Podcasts about king floyd

Freddy Jay lands another KO with fresh drops from Doechii and Jev, soul touchstones from Stevie and Nina Simone and a flurry of superb blends. Plus street level Montreal flavor from Chung & Cotola, mighty space jazz with Mikio Masuda and New Orleans magic from Allen Toussaint and King Floyd. View the full playlist for this show at https://www.wefunkradio.com/show/1247 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/

Send us a textWe welcome Damon Boelte, the owner of the award-winning Downtown Brooklyn cocktail bar, Grand Army, as well as the host of the acclaimed radio show, The Speakeasy, which recently won the award for Best Broadcast from Tales of the Cocktail, to talk about cocktail competitions. 

This week, Chris features tunes from Ed Nelson, King Floyd and The Dells plus a Top 7 from Tony McKenna. For more info and tracklisting, visit: https://thefaceradio.com/dab-of-soul/Tune into new broadcasts of Dab Of Soul every Tuesday from Midday - 2 PM EST / 5 - 7 PM GMT.//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.

Send us a Text Message.Singles Going Around- Atlantic SoulWe start off Season 6 with a great one. All my life I have loved the sound of Soul from Atlantic Records and their other labels. This is my homage to that great sound.Ray Charles- "I Got A Woman"Solomon Burke- "Stupidity"Eddie Floyd- "Knock On Wood"The Mar-Keys- "Philly Dog"Otis Redding- "Shake"Wilson Pickett- "Land Of 1000 Dances"Arthur Conley- "Sweet Soul Music"Percy Sledge- "Baby, Help Me"Booker T & The MG's- "Green Onions"Sam & Dave- "Hold On I'm Coming"Chris Kenner- "I Like It Like That"Aretha Franklin- "Good Times"The Drifters- "Save The Last Dance For Me"Eddie Floyd- "Good Love, Bad Love"The Coasters- "Down In Mexico"Sam & Dave- "I Thank You"Archie Bell & The Drells- "Tighten Up"Ray Charles- "Don't You Know"King Floyd- "Groove Me"Clarence Carter- "Patches"Joe Tex- "The Love You Save"Solomon Burke- "If You Need Me"Otis Redding- "What A Wonderful World"Wilson Pickett- "Mustang Sally"Booker T & The MGs- "Hip Hug Her"Joe Tex- "The Letter Song"Aretha Franklin- "Save Me"Chris Kenner- "Land Of 1000 Dances"

Penny Lane and Captain Dan bring you an hour of soul and more on this episode of Punks in Parkas!Hear tracks from the likes of Sam & Dave, The Mar-Keys, King Floyd and more!Tune into new broadcasts of Punks In Parkas, Every Monday from Midday – 1 PM EST / 5 - 6 PM GMTFor more info visit: https://thefaceradio.com/punks-in-parkas//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.

As broadcast September 15, 2023 with plenty of good aura to spread around.  Tonight, we put your weekend on the good foot with our Feel Good Friday set list.  Positive get down funk and soul throughout from some of our favorite classic and contemporary funk & soul artists to make sure we spread the love up and down the timeline to our heroes and start the weekend in the best possible way!#feelthegravity #feelgoodFeel Good Friday!Tracklist (st:rt)Part 1 (00:00)George McCrae – I Get LiftedJean Knight – Do MeMarva Whitney – Unwind YourselfKing Floyd – Groove MeBill Withers - Lovely Day Chicago Gangsters – I Choose You  Part 2 (30:03)The Sextones – Beck & CallJason Joshua & The Beholders – Rose GoldLes Imprimes – Love & FlowersJalen Ngonda – If You Don't Want My LoveDurand Jones & The Indications – Love Will Work It OutEphemerals – Easy Ain't NothinMonophonics & Kendra Morris – Untitled Visions Part 3 (57:07)Reverend Baron – Let The Radio PlayHoly Hive – Float Back To YouAllah-Las – Holding PatternBobby Oroza – The OthersideBoz Metzdorf – Sails Across The SeaPaul & The Tall Trees – My God (I Remember '98)Scott McMicken & THE EVER-EXPANDING – Another One Part 4 (87:08)Neal Francis – Changes Pt 1 & 2 (Live)Mapache – Life On FireNatural Child – Bailando Con LobosMonster Rally – AdventureAhmed Malek – Autopsie d'un complot Sir Was – Waiting For The WeekendKowloon – Hollywood Is Under Water

Legendary band leader from a legendary New Orleans musical family talks about creating "funk/rock" with his brothers and playing football against King Floyd.

