Podcast appearances and mentions of Lady Soul

Aretha Franklin got her start at an early age in Gospel music.  As the granddaughter of Gospel great Mahalia Jackson and the daughter of a prominent Baptist preacher, Franklin was heard on her father's "gospel caravan" tours at the age of twelve.  By the time she became an adult in 1960 she had decided that she wanted to go into more pop music, and moved to New York for this purpose.  She signed a deal with Columbia Records, in 1960, but her career would not really take off until moving to Atlantic Records in 1966.  By 1968 she was considered by many to be the most successful singer in the nation, and already crowned the "Queen of Soul."Franklin toured outside the US for the first time in late April 1968 through May 1968.  She performed in Paris on May 7, 1968, and this concert would be released as the live album Aretha in Paris in the fall of 1968.  It was Franklin's second live album, and the first for Atlantic Records where most of her hits were recorded.Some have criticized the backing band as not up to the task of supporting Franklin.  However, this album captures Franklin at the top of her game at a time when she was cranking out some of the biggest hits of her career.  It would be difficult for any supporting band to keep up, particularly one assembled for an overseas tour.  Regardless, this is a great album to explore as a snapshot of Aretha Franklin at the height of success.Lynch brings us a high energy live soul album from the Queen of Soul in her prime for today's podcast. (I Can't Get No) SatisfactionThis Rolling Stones cover is the lead-off track to the album and to the concert.  The Stones had released this song in 1965, and it had become their first number 1 song in the States.  Franklin takes the tempo up for this cover.(You Make Me Feel Like) A Natural WomanCarole King and Gerry Goffin wrote this song for Franklin based on an idea from producer Jerry Wexler.  It originally appeared on Franklin's album "Lady Soul", and went to number 8 on the U.S. charts.  It would make history when it hit the UK charts a week after Franklin's death in 2018, 51 years after the single was first released. (Sweet Sweet Baby) Since You've Been GoneThe original single for this live song was released on the "Lady Soul" album, and reached number 5 on the Billboard Hot 100.  This song was written by Franklin and her then-husband Teddy White. The studio version of this song utilized the talents of the Muscle Shoals Rhythm Section, who were flown in from Alabama to record in a New York City studio.Chain of FoolsSongwriter Don Covay wrote this song in his youth, and presented it to producer Jerry Wexler as a song for Otis Redding.  Wexler decided to have Franklin record it instead of Redding.  It was a big hit, taking the number 1 slot on the R&B charts for four weeks, number 2 on the Billboard Hot 100, and delivering Franklin a Grammy for Best R&B Vocal Performance. ENTERTAINMENT TRACK:Theme from the television comedy show “Laugh In”This sketch comedy show would capture a lot of American counter-culture of the time from Tiny Tim to "sock it to me!" STAFF PICKS:Ride My See Saw by the Moody BluesWayne kicks off the staff picks with a psychedelic song from the second Moody Blues album, "In Search of the Lost Chord."  The song is about leaving school and finding that the world isn't what you thought it would be.  On the album, the song is preceded by a spoken word introduction called "Departure."Harper Valley PTA by Jeannie C. RileyRob's staff pick is a storytelling song written by Tom T. Hall about a widow named Mrs. Johnson and her tangle with the PTA.  When her teenage daughter received a note from the Harper Valley PTA criticizing the way she is living, Mrs. Johnson attends the next meeting and reveals some indiscretions of the other PTA members.Light My Fire by Jose FelicianoBruce features an acoustic cover of the Doors hit single with a Latin twist.  Jose Feliciano is best known for the Christmas song "Feliz Navidad," but this Puerto Rican artist also had a hit with this cover that peaked at number 3 on in late summer 1968.  His album "Feliciano!" is a selection of acoustic cover songs, and his most successful one.  He won "Best Male Pop Vocal Performance" at the 1969 Grammy Awards for this cover.Son of a Preacher Man by Dusty SpringfieldLynch closes out the staff picks with a song that writers John Hurley and Ronnie Wilkins wrote with Aretha Franklin in mind.  When Atlantic Records producer Jerry Wexler heard it, he thought it would be a good fit for Dusty Springfield who was recording her "Dusty in Memphis" album at the time.  INSTRUMENTAL TRACK:And I Love Her by Jose FelicianoWe double up on the Latin acoustic stylings of Feliciano as this Beatles cover takes us out of this week's podcast.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Aretha Franklin was born on March 25th 1942 (people love this bit) so it would have been her 83rd birthday. Let's celebrate by listening to us talk about her. What a perfect gift!  We are all over the place so we might be taking a few weeks off but you should take some time to listen to this old episode that we all agreed was "pretty good"     

Aretha Louise Franklin fue una cantante estadounidense de soul, R&B y góspel. Apodada "Lady Soul" o "Queen of soul", fue una de las mayores representante de dicho género...

