjoy 2 Hours of 'Classic Tracks'

This is episode #209 Happy 5 YEARS of On Target! This episode celebrates Mod Marty's 5th year spinning 45rpm, vinyl awesomeness on UMFM and over the InterWebs for all of you. Coinciding with Marty's birthday he went and got himself a special birthday gift which he shares with you here. Motown's Rare and Unreleased Vol. 2 box set. 14 Mind blowing tracks that got shelved, left off of LPs (because they already had the 12 songs needed), or given to other artists for release lovingly compiled by Wigan Casino DJ Richard Searling. Please Like us on Facebook here: facebook.com/ontargetpodcast ------------------------------------------------- The Playlist Is: "He Who Picks A Rose" Jimmy Ruffin "If You Ever Get Your Hands On Love" Gladys Knight & the Pips "I Want My Baby Back" Stevie Wonder "Take Him Back If It Makes You Happy" The Contours "We're Gonna Be More Than Friends" The Spinners "You Can Do It" Kim Weston "We'll Keep On Rolling" Brenda Holloway "Angel Doll" The Temptations "My Love For You" Marvin Gaye "I'm Grateful" The Four Tops "Sure Is A Lotta Woman" The Isley Brothers "I Know Better" Barbara McNair "That's A Funny Way" The Velvelettes "Don't Stop Now" The Originals

Concert poster collectors should be excited to listen to this episode. Andrew Hawley, one of the world's biggest poster collectors, comes on the Goldmine Magazine Podcast to talk about a particular poster — a 1963 day-glo 'Motortown Revue" poster — up for auction at Heritage. The following is Heritage Auctions description of this rare poster: Stevie Wonder/Marvin Gaye Sports Arena Concert Poster (1963). Extremely Rare. Oversized window card for the “Motortown Revue” in Toledo, OH on Tues. Nov. 5. This wonderful Motown multi-act poster shows an illustration of “Genius / of the / Harmonica / Little Stevie Wonder”, and lists recent hits “Workout Stevie, Workout” and “Fingertips”. The poster also features images and hit songs for the other acts on the lineup including the Miracles, “Mickey's / Monkey”; Marvin Gaye “Pride and Joy”, “Can I Get A Witness”; Martha and the Vandellas “Heat Wave”; the Contours, “Do You Love Me”; Mary Wells, “You Lost The Sweetest Boy”; and Kim Weston, “Love Me All The Way”. Printed by “Globe Poster – Baltimore”. Measures 22″ x 35″. In Very Good condition with some restoration and touch ups, particularly to the borders and right side of the poster. This is the first time an example of this incredible poster has been offered at auction. It is widely considered by poster collectors to be THE finest Motown concert poster. “Little” Stevie Wonder was only thirteen when this show took place. Amazingly he had just scored his first no. 1 hit with “Fingertips”, which is listed on this poster. It is even more remarkable, considering it was the first live recorded single to top the charts! Learn more about your ad choices. Visit megaphone.fm/adchoices

Concert poster collectors should be excited to listen to this episode. Andrew Hawley, one of the world’s biggest poster collectors, comes on the Goldmine Magazine Podcast to talk about a particular poster — a 1963 day-glo 'Motortown Revue" poster — up for auction at Heritage. The following is Heritage Auctions description of this rare poster: Stevie Wonder/Marvin Gaye Sports Arena Concert Poster (1963). Extremely Rare. Oversized window card for the “Motortown Revue” in Toledo, OH on Tues. Nov. 5. This wonderful Motown multi-act poster shows an illustration of “Genius / of the / Harmonica / Little Stevie Wonder”, and lists recent hits “Workout Stevie, Workout” and “Fingertips”. The poster also features images and hit songs for the other acts on the lineup including the Miracles, “Mickey’s / Monkey”; Marvin Gaye “Pride and Joy”, “Can I Get A Witness”; Martha and the Vandellas “Heat Wave”; the Contours, “Do You Love Me”; Mary Wells, “You Lost The Sweetest Boy”; and Kim Weston, “Love Me All The Way”. Printed by “Globe Poster – Baltimore”. Measures 22″ x 35″. In Very Good condition with some restoration and touch ups, particularly to the borders and right side of the poster. This is the first time an example of this incredible poster has been offered at auction. It is widely considered by poster collectors to be THE finest Motown concert poster. “Little” Stevie Wonder was only thirteen when this show took place. Amazingly he had just scored his first no. 1 hit with “Fingertips”, which is listed on this poster. It is even more remarkable, considering it was the first live recorded single to top the charts!