If you think being a rock star isn't hard work, think again. Ivan Bodley aka Funkboy is a bass player who has appeared on Broadway and been inducted into the Blues Hall of Fame. He's performed with music icons like Sting, Carlos Santana, and the Temptations. Plus, he's a magna cum laude graduate of the premier Berklee College of Music. In this interview, he chats with Dr. mOe about his impressive career, life on the road, and his new book "Am I Famous Yet? - Memoir of a Working-Class Rock Star." Hear Ivan perform and learn more about his journey at   Transcript is auto-generated: [00:00] Dr. mOe Anderson: Welcome, Ivan. [00:02] Ivan Bodley: Thanks so much. Great to see you. [00:04] Dr. mOe Anderson: And you as well. I've been looking forward to talking to the legendary Funk Boy. We're going to have some fun today. You're quite the god. My goodness, talk about being versatile. You have a BA in psychology from V Two Lane University in New Orleans. I'm headed there soon. You were also a publicist with Epic record Sony Music. How did you go from that to working class musician? How did this journey begin? [00:35] Ivan Bodley: You know, that was an interesting kind of career transition. Yes, you're right. I have an undergraduate degree, and then I went into the music business, and I was a junior executive, and I had a corporate Amex card, and I seemed to be on that path as a career path for life. And after about three years of being in the music business, I realized that the music business is pretty much a marketing company. It had very little to do with creativity and creation of music. Certainly we were getting to hang out with the rock stars we were promoting, but we weren't involved in any of the creative aspects of making this product. So I kind of had a moment of realization, and it was kind of a difficult one because I realized there really wasn't anything else I wanted to do but to try to be an actual performer. And when you come to realization like that, you kind of realize, like, wow, that's a tough road to ho, as they say. There's no guarantees of success, and I have nothing else I really wanted to fall back on. There's nothing else I wanted to do regardless of education or qualifications or anything else. So I was like, I kind of resigned myself. Well, I guess I got to try to make it go of this if I'm going to do that. And then once I came to that realization, I was like, all right, well, if I'm going to do this, I need to go ahead and get myself more specifically formally educated in music, because most of my study at that point had been self study or with private teachers or that kind of thing. So then I went back as a slightly older person. I was in my mid twenties after 26, I think. Then I went to the Berkeley College of Music. Well, and then I'll slip in that I managed to graduate from there, magna cum laude, too. So I really tried to dedicate myself to my studies to give myself the tools that I needed to hopefully then have any success in the business. In a business where no success is ever guaranteed, you then have to have a good deal of hard work and good fortune on your side to try to rent. That's what happened. I kind of took a bizarre leap of faith after I was resigned to my fate, and somehow, looking back now, 30 years later, it worked out. [03:13] Dr. mOe Anderson: Absolutely. I talked about your impressive CV in the intro. I would say it has more than worked out. And what I'm particularly impressed by is that I'm a creative as well. So I know how it is when you have those two sides, the corporate and then the fashion and artsy side of you, but that you fully committed to what you wanted to do, whether it was the corporate side or the music that you went all in. And a lot of people get stuck because they want to love everything, but we got to do some stuff we don't like so much to get to the point where we can do what we really want to do. That's just part of the process. So from there you've studied, you've got a great background in business and music based on that investment in yourself. How did you go from that to becoming a freelance professional musician because you've worked with some of the biggest people in the music business. [04:13] Ivan Bodley: Well, after I got my degree from Berkeley, I came back to New York City because that's kind of where I thought I knew that I always sort of wanted to be musically. A lot of the music that I was sort of interested in was coming was emanating from here. So I had a grand career set of goals, and what I was going to do was I was going to become a famous musician. I was going to play at Madison Square Garden. I was going to play on The Tonight Show and the David Letterman Show and Saturday Night Live. These are my career goals, the trifecta, right? And I can tell you with great confidence, 30 years later, exactly none of those things actually happened. But a bunch of other things happened along the way that sort of made it worthwhile. When I got here, I started typing resumes. I was a temp secretary. I had the temp gig for like three years during the day, world's longest temp gig. It was three years long, and I was typing resumes for the people that the phone company was laying off. It was this bizarre, weird, good karma job I was trying to help, working this career resource center of the phone company, believe it or not. And then little by little, step by step, inch by inch, just over time, over that three year period, the evening freelance music career became just enough to tip the balance, to go ahead and pay the rent and take an additional leap of faith and leave the temp gig. And that was the last time I had a day job, was 1995. [05:52] Dr. mOe Anderson: Oh, you lucky, lucky man. [05:54] Ivan Bodley: I know. True. That is true. That is true. [05:57] Dr. mOe Anderson: But you worked hard at it. You even took a job that you were overqualified for until you could fully pursue your commitment and your passion, your talent for music. And, you know, you call yourself almost famous, but you performed at Carnegie Hall the Kennedy Center. You're in the Blues freaking hall of Fame, right? You've been music director for Sam and Moore, Sam and Dave for my old schoolers, Martha and the Vandelas. But you've also performed with Sting the Temptations. Benny King,  Chaka Khan Wynonna Judd and David Foster! I don't normally tik off a list like that, but most people don't have a list like that. [06:45] Ivan Bodley: It's funny. I have a joke sort of my resume, which is included in the end of my book, and I will send it out to some people. It's on my website. It's seven pages long. It's unconscionably long. There's no possible reason people shouldn't have that much information. But what happens is I find over and over again and you just demonstrated this exactly. I'd never know which name on the resume is going to resonate with somebody. Like, you have a personal relationship to, say, Sam and Dave, for instance, and people go, wow, you play with Sam and Dave. But it's always one that I don't expect. Like, I'll have seven pages of information and some people will say, like, wow, you play with Buster Point extra. I'm like, yeah, I did. That's the one that turned you on. Great. Perfect. Now we can talk about that. [07:30] Dr. mOe Anderson: Yeah, it is funny. And it just tells us that we have some lives well lived when we can make references to people throughout multiple generations. And that's exactly what you've done. Because, like, my mom would be way Sam and Dave, right? And she listened to music all the time. And I'm not that much older than you. I'm not trying to throw shade, but no, that's my Sam and Dave and Martha Reid's reference. But then when you get to Chakra Khan and Rufus and why not especially David Foster. Oh, my God, he's a genius. That's when you're getting into my influences and just all around. It's just exciting reading, and I can't imagine what it was like. Do you have any funny story you can share with us about your life on the road or with one of these celebrities? I know there's a bunch of them in the book, but is there one you can share with us now? [08:26] Ivan Bodley: There's a whole bunch of them. Actually, you're right. That's the reason I did write the book, because there's so many of them. I do want to correct you on one small point. I didn't ever actually play with the band Rufus. I played with Rufus Thomas, the world's oldest teenagers of the man who did the funky chicken down in Memphis, Tennessee. I don't want to misappropriate my strange celebrity resume. [08:49] Dr. mOe Anderson: Hey, my bad. That's so mean. Folks, I corrected and I'm okay with that. [08:54] Ivan Bodley: All good. We opened for Chaka. I was playing with Solomon Burke at the where was this? The Saratoga Jazz Festival in New York. Excuse me. And the act immediately after us was Chaka Kahn So I feel like I've been on the same stage with her, but I've not actually played in her band yet. I'm available, Chaka, if you're around. If you need me, I'd be happy to come out. I love sliding medieval, that's all. It's all a shameless self promotion that never kind of ends. And a funny story, that show with Solomon Burke, I think we had a twelve piece band. Solomon Burke at that time in his career was, I believe, £425. He was a formidable gentleman of certain stature. So on his technical rider, he had a king's throne to be placed at the front of the stage and he sat down on the throne and conducted his business from the front of the stage using just the power of his voice. And he ran for 15,000 people and he moved, like emotionally moved the entire audience with just the sound of his voice. It was the most extraordinary thing I've ever seen. He also had on his technical writer two dozen long stem roses with the thorns removed that he had to have by the throne. So he gave them out one at a time to ladies in the front row in the audience as he was performing. He was a master showman and very sort of like old school, old world RMB. And then at the end of the show, like for the big climax of the night, his big stage move was he stood up on a high note, he stood up from the throne and the audience was like, wow. It was just unbelievable. Like you see performers dancing and sweating for 2 hours. He had one move and it was as effective as any Britney Spears concert you've ever seen. Amazing former. [11:04] Dr. mOe Anderson: And that's what I always say about singers versus entertainers. I'm a big deal fan, for example, I don't think she has a move other than turning to one profile side or the other. But she doesn't need one. [11:18] Ivan Bodley: She doesn't need