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

We're back with the Queen of Soul! We first reviewed her "I Never Loved A Man" album way back at #13 on the 2020 RS500 list. This time we have the pleasure of listening to another one of Aretha Franklin's greatest albums - Lady Soul! What did we think? Tune in to find out if we think this one is worthy of being called one of the greatest of all time! PS - Mike makes an epic tie between our recent review of Kanye, Curtis Mayfield, and Bob Marley, connecting the dots to this album... you'll have to listen to find out! As a reminder, you can find our favorite songs from the RS500 on our Spotify playlist right here - we'll be updating it as we go with our favorite songs from each album! You can check out Rolling Stone's new 2020 list right here. We'd love it if you would review us in your favorite podcast app, and while you're at it, give us a like on our Facebook Page or Instagram, follow us on Twitter, and send us a message if you have any comments or questions. --- Send in a voice message: https://anchor.fm/soundlogic/message Support this podcast: https://anchor.fm/soundlogic/support

Rolling Stone's 100 Greatest Albums of All Time series continues with the crew listening to #75 - Aretha Franklin - Lady Soul #EngagedListening #100GOATS --- Come check out our Patreon! Your support would really help to keep this show going. Plus, you can check out our bonus material. You can get L2L merch over at www.oldmandesign.com Follow us on Facebook / Twitter / Instagram Check out our YouTube channel. Email us at learningtolistenpodcast@gmail.com

Podcast Episode 107 Liquid Drum and Bass микс. Живой сет на DnBRadio.com Liquid Drum and Bass mix on dnbradio.com Enjoy! Tracklist: 01 - Nu:Tone - One Day at a Time 02 - Break - Minimus 03 - Collette Warren, Riya & L-Side - All for Something 04 - Degs - Sleepless (feat. Pola & Bryson) [Bladerunner Version] 05 - Ed:It - Brink (feat. Lady Soul) 06 - Droptek - Sentient (Joe Ford Remix) 07 - Waeys & Particle - Rave Tool 08 - Need For Mirrors, HLZ & Alys B - Super Super 09 - Fred V - Away (Kyrist Remix) 10 - GeniC & Sensus - Sensible 11 - Martyn Nytram - Select 12 - Hybrid Minds & Charlotte Haining - Brighter Days (Alibi Remix) 13 - Eres - Dead 14 - Urbandawn - Come Together (Dillinja Remix) 15 - Voltage - The Prophet 16 - John B - Up All Night (Data 3 Remix) 17 - Kanine - Snake Eyes 18 - DRS, Think Tonk & Rago Loco - Does My Head In 19 - Smuskind - Saw 20 - DJ Marky - LK (Instrumental Mix) 21 - Breakage - Rudeboy Stuff 22 - Ed:It - Can't Stop Thinking 23 - Nemy - Shifted 24 - Mfasize - Beat of the Heart 25 - Sl8r - Wid It 26 - Audiomission - Walk Over (Jappa Remix) 27 - Toronto Is Broken & Natty Campbell - Reminisce (Matt Neux Remix) 28 - Mosaic - Classified 29 - Geeks - Reluctance 30 - Ill Truth & Audiomission - Leng 31 - High Contrast - Save Somebody (feat. Callum Beattie) [SPY Vs. High Contrast Remix] 32 - Ill Truth - Simiah 33 - Serum, Paul T & Edward Oberon - Take My Breath Away 34 - Sound In Noise - Cowards 35 - Cyantific - Don't Follow (Unglued Remix) 36 - DJ Gaw - Don't Talk 37 - Brightlight - Royal Flush 38 - Ninjaman - Murder Dem (Danny Byrd Remix) 39 - Funkware - Lemonade

Oh baby, have we got a great album and a legit great episode this week. We are becoming the best Aretha Franklin podcast with our conversation about Lady Soul. The voice is the best, the bass is funky and you know we are talking about Muscle Shoals! (If you haven't watched the Muscle Shoals doc, you need to!)   Aaron is done with legos, Russ needs some New Year's Eve advice, Matt is getting offered too much gum, and Rob gets moist at the trampoline park. We talk movies and finally get a swamper list.   You can email us at beckdiditbetter@gmail.com follow us on our twitter and instagram @beckdiditbetter and feel free to leave a review on your favorite podcast app. Please mention feet if you do. If we can get "aaron loves feet" something that is searchable online, I feel like this will all be worth it.    NEXT WEEK: Next up, we are talking SUPER FLY by Curtis Mayfield. FUNKY in all caps!