This week episode features music from Kim Weston, Mable John, The Sweet Impressions, Wrecking Crew, James Brown, The Fearless Flyers, Jimmy McGriff, The Beatles, Quantic, Sunchaser, New Jersey Kings, Clifford Coulter, Rock Candy Funk Party & PP Arnold.   Tickets are still available for the Creamy’s House Of Adventures Xmas Party with Matt Deighton & Stephanie Davies & The Super Dynamics. Go to https://www.choa.co.uk/events/choa-xmas-party-with-matt-deighton   You can find us at: Facebook - @creamyshouse Skype - @CreamysHouse Drop us a tweet or email us at mark@choa.co.uk. We would love to hear from listeners, wherever you are and in particular in countries outside of England. Have a beautiful week and ‘Keep It On The One’ Love, Creamy xxx

Two hours of great Modern Soul, Northern Soul, 80's Groove and a thing I call silk. Available for syndication: email radioglyn@gmail.com

Two hours of great Modern Soul, Northern Soul, 80's Groove and a thing I call silk. Available for syndication: email radioglyn@gmail.com

Two hours of great Modern Soul, Northern Soul, 80's Groove and a thing I call silk. Available for syndication: email radioglyn@gmail.com

Two hours of great Modern Soul, Northern Soul, 80's Groove and a thing I call silk. Available for syndication: email radioglyn@gmail.com

Two hours of great Modern Soul, Northern Soul, 80's Groove and a thing I call silk. Available for syndication: email radioglyn@gmail.com

Marvin Gaye hat den Titel zusammen mit zwei Kollegen in den Sechzigern für das Motown-Label geschrieben. Kim Weston sollte "Dancing in the Street" singen. Vorher aber engagierte man Martha Reeves für eine Demo-Version. Und so kam es anders als geplant.

Uur 1 1. Cry me a river ? Ella Fitzgerald 2. Parole parole ? Mina & Alberto Lupo 3. Down hearted blues ? Eilen Jewell 4. Daughters ? John Mayer 5. In a lifetime ? Clannad & Bono 6. If I had a talking picture of you ? Seth MacFarlane & Norah Jones 7. Zeur niet ? Conny Stuart 8. Dram catchers ? Eric Bibb & Ruthie Foster 9. Les muses ? Serge Lama 10. Je suis malade ? Dalida 11. Brood voor morgenvroeg ? Bart Peeters 12. How high the moon ? Les Paul & Mary Ford 13. Life is just a bowl of cherries ? Holly Cole 14. Petite fleur ? Sydney Bechet Uur 2 1. Carey ? Joni Mitchell 2. Get rhythm ? Johnny Cash 3. Chabalai ? Lo?Jo 4. Ergens is het fout gegaan ? Alex van Holstein & Eefje de Visser 5. Village ghetto land ? Stevie Wonder 6. Unknown to you ? Jacob Banks 7. We zullen doorgaan ? Ramses Shaffy 8. Snow in April ? Danny Vera 9. Dames ? Dick Powell 10. I only have eyes for you ? Jamie Cullum 11. Three sissters ? Eriksson Delcroix 12. I want you ? Bob Dylan 13. Nomades ? Mirela Pachou 14. Venus ? De Regahs 15. Take me in your arms ? Kim Weston