it. [11:19] Dr. mOe Anderson: It's so amazing. Now, if you can sing and dance to Kudos to you, but if you got a pig, I'll take a singer over an entertainer any day and I just can't even imagine someone just sitting on their throne like a sovereign management rising 15,000 people. That is a gift. That's a form of genius. And whether people recognize it or not, that is not an easy thing. Thanks for sharing that story. [11:47] Ivan Bodley: Furthermore, as the band, as the backing band, I think we rehearsed with him one time, the first time we met him, and then never again. Because what he did was the other thing too. Like all of his songs, the only thing you knew about what he was about to say was that it was in the key of G. He stayed in the same key for the entire evening and it was never, ever dull. So he had a group of songs that were hits for him back in the Atlantic record spaces. So I kind of had, like, a little cheat sheet sort of in front of me, like a three or four page thing that kind of happened. So what he would do, he would just start singing a melody, a capella. And as the backing band, we had to figure out what song he was on. And then we had to catch up because he was already two bars into the song. So he got to get you into my life. And we're like, okay, all right. Figure out what song was. Figure out what the changes were and catch up. And he did this over and over again. And it was just such an amazing exercise for us to try to listen and try to respond to him live like that. [12:50] Dr. mOe Anderson: And then he would do that with you guys. Said he had a lot of confidence in you, too, and your musical abilities, because that is really some Southern Black Baptist Church stuff right there. [13:04] Ivan Bodley: Exactly what it is. Never had a set list, never premeditate. What's going to happen now that you said that? Now I can tell you the next story. We're playing with him at Lincoln Center. At Avery Fisher Hall. This is the jazz festival thing. We're in this very prestigious concert event opening for Wilson Ticket. Wilson, the mighty, wicked Picket. So Dr. Burke is like to be referred as he was a doctor of mortuary sciences. Dr. Burke started Sigma. I'm 100,000% serious. He was a many faceted, individual, fascinating human being. [13:50] Dr. mOe Anderson: That's crazy. [13:51] Ivan Bodley: He started singing in the same manner I just described to you. He would just start singing a melody. So he started singing the Ray Charles classic drowned in My Own Tears. And between, I looked at the keyboard player and the keyboard player look at the guitar player, and the guitar player looked at me. And we realized between the three of us, none of us knew the changes exactly to the song. We're like, oh, we're live on stage being reviewed by The New York Times at Lincoln Center, and we don't know the song that he's now singing. And he realizes within 20 seconds or 10 seconds, like, we're not with it. So he sings a couple of lines of it, then he moves on to something else, and we're back in the fold, and the concert continues on. We got away with it, really. Probably. We were only the ones that noticed it. But then as we're leaving the stage at the end of the night, triumphant standing ovation, he got the whole thing. The greatest jockey and record producer, Bob Porter with the MC for the evening. So if we're coming up to the wings, bob Porter looks at me and he says, Drowning My Own Tears. So I was like, oh, man, you heard that? [15:04] Dr. mOe Anderson: There's a lot of nonverbal kind of back and forth. I'm not a musician. I'm a creative. I write and speak. But just that, you guys. I mean, I kind of see it when I see the biopics and the movies, but you guys just kind of feed off of each other, get to know each other to that degree that he knew to just move on. Okay, they're not getting it. He moved on. And it's just like a seamless communication. [15:34] Ivan Bodley: We don't call it eyeballing. We call it earballing. [15:37] Dr. mOe Anderson: Earballing. I was searching for a word. Thank you. I was like, there's got to be a term for that. And that makes sense. And it is a relationship just like every other relationship, even if it's just for an hour or two. And that's what's another thing that's so beautiful about music and what you do and that you've been able to perform with all these different types of musicians. You've also worked for a major record label and you've been a musician. What is it like to work for a major record label? You alluded to it, but a little bit more of what that life is like. [16:21] Ivan Bodley: Well, that's what I did coming out of my college years. While I was at Two Lane, I was also the music director of the campus radio station. There's a station there called Wtwo two Lane radio. And it was a 1500 watt station which covered all greater metro New Orleans. So had a potential listenership of like a million people. Not that we had those kind of numbers, but it had a very wide coverage and as such, it was a very influential station. So the record companies knew this and they would promote directly to us and have us interview their artists when they would come through town and send us. So my job was to sort of be in contact with the record companies and make sure that the station had all the latest product and all this kind of thing. So that was kind of my entree into the music business, was doing it from the radio station side. And because I really didn't pick up a bass guitar until I was a senior in high school, I was 17 years old. So when it was time to make the decision to go to college, I was in no position to say, I'm going to be a music major. I didn't have that much experience. I actually started Tulane as a biomedical engineering major first, and after about two years of that majoring actually in college, radio, I ended up with a psych degree. So because of the context that I'd made through the music directorship, then that's how I was able to parlay that into an assistant job in the publicity department at Epic Records. And then at which you start out making Xerox copies and making coffee and running errands, whatever you need to do. [17:51] Dr. mOe Anderson: Back in the days when we worked. [17:53] Ivan Bodley: Our way up from the bottom, that's exactly what happened. [17:56] Dr. mOe Anderson: You know, they come in privileged and expecting to have a corner office. Initially, no shade. [18:03] Ivan Bodley: That's exactly what it is. And then after about a year and a half of being successful doing that, an office opened up and it was the manager of West Coast publicity I was in New York initially, the manager of West Coast publicity for Epic Portrait and CBS Associated Labels. So I had to move out to Los Angeles midway through my record company career. And that's when I got the business card, the corporate Amex card. And it wasn't the corner office, but it was an office with a window and all that kind of nonsense. And I was working for, I guess, my sort of pride and joy projects from that time where the band Living Color, we were working on their first project called Personality on the Vivid album. I was working with Stanley Clark, the great jazz bass player who's been a dear friend of mine ever since George Duke. [18:53] Dr. mOe Anderson: Stanley Clark. [18:54] Ivan Bodley: George, exactly. Big Daddy. We called George Duke Big Daddy. And I was working with near. Not directly with, but certainly near. I have a platinum plaque on my wall now. That was all the gold and platinum records. I'm looking at it right now from the year 1988. So in no particular order. Gloria Estefan, Cheap Trick, Luther Vandross, Michael Jackson, Ozzy Osbourne the Band europe Shade Joan Jet And The blackhearted Weird Al Yankovic Alexander O'Neill and REO Speed Wagon So those were the clients that I was dealing with at the label at that time. [19:33] Dr. mOe Anderson: I saw some of those during our pre call. You have a very interesting office or whatever the room you were in as we were talking, I was just looking at the guitars and all the boards and the gold platinum records. Just amazing just being in that environment. And sometimes people like, I have some degrees and family pictures and art in the room on my office. And sometimes people are like, oh, that's your ego wall. But you know what? For me, it's a hustle wall. It's like what you can do when you try really hard. And frankly, I'm the one in here ten to 12 hours a day. It's not like I'm out on the street like, look at this, look at this. It just reminds me that hard work and effort gets results. And to keep at it, keep at it, don't get discouraged. [20:25] Ivan Bodley: I remember when I saw the picture of your office as well. I call them my own. I call them the bowling trophies. These are the bowling trophies. And having a platinum record up that I was presented with 35 years ago, does that mean something now? Like, yes and no. It's part of my origin story. And it's one of those things when you see it, it looks impressive. And occasionally I'm reminded to look at it and go like, oh, yeah, I did that. [20:48] Dr. mOe Anderson: I did that. And at the end of the day, it's by you for you to do what you want to with. That's why I love it. I was very inspired just seeing it, honestly, and I'm glad I had that opportunity. [21:01] Ivan Bodley: Yes, good. Thank you. [21:02] Dr. mOe Anderson: So you talked about all the sides of it, that you've been on the corporate side file, you've done whatever was necessary, ultimately. We Heard You trifecta The Tonight Show, medicine Square Garden And So forth. [21:19] Ivan Bodley: None of that happened, by the way. [21:20] Dr. mOe Anderson: None of it happened, but none of it a lot of people have lofty goals like that. What advice would you give to someone chasing fame and fortune. [21:32] Ivan Bodley: That is so difficult? Because I'm not sure I've gotten either one, even though I've been a successful, quote unquote, successful, working class musician my whole life. [21:40] Dr. mOe Anderson: Right. The key was the chase, though. For someone, that's their objective, to chase rather than producing something excellent or a service or commitment or a mission. But that's the end goal. I just want to be famous, right? [21:59] Ivan Bodley: Yeah. The fame part of it, that's a very tenuous thing. And I've had brushes with fame. Certainly you've seen the photo album, stood next to some very famous people for very short periods of time to get a photo. But like, for instance, when I was doing the Broadway show Rock of Ages, which was like the 80s rock musical, the band was on stage, we were on stage, we were in