Are we the "best Kanye Podcast?" Yes. We are covering his first album as a rapper and it is a BANGER. We get into but first, Aaron hits the ice, describes a burger in detail, Matt is now addicted to solo meals, and Russ gets further into his trip to Nashville.    THEN AARON BLOWS THE DOORS OFF WITH PROBABLY THE "BIGGEST" REVELATION EVER ON THE PODCAST.   Then we talk about the album, and we get tenor so lists.    You can email us at beckdiditbetter@gmail.com follow us on our twitter and instagram @beckdiditbetter and feel free to leave a review on your favorite podcast app. Please mention feet if you do. If we can get "aaron loves feet" something that is searchable online, I feel like this will all be worth it.    NEXT WEEK: Next up, we go back to the Aretha Franklin well with "Lady Soul."

Aretha Franklin, también conocida como "Lady Soul" o "Queen of soul", fue la máxima exponente de este género musical. En la década de los 80s se convirtió en la primera mujer en ingresar al Salón de la Fama del Rock And Roll, siendo una de las artistas más influyentes y lo que le abrió el camino a otras 50 mujeres. Tuvo presencia en actos presidenciales junto a Barack Obama, la cantante falleció el 16 de agosto de 2018. Hosted on Acast. See acast.com/privacy for more information.

"Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year." - John Bush, All MusicSupport this podcast at — https://redcircle.com/polyphonic-press1229/donations

Caleb Clark and Shannon Clark discuss country singer Emmylou Harris and soul legend Aretha Franklin. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/caleb-clark6/support

Depois de uma sequência de grandes obras que inclui "Never Loved a Man the Way I Love You" (1967), "Lady Soul" (1968) e "Young, Gifted & Black" (1972), Aretha Franklin surpreendeu o público com o lançamento de "Amazing Grace" (1972). Gravado em uma Igreja Batista nos arredores de Los Angeles, o trabalho produzido em um intervalo de apenas dois dias rapidamente se transformou em uma das obras mais importantes da música gospel, venceu um Grammy no ano seguinte e ainda influenciou nomes como Beyoncé, John Legend e Jennifer Hudson. Para celebrar os 50 anos de lançamento da trabalho, Cleber Facchi (@cleberfacchi) e o jornalista Amauri Terto (@amaurit) conversam sobre o processo de criação e as histórias por trás do disco. ● Apoie a gente em padrim.com.br/podcastvfsm ● Siga o @podcastvfsm em todas as redes sociais.

Breaking Hot Talent And Business Worldwide. Playing Great Music In Your Ears.