Art in Medicine: In the first episode of our ongoing series about the intersection of Art & Medicine, we sit down with Dr. Gibson, interventional cardiologist joining us from Harvard Medical School, and a panel of artists to discuss how photography, painting, and other artistic endeavors can impact healing and prevent physician burnout. Resources for artists mentioned in the show can be found below. Thank you to Lori Esposito and Stephen McNulty for being our SPOTS (Special People Off The Street). This show was produced by Todd Fredricks, hosted by Nisarg Bakshi, engineered by Kyle P. Snyder and edited by Brian Plow. Rotations is a production of Media in Medicine, a family of medical storytelling initiatives developed by faculty from Ohio University’s Heritage College of Osteopathic Medicine and the Scripps College of Communication. Views and opinions expressed here are our own or those of our guests and do not necessarily represent those of the colleges or Ohio University. Follow us on Twitter @RotationsPcast or visit www.mediainmedicine.com to learn more about the show and what we’re up to. Dr. Gibson's Flickr page: www.flickr.com/photos/cmichaelgibson/ Ann Gale: http://www.dolbychadwickgallery.com/artists/ann-gale William Egleston: http://www.egglestontrust.com/ Kim Weston: https://www.kimweston.com/ Edward Weston: http://edward-weston.com/ Sally Mann: http://sallymann.com/

The debut show from DSC, centred around Soul - Northern, Southern, East Coast, West Coast, Motor City, Funk even a sprinkling of Reggae. John plays hits and rarities from The Contours, Kim Weston, Sly & The Family Stone and Black Blood & The Chocolate Pickles, plus many more.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El Primer programa musical de EPSA. Con Alice Waddington y Miguel Agnes. Nos dedicamos a conversar y poner canciones bonitas de chicas revolucionarias, girl groups y demás periferias. Sonaron Françoise Hardy, The Daughters of Eva, Les Intrigantes, Dawn Penn, Rita Marley, Jacqueline Taieb, The Starlets, Kim Weston, The Murmaids, Shadow Morton, Darlene Love, Las Mosquitas, France Gall, The Lewis Sistera, The Shirelles, Corinna Cord, Ream Daranoi y muchas cosas más...Escucha este episodio completo y accede a todo el contenido exclusivo de Podcast El Programa de Sita Abellán. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-podcast-el-programa-sita-abellan_sq_f130132_1.html

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El Primer programa musical de EPSA. Con Alice Waddington y Miguel Agnes. Nos dedicamos a conversar y poner canciones bonitas de chicas revolucionarias, girl groups y demás periferias. Sonaron Françoise Hardy, The Daughters of Eva, Les Intrigantes, Dawn Penn, Rita Marley, Jacqueline Taieb, The Starlets, Kim Weston, The Murmaids, Shadow Morton, Darlene Love, Las Mosquitas, France Gall, The Lewis Sistera, The Shirelles, Corinna Cord, Ream Daranoi y muchas cosas más...

Leon Ware, respected songwriter and producer of some of soul music's most coveted recordings is in a somber, reflective mood. Touting. His latest collection, “Moonride” is trademark, smooth, soulful, romantic Ware, the kind of music that helped Ware craft his most noted recording, Marvin Gaye's historic “I Want You” album in 1976. However, that album alone doesn't do Ware, who remains largely unknown outside specialist soul music circles justice. Born In Detroit, MI in 1940 it was natural that Ware would find his first home at Motown, writing for the likes of the Martha Reeves & The Vandellas, The Miracle, Kim Weston and Isley Brothers. Writing for Ike & Tina Turner's 1971 album “‘Nuff Said” for United Artists landed Ware a solo deal at the label resulting in 1972's self titled debut album, though his vocal career actually began 12 years earlier in 1960 with ABC Records. However, Motown would provide Ware some of his most memorable successes. In the early '70's he formed a collaborative partnership with Diana Ross' younger brother Arthur “T-Boy” Ross resulting in Michael Jackson's “I Wanna Be Where You Are” (from the "Got To Be There" album) and of course, Marvin Gaye's historic “I Want You”. Further collaborations throughout the decade with the likes of Minnie Riperton, AWB, Donny Hathaway, Quincy Jones, the Miracles, Bobby Womack. What, perhaps, though is most compelling about Ware's story is the longevity of his songwriting career. On into the '80's and '90's he has received songwriting credits for the likes of Loose Ends, Jeffrey Osborne, Teena Marie, James Ingram, Isley's, Chico Debarge and Maxwell (“Sumthin' Sumthin'”).