costume and makeup and flipping our hair around for two and a half hours. So when we would come out of the stage door, very often there would be people waiting to meet the actors and get their playbills signed and maybe take a picture of that kind of thing. So when you would come out the stage door, people go like, Yay, it's the bass player. And then you were known by an audience all the way up until you turn the corner on 7th Avenue and you're famous for half a block. And then as soon as you turned the corner on 7th Avenue, you were right back into obscurity. Nobody knew who you were, nobody seen you, and it was right back to normal, everyday life. To me, fame is tenuous at kind of every level. I mean, even if you look at somebody sort of uber famous, like, I don't know, Justin Bieber or something, I have to understand that my parents generation have no idea who he is, and they don't care. It's not for them. So, yeah, he's as famous as you can get, and still not everybody is going to know him. But for me, the key was to give myself the tools that I needed to allow myself to be able to succeed. And for me, that was going back to musical, that's what I needed to do was sort of plug in the gaps in my education and give myself the possibility of them succeeding. Then once I had that possibility, then I knew it was just going to be a lot of hard work. It's still hard work. I'm still taking jobs that require a lot of transcription time, a lot of practice time, preparation time, sometimes a lot of driving, you know, like drive from New York City to Buffalo is going to be 6 hours to do a job that's going to pay me $300 which barely pays for the gas and tolls in my time. But it's all part of it. It's all part of the journey because you never know what leads to what. And all the gigs that I've told you solomon Burke and Sam Moore and all those Martha Reeves, all those gigs came from working with a band here in New Orleans called the Uptown Horns Review. The uptown Horns. They're the Horns section who played on James Brown Living in America. B 52 Loveshack Cameo ward up. They're a very famous, well established horn section. So I became their bass player through two things. One, I was touring with the Sherrells and their drummer Crusher Green was also the drummer in the Uptown Horns Review. And the other thing was, I did a $50 blues gig in Manhattan one night with a friend of mine named Timothy Beckerman, the blues siren of New Orleans. She was up here in New York and the sax player was Crispincio, who's the lead alto player in the Uptown Horn. So from a $50 job and then also from this recommendation, I got from the drummer, suddenly I started working with this group which introduced me to everybody on that list that we just talked about. And there's no way to have anticipated that that $50 job is going to lead to everything else. So you just kind of have to take everything, do everything, be prepared and show up on time. [25:32] Dr. mOe Anderson: Unfortunately. I just like to that you're saying that it was your dedication to the craft not just do anything outrageous, outlandish or whatever to get attention and be famous, but your dedication to the craft led to you getting in the company of the right people and networking and just having what is really an amazing life. These names you drop like they're nothing are just people who are legends to me. I've got vinyl in there with these folks pictures on them, which is the closest I'll ever get to them. So I'm just a little bit envious. Don't be upset with me, but I'm a little bit envious. [26:15] Ivan Bodley: I'm not mad at all. I'm a fan too. That's how I started doing this. I'm a fan of this music. My mom's record collection was Gladys Knight and the Pips and Stevie Wonder and King Floyd and I can tina Turner. Those are the records that I grew up in the house and they trained in Georgia. Thank you. That's what I grew up with. Gladys was my mom's absolute favorite. So then dedicating myself to working with these classic soul artists. This is, for me, a pilgrimage. Yeah. I love it. I can't get enough of it. The other thing too, is sort of like preparing yourself, what you're talking about, sort of doing things to get attention. That's all well and good, but then once you're given the opportunity, you need to have the goods to back it up, to be able to do the job right. Yeah, publicity stuff, that's all great, but then they say, okay, come on our stage and play. If you're not really dedicated and ready to do the job, you're not going to get a second call. It'll be a one and done. [27:17] Dr. mOe Anderson: I know, exactly. And there's a maturity and growth that happens, too. Personal growth that happens during all that. You've been through all that. I've been through all that. So many people who've worked hard and suddenly are almost famous, and people don't see everything that came before that. Which leads me to your memoir. What inspired you to write? Am I famous yet? Memoir of a working class rock star. [27:46] Ivan Bodley: I think the title describes exactly who I am. I stand next to rockstars occasionally for long enough to take a photo or play a concert, but most of what I do is I lift my own amps, I drive my own car, I work for a living. Definitely what would happen was if something crazy would happen at a sound check, for instance, between sound check and the show, usually there's a dinner break for the abandoned crew. We'll sit down and have a little catering or somebody who's going to order out sandwiches or pizza. And what would happen was I would be like, you know that thing that just happened? It reminded me of another thing that just happened on another job that was even stranger or even weirder. And I would start telling these stories to my bandmates and my compatriots and anyone who would listen. And I was told over and over again, they say, you should really write these things down because you've got so many of these road stories at this point. And I was thinking to myself, back in my publicity days for the label, I used to write the artist BIOS and the liner notes and the press releases and that kind of stuff. I always had the writing gene has always been part of what I do. So as I was being encouraged to do this, maybe about four years ago, I sat down during the winter, which is kind of my slow season, and I said, Let me start to see if I can assemble enough of these stories to see if it's a book. And I started writing and writing and writing and writing in my spare time, such as it was. And about three months in, I'm like, yeah, I think it's a book. I think we have a book there, but never quite got it finished until the world shut down two years ago. And suddenly all the live gigs dried up and we basically sat home for 15 months. It was a very scary. Time in the music business for us, everybody. But what I tried to do during that time was make lemonade out of the lemon. So I had time to finish the book, get it edited and send it to my aunt is a copy editor for Time magazine, so she kindly copied the whole book. I got it formatted. I got it put up on Amazon. I was able to finish it sort of with the time that I had. All the while, I was also, like doing home recordings via file sharing with all my other musician friends who were similarly displaced and out of work, and they're all happy to play. So I did about two albums worth of material during that time, too, which got me signed to a record label for the first time in my life as well. [30:24] Dr. mOe Anderson: Congratulations. Which record label, if I may ask? [30:28] Ivan Bodley: It's a company called Color Red. Music. Color REDCOM out in Colorado. It's run by Eddie Roberts, who is the leader of the new Master Sounds, which is a British band, like a new British version of The Meters or Booker T. And the Mg is kind of like an instrumental funk band. Really interesting. And it's a great platform for these independent musicians and they have a whole licensing wing. So hopefully one day one of my songs will show up in a TV show or commercial and like, that returns on investment. [31:02] Dr. mOe Anderson: I hope that for you. And again, congratulations. That's great news. A lot did happen during that period, but I saw some videos, I think, on YouTube, and I didn't jot down was a crab walk or crab tree. [31:20] Ivan Bodley: Crab walk. [31:22] Dr. mOe Anderson: I got to drop that in the show notes. You are hilarious. A talented musician, but also very funny and a great, great storyteller. Ivan. [31:32] Ivan Bodley: Oh, thank you. Yeah, that was another thing. During the Quarantine, I had all the time in the world to shoot my own little independent video clips to go with these projects. All that stuff is on YouTube as well. [31:43] Dr. mOe Anderson: And people can hear you and get engaged and they can connect with you on YouTube. But where else can people find you? Learn more about you download this book on Amazon guys, and my famous yet memoir of a working class rock star. But how can they connect with you online? [32:00] Ivan Bodley: The book is available as hardcover, soft cover, Kindle edition, as a podcast, as YouTube clips in any possible format that you consume. Media. I believe there's a version for you. Links to everything, everything are at my website, funkboy. Net. Funkboy. Net. Not Funky Boy. Funk Boy. Everybody spelling counts in this day and age. But it's got links to Amazon. It's got links to the YouTube stuff, it's got links to all of the recordings and way too many pictures of me standing next to famous people, which are highly amusing. [32:40] Dr. mOe Anderson: I think there is no such thing. I happen to love looking at videos and photos. And Instagram is leading the social media war right now because of their big focus on Photos. So keep posting those, keep doing your videos and keep making great music. You guys connect with Ivan. Follow him online. He is a fun and talented guy. And you just heard a story of perseverance, excellence and success. And for this moment, for this episode, I thank you. Ivan the famous Funkboy. [33:21] Ivan Bodley: Thank you so much, Doctor mOe. I really appreciate you taking interest in my work. [33:27] Dr. mOe Anderson: Wasn't that a great program? Oh, love that episode. I enjoyed it. I hope you did too. Please remember to like, subscribe and share. Learn more about me on my website, dr. Moanderson.com. That's Moe. You can read book excerpts, watch videos, learn about the services that I offer, and book me for a speaking engagement. I'd love to talk with your group and I'd love to work with you. So until the next time, review, renew and renew. Thank you.