Ato Quarto (Final): Aretha Franklin “Spirit in the Dark”Quarta e derradeira homenagem que “pletóricos” rendemos às quatro grandes “Divas Clássicas” do Jazz, Soul e da música popular americana. O grotesco enredo se dispunha: o ativismo, a religião, o delírio gospel e um piano, traições fraternais, uma trupe e descaminhos, a condescendência do acaso e um rebento em braços aos 12 anos. “Spirit in the Dark”, talvez seu álbum mais pessoal, é um clamor a liberdade, um ambíguo exercício de obstinada resiliência e otimismo claudicante, porém triunfante, ante a onipresente dor. Em companhia da Aretha Franklin assim nos despedimos do Jazzvaneio N4, estamos em 1970...Album: Aretha Franklin “Spirit in the Dark” 1970 - Atlanticwww.arethafranklin.netAto gravado no dia 07 de Novembro de 2020Outras Referências Artísticas e “culturais” (por ordem de menção): Clarence LeVaughn Franklin (Reverendo e ativista americano), Martin Luther King (Pastor e Ativista Civil norte-americano), Dinah Washington (Músico), Sam Cooke (Músico), I Never Loved a Man (The way I love you) (Música de Aretha Franklin), Muscle Shoals Rhythm Section (Agrupação Musical de Estúdio), Baby I Love You (Música de Aretha Franklin), I say a Little Prayer (Música gravida por Aretha Franklin composta por Burt Bacharach y Hal David), (Sweet Sweet Baby) Since you´be been gone (Música de Aretha Franklin), You Make me Feel Like a Natural Woman (Música de ArethaFranklin composta por Carole King e Gerry Goffin), Respect (Música de Aretha Franklin composta por Otis Redding), (Música dos Eurythmics e Aretha Franklin composta por Annie Lennox y Dave Stewart), Angela Davis (Ativista norte-americana), Feeding America (ONG norte-americana), Barbara Davis Center for Childhood Diabetes (Centro assistencial e de pesquisa sobre o Diabetes), Elton John AIDS Foundation (EJAF – ONG dedicada a pesquisa sobre a AIDS), Mahalia Jackson (Música), Amazing Grace (Álbum da Aretha Franklin), New Temple Missionary Baptist Church (Templo religioso nos Estados Unidos), Quincy Jones (Músico e produtor musical), Curtis Mayfield (Músico e produtor musical), The Blue Brothers (filme dirigido por John Landis lançado em 1980), Jump To It (Álbum da Aretha Franklin), Who´s Zooming Who (Álbum da Aretha Franklin), The Eurythmics (Banda de Rock & Pop), George Michael (Músico), Jimmy Carter (Ex-presidente dos Estados Unidos), Bill Clinton (Ex-presidente dos Estados Unidos), Barack Obama (Ex-presidente dos Estados Unidos), Pulitzer (Premiaçao pelo reconhecimento ao mérito no jornalismo, literatura e música), Lady Soul (Álbum da Aretha Franklin), Aretha Now (Álbum da Aretha Franklin), Ray Charles (Músico), Live at Fillmore West (Álbum do Ray Charles e Aretha Franklin), The Dixie Flyers (Agrupação Musical de Estúdio), Ted White (esposo e empresário da Aretha Franklin), Road Movie (Gênero cinematográfico cujos argumentos se desenvolvem ao longo das viagens), Stevie Wonder (Músico), Songs in the Keys of Life (Álbum do Stevie Wonder) e BB King (Músico).Contato: info@jazzvaneio.com

1. Jazzatron: Spring Break 2. Zar: Step Into 3. Zar: Surfer Rosa 4. Jazzatron: Another Story 5. PoLEEtox: 3 A.M. 6. Simply N: Lunar Time 7. Jazzatron: Dot To Line 8. Zar & Dan Harris: All That Jazz 9. Fred V ft. Lottie Jones: Atmosphere 10. Zar ft. Lady Soul & Diligent Fingers: Just One 11. PoLEEtox: Summer Time 12. dRamatic: Straight Talking 13. Minos: Starz 14. AfterApheX: Awaken V ft. Edison 15. Dustkey & Petroll: Blow Fire (Telomic rmx) 16. Velocity: Ronin 17. Tokyo Prose: Rescue 18. ODYO ft. Nea: Vision 19. Sequent & Skruff: I Should 20. Malaky: My Dreams 21. Leniz: Reverie 22. Seba: Close To You 23. Brain & Novaglitch: Ghosts 24. Operate ft. Duskee: Passenger (Instrumental version)

Tras fichar por el sello Atlantic, la artista comenzaría su etapa más prodigiosa como cantante. Este álbum, se transformó en uno de los discos clásicos del género

Heute geht es um Thomas Kessler, der gerade seinen 83sten Geburtstag gefeiert hat. Der in Berlin die elektronische und live-elektronische Musik kennen und lieben gelernt hat. Den Paul Sacher Anfang der 70er Jahre nach Basel geholt hat. Der an der Hochschule das Elektronische Studio ausgebaut und weit entwickelt hat. Und der im Frühling 2019 ein für ihn eher untypisches Stück schrieb: «My Lady Soul», ein rein instrumentales uns gänzlich unelektronisches Stück, in dem aber all seine Erfahrungen mit der Live-Elektronik aufgehoben sind. Wie ein Zen-Mönch versuchte Kessler alles, was er gelernt hat, zu vergessen, um ein durch und durch rauschhaftes Stück zu komponieren. Darüber redet er in dieser Sendung. Und es sprechen darüber auch Bettina Berger, Vera Schnider und Martin Bliggenstorfer von emsemble proton, die das Werk nicht nur uraufgeführt, sondern es nun erneut im Konzert gespielt haben. In der Sendung "Neue Musik im Konzert vom Mittwoch 28. Oktober hören Sie das Stück in der neuen Aufnahme vom 15. September aus der Berner Dampfzentrale.