RANDOLPH BROWN & COMPANY  IT AIN'T LIKE IT USED TO BE.ODYSSEY  BATTENED SHIPS.BOBBY THURSTON  TREAT ME THE SAME WAY.FRANKIE GEARING  TEARDROPS.FREDDIE LOWE  DECISIONS.CECIL SHAW  THIS I'VE GOTTA SEE.OTIS JACKSON  BEGGIN' FOR A BROKEN HEART.SIDE EFFECT  GEORGY PORGY.THELMA HOUSTON & JERRY BUTLER  AND YOU'VE GOT ME.WALTER JACKSON  WE COULD FLY.CON FUNK SHUN  LOVE SHINE.THE EMOTIONS  HOW'D I KNOW THAT LOVE WOULD SLIP AWAY?JIMMY RUFFIN  LOVE IS ALL WE NEED.GLADYS KNIGHT & THE PIPS  THE GOING UPS AND THE COMING DOWNS.JR. WALKER  I'M SO GLAD.GASTON  LOVE IS GONNA GETCHA.LUTHER  COME BACK TO LOVE.EDDIE FINLEY  SAD HONORED NIGHT.BOBBY WOMACK  LOVE AIN'T SOMETHING YOU CAN GET FOR FREE.INCOGNITO  I LOVE WHAT YOU DO FOR ME.LANCE ELLINGTON  PLEASURE AND PAIN.RENE & ANGELA  MY FIRST LOVE.MICHAEL JACKSON  GOT TO BE THERE (THE STRIPPED MIXES).GLORIA GAYNOR  TOUCH OF LIGHTNING.KING FLOYD  MY GIRL.CARL CARLTON  THIS FEELING'S RATED X-TRA.JOHNNY ADAMS  I WISH IT WOULD RAIN.ARETHA FRANKLIN  A CHANGE IS GONNA COME (MONO).TIMMY THOMAS  WHY CAN'T WE LIVE TOGETHER? (RIP TIMMY).

It's storming, folks! In this episode, we dive into the mid-storm weather and snowpack update, and talk about how it's time to change our mindsets and how we approach the backcountry.  As old Bobby Dylan says, the conditions “they are a-changing”, and we need to adapt our mindsets accordingly. This week's episode was sponsored by Mountain Trip. Check out mountaintrip.com for more information on our trips and avalanche courses! And, this week's “Pre-Mature Funk Break” was a little snippet of King Floyd's “Feel Like Dynamite”, which is such a kick-ass funky jam.  Play safe out there everyone, and let's get through these High Danger days without any major avalanche incidents, eh?! Until next time… THINK SNOW! Venmo@Chris-Dickson

The next hour of The Roadhouse is full of tracks you haven't heard. I've got four Roadhouse debuts, and fill the rest of the hour with new tracks. Eddie 9V, Dana Gillespie, King Floyd, Ida Mae, and Watermelon Slim are all ahead. I'll make you a promise - that what lies ahead is definitely is another hour of the finest blues you've never heard.

The next hour of The Roadhouse is full of tracks you haven't heard. I've got four Roadhouse debuts, and fill the rest of the hour with new tracks. Eddie 9V, Dana Gillespie, King Floyd, Ida Mae, and Watermelon Slim are all ahead. I'll make you a promise - that what lies ahead is definitely is another hour of the finest blues you've never heard.