For Prime Time Jukebox Episode 21, we go through Aretha Franklin’s landmark album “Lady Soul” for the fourth installment of our Album Archaeology series.Much like an archaeologist digs and hunts for gems, on Album Archaeology we dig into the “Lady Soul” album. We go deep into each of the tracks of this album looking at the music, lyrics, and stories behind this album.During the show, Dave will smoke the Diesel Whiskey Row Churchill and Coop smokes the Diesel Whiskey Row Sherry Cask Robusto.As always you can follow along with our Spotify Playlists:Full Episode 21 PlaylistReferencesRecord Store DayPaul McCartney to Release McCartney IIIBurna Boy’s Monster’s You Made: Colonization is a Monster Made of LiesSpencer Davis Dead at 81Robert Glasper’s The Mighty Tree: Transforming Jazz in the Modern EraMatt Berninger - One More SecondArt of the Score

For Prime Time Jukebox Episode 21, we go through Aretha Franklin’s landmark album “Lady Soul” for the fourth installment of our Album Archaeology series.Much like an archaeologist digs and hunts for gems, on Album Archaeology we dig into the “Lady Soul” album. We go deep into each of the tracks of this album looking at the music, lyrics, and stories behind this album.During the show, Dave will smoke the Diesel Whiskey Row Churchill and Coop smokes the Diesel Whiskey Row Sherry Cask Robusto.As always you can follow along with our Spotify Playlists:Full Episode 21 PlaylistReferencesRecord Store DayPaul McCartney to Release McCartney IIIBurna Boy’s Monster’s You Made: Colonization is a Monster Made of LiesSpencer Davis Dead at 81Robert Glasper’s The Mighty Tree: Transforming Jazz in the Modern EraMatt Berninger - One More SecondArt of the Score

Helloooo Avalor! We have a special fandom guest visiting our podcast discussions today! Please give a warm welcome to our good friend Lady Soul! Sit back and listen in as we talk about why conceal don't feel is a terrible idea and how the feels packed Flores Cousin's confrontation turned us into a collective puddle of tears.

A final lockdown bustout Jungle/Drum'n'Bass Special, rolling classics from the old skool and choice cuts from the new …. magic and madness ♫ ♥☝ Broadcast: Sunday 7 June 2020 ~~~~ Bus Dis [intro] ~ A Guy Called Gerald [1993] Dub Moods ~ Aphrodite [1997] Illegal Subs ~ Kaotic Chemistry [1992] We Rock The Most ~ DJ Trax [1993] Dark Magnet ~ M-Beat [1993] Inta Space ~ Visual Riddims [2017 Amen Brother ~ The Winstons [1969] For All of Us ~ PFM [1996] Get Carter ~ Hidden Agenda [1995] Coolin Out ~ LTJ Bukem [1996] KJZ ~ Photek [1996] Nah Lef Me Spliff (Potential Bad Boy Remix) ~ Top Cat, General Levy [2012] Share The Fall ~ Roni Size [1997] We Enter (Deep Forest Dub VIP Mix) ~ Alladin [1995] Tribal Dance ~ Nookie [1995] Dannys Song ~ PFM [1994] Midwest ~ Spring Heel Jack [1996] What You Want ~ Supa Ape & Lady Soul [2019] Damn ~ DJ Zinc, True Playerz [1997] Riddim Full Of Drumz ~ Narcs [2014] Weh Dem A Do ~ Mooncat & Karlixx [2019] Chalice (Aries Remix) ~ Serum, Bladerunner [2012] Herbsmoke (Benny Page 2019 Remix) ~ Aries [2005] Boogaloo ~ Supa Ape [2016] Notorious (Vital Elements Remix) ~ Rebel Mc, Nanci & Phoebe [2012] Criss Cross ~ Aphrodite [2007] Rainbows Of Colour ~ Grooverider [1998] Lords Of The Null Lines (Foul Play Remix 2) ~ Hyper-On Experience [1993] Shine ~ Aphrodite [1994] Get It Soundboy ~ Supa Ape [2019] A Sense of Rage Sensual Vip Mix ~ Goldie [1995] Words 2B Heard Meets the Western ~ PFM, MC Conrad [2000] Gonna Be Alright (Foul Play Remix) ~ Cloud Nine [1993] Ladybird Aphrodite Remix ~ Baby Fox [1994] Ja Know Ya Big ~ Dillinja [1995] Lioness (ft. Lady Chann) ~ La La & the Boo Ya [2013] No Ice Cream Sound ~ Narcs [2016] Approach With Caution ~ Supa Ape, Lady Soul [2017] Surrender ~ M-Beat [1993] Pressure Cooker ~ Supa Ape [2019] Our Time Is Now ~ Narcs [2014] Midnight ~ UN-CUT [2001] Escape ~ Netsky [2010] Ghost Rider ~ Omni Trio [1994] Where Is The What If The What Is In Why (Wonderbook Mix) ~ Moloko [1995] Police In Helicopter (Benny L Remix) ~ Benny L, (John Holt) [2019] Turn Down the Lights ~ Benny Page [2006] Crying Out (Serial Killaz remix) ~ Serial Killaz/Benny Page [2012] Jungle Fire Burnin ~ Tricky D, Mez, General Elektrick [2004] On Road ~ Aries, Rahmanee, Gardna [2018] Rewind (Dub Mix) ~ London Elektricity [1999] Images ~ Aquasky [1995] Finley's Rainbow (Slow Motion Mix) ~ A Guy Called Gerald [1995] Bright Lights ~ Supa Ape & Lady Soul [2019]