BELLA BROWN & THE JEALOUS LOVERS INVITE YOU TO TAKE A “ROCKET” RIDE!!!!! Explore new galaxies that will expand your Soul into the Funky future!!!!! Feel the exhilaration of warp speed travel powered by three original BBJL Burners and two classic 20th Century Bumps that feature special modifications by our lab!!!! This Rocket is engineered and piloted by Bella Brown & the Jealous Lovers! A team whose previous explorations include Eric Clapton, Bette Midler, Nick Waterhouse, Coolio, Iggy Pop, Beyonce, Fleetwood Mac, Whitney Houston, Prince, Jane's Addiction, Isaac Hayes, Lettuce, Snarky Puppy, Queen Latifah, Marcus Miller, Justin Timberlake, Meshell Ndegeocello, Soulive, and Shelia E! 'Rocket': A mid-tempo funk burner in the vein of 20th-century pioneers Sly Stone and P-Funk. Put your gravity boots on! Bella sets up our trip with help from Justin Timberlake's Regiment Horns and Lettuce guitarist Jeff Lockhart. 'I Can't Get Next to You': Our lab's modification on The Temptations classic bump. Bella throws it down over a James Brown-style groove, and Dumpstaphunk's Alex Wasily brings a New Orleans-style Trombone Solo to the edge of the Milky Way. 'I'm Gone': A torchy downtempo burner. Bella bares her soul and The Regiment Horn's Leon Silvia performs Tenor Sax Solos from a Bionary Star. 'Groove Me': Our lab's modification on the classic King Floyd bump. Bella delivers sexy, sultry funk that'll make a Starship Captain blush, while legendary guitarist Jimmy Vivino reminds us the Blues is what holds the universe together. 'Sell the World': Uptempo rock meets Motown burner, The Regiment Horns find Jazz on the ship's bridge, Prince alum Kat Dyson plays the perfect Guitar Solo despite only having access to analog technology

Malaco Records is the longest-running independent label in American history, but most white music fans have never heard of it. Hosts Jim DeRogatis and Greg Kot talk with Rob Bowman about his book, "The Last Soul Company: The Malaco Records Story." Plus, they review new records by Miranda Lambert and girl in red. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5AhFeatured Songs:Jack Ingram, Miranda Lambert, Jon Randall, "Homegrown Tomatoes," The Marfa Tapes, Vanner, 2021Jack Ingram, Miranda Lambert, Jon Randall, "Waxahachie," The Marfa Tapes, Vanner, 2021girl in red, "Rue," if i could make it go quiet, AWAL, 2021girl in red, "Serotonin," if i could make it go quiet, AWAL, 2021girl in red, "Apartment 402," if i could make it go quiet, AWAL, 2021girl in red, "Hornylovesickmess," if i could make it go quiet, AWAL, 2021The Mississippi Mass Choir, "When I Rose This Morning," I'll See You in the Rapture, Malaco, 1996Johnnie Taylor, "Disco Lady," Eargasm, Columbia, 1976King Floyd, "Groove Me," King Floyd, Chimneyville, 1970Jean Knight , "Mr. Big Stuff," Mr. Big Stuff, Stax, 1971Dorothy Moore, "Misty Blue," Misty Blue, Malaco, 1976Z.Z. Hill, "Down Home Blues," Down Home Blues, Malaco, 1982The Golden Nuggets, "Gospel Train," Gospel Train (Single), Malaco, 1973The Jackson Southernaires, "Hold To God's Unchanging Hand," Down Home, Malaco, 1982Mahalia Jackson, "Move On Up A Little Higher," Move On Up A Little Higher (Single), Apollo, 1947The Mississippi Mass Choir, "Call Him Up Part 1," "Live" In Jackson, Mississippi, Malaco, 1989The Georgia Mass Choir, "Joy," I Sing Because I'm Happy, Savoy, 1992Wale, "Sue Me (feat. Kelly Price)," Wow... That's Crazy, Every Blue Moon, 2019LaShun Pace, "I Know I've Been Changed," He Lives, Savoy, 1991

Biambu Garrett of King Floyd's bitters in Novato gives his take on bitters and cocktails

[audio mp3="https://jazzjoyandroy.com/wp-content/uploads/2019/07/ListenToKingFloydAndGwenMatthewsWhen.mp3"][/audio] 22223...

La monarchie est un système qui fascine. Particulièrement lorsqu'on est en république. On ne peut s'empêcher d'éprouver un peu de condescendance mâtinée de jalousie envers les peuples qui n'ont pas tranché avec la royauté. Dans le blues, les King occupent le haut du pavé mais de multiples roitelets leur disputent leur couronne. On tire les rois cette semaine dans Bon Temps Rouler.      Playlist :   Let The Good Times Roll, Soul Man Sam, Eastside Kings   How Long Do I Have To Wait?, Sharon Jones & The Dap-Kings, Daptone Gold   When They Played The Real Blues, Studebaker John's Maxwell Street Kings, Delmark 60 Years Of Blues   Where I'm Headed, The Marcus King Band, Carolina Confessions   8 A.M., The Marcus King Band, Carolina Confessions   Fifty Ways to Leave Your Lover, The King's Singers & Alastair Hume , Cappella, Paul Simon   Contentment, King Ernest, Blues Got Soul   Tore Up From The Floor Up, Bobby Gilmore, Eastside Kings   Groove Me, King Floyd, Choice Cuts, King Floyd   Jump, Jive And Wail, Bill Wyman's Rhythm Kings, Bill Wyman's Rhythm Kings Live   Homesick, The Marcus King Band, Carolina Confessions   Kidney Stew, Mac MacIntosh, Eastside Kings   No City Like New Orleans, Earl King, Big Ol' Box of New Orleans [Disc 2], Earl King   Goodlie Ooglie, Peewee Calvin, Eastside Kings   Whisper In Your Ear, Ray Reed, Eastside Kings    Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Give us a call and let us know what your favorite song is. 585-902-8106

Brownie nació con la intención de disolver la frontera entre la música mainstream y el gusto por las músicas negras y del mundo. Así, ocupa un espacio ahora libre dentro de la industria radiofónica y el podcasting: Músicas especializadas tratadas para todos los públicos y, aun así, salpicadas por la dinámica realidad de estos tiempos. Dirigido por Andrés Ayala (@winitwo). Tracklist: King Floyd - Groove Me Joel Sarakula - Parisian Woman Novedades Carminha - Hay Un Sitio Pa Ti Llamada Piyama: Giorgio Poi & Calcutta - La Musica Italiana Michael Miglio - Never Gonna Let You Go Hayden James - Just a Lover (Pomo Remix) Her - Wanna Be You Frank Ocean - Moon River

Album van de Week is Rob Baird - After All. Ook fijne muziek van King Floyd, Robert Plant, Mercury Rev, Lil’ Bob & The Lollipops, John Lee Hooker en Loretta Lynn & Conway Twitty

Album van de Week is Rob Baird - After All. Ook fijne muziek van King Floyd, Robert Plant, Mercury Rev, Lil’ Bob & The Lollipops, John Lee Hooker en Loretta Lynn & Conway Twitty

Just a berif breakdown of what we will be talking about. Stay tuned for part two and three --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/queenmotivation/support

If your man wanted you to change your entire look would you? Find out what King Floyd thinks about this. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/queenmotivation/support

The incredibly funny Jo Firestone joins us to talk about King Floyd's classic soul song "Groove Me." We hope you have your popcorn ready cause Jo has hers! We talk about the song for a little bit and then we we're off to the races with tangents galore. We cover everything from Abba’s greatest hits to high school reunions in this episode! Not enough? How about a Seth Rogen impersonation? Want to learn about Paladins? Strange regional foods? Your cool older brother? YOU WILL LEARN IT ALL. Plus, we pivot to become a very legitimate medical podcast and you discover a lot more about your favorite hosts. shadow monster (aka Gillian Visco) plays a killer cover and a few of her own!

The incredibly funny Jo Firestone joins us to talk about King Floyd's classic soul song "Groove Me." We hope you have your popcorn ready cause Jo has hers! We talk about the song for a little bit and then we we're off to the races with tangents galore. We cover everything from Abba's greatest hits to high school reunions in this episode! Not enough? How about a Seth Rogen impersonation? Want to learn about Paladins? Strange regional foods? Your cool older brother? YOU WILL LEARN IT ALL. Plus, we pivot to become a very legitimate medical podcast and you discover a lot more about your favorite hosts. shadow monster (aka Gillian Visco) plays a killer cover and a few of her own!

En el programa de esta semana escuchamos una buena parte de dos magníficos discos, muy pocos conocidos en España: el "Sweet Sister Funk", del saxofonista Ramon Morris; y el "Groove Me", del cantante King Floyd.

King Floyd "Groove me" Sandra Nkaké "Fairy tales" Paul Hill "Dose" D'Angelo/Raphael Saadiq "Be Here" Shuggie Otis " Sparkle City" Ruth Tafebe And The Afrorockerz "Mother" Barry Adamson "In a moment of Clarity" Forshe' "Dog Food"