Ungodly War – Lamont Butler – its Time For Change - Acid Jazz Reissue – 2020 Back To Love – Stephen Anderson – 2020 Slow The Music Down – Willie Clayton – Born To Sing – 2020 You Know I Miss You – Jeter Jones – Mufassa – 2020 Chill – Tony O – Forthcoming Wilbe Records – 2020 Without You – Gold – Forthcoming Athens Of The North 45 - 2020 Back Together – Anthony Hamilton & Rick James – 2020 I Cant Get Over You – Regi Myrix feat Lemar Kelsey – 2020 Norma Jean – Napoleon Demps – 2020 I’ve Been Untrue – Bernard Drake – Forthcoming Hit & Run 45 – 2020 You’re Losing Me – Jo Jo Benson – Forthcoming Hit & Run 45 – 2020 Thinking About You – Lee Fields & The Expressions - 2020 Discovering – Selina Albright – Forthcoming – 2020 Talk To Me – Anissa Hampton – 2020 Sweet Love – Empress Ari – 2020 The Joys Of Love – Steve Arrington – 2020 Check Now – Wendell B – Real Talk – 2020 Tonight – Lady Soul – Forthcoming – 2020 Only One – Daniel Joshua feat Desz – Emotional – 2020 Change For You – Ollie Moore – 2020 Hold On – Rowan Chapman – The Chapman Project – 2020 It Belongs To Me - Juan & Lisa Winans feat Marvin L Winans - 2020 No One Will Ever Know – Authentics feat Ronnie Walker – MD Records 45 – 2020 Exercise My Love – Ripple 2.20 feat Doc Samuels – Forthcoming IZIPHO Soul 45 - 2020 Let Me Go – Hunter Rose, Meek & IE Sadiq – Love & Trust – 2020 Your So Wonderful – Gold – Forthcoming Athens Of The North 45 – 2020 Breaking Down Inside - Willie Clayton – Born To Sing – 2020 Amazing – Samuel Johnson – 2020 We Ought To Be Together – Tommy McGee – I’m A Stranger Numero Reissue – 2020 Impressions Of You – Kelly Finnegan – Colemine 45 – 2020 Wanting You – Nelson Curry – It’s Time For Soul – 2020 The Last Time – TJ Hooker – Who Is TJ Hooker – 2020

0.00.28 Benny Page - Gangsta (Rene LaVice Remix) 0.04.28 BMotion - The Focus 0.07.44 Polygon - Fusion 0.11.22 DJ Phantasy - Junglist (feat. Doktor) 0.14.58 Bensley - One Last Chance (feat. Skyelle) [Remix] 0.18.28 Urbandawn - Come Together (feat. Tyson Kelly) 0.22.11 EdIt - Brink (feat. Lady Soul) 0.26.30 Oakwite - Chlorophyll 0.28.38 Halogenix - Would You 0.30.50 Fracture & Fox - Give Me Love 0.34.05 Netsky - Iron Heart (Nu:Logic Remix) 0.37.38 Sound In Noise - Deep Inside 0.39.49 Tom Walker - Not Giving In (Andy C Remix) 0.43.06 Brookes Brothers - In the Moment (feat. Amahla) 0.46.11 LSB - Here With Me 0.49.16 Workforce - Fragments 0.51.28 Zero T & Steo - Can't Hide 0.55.50 Hybrid Minds - Jetstream (feat. Thomas Oliver)

The Vocal with Valiant Emcee mark the passing of the New Year by looking back at the best of the show's interviews, and some of the best vocal tracks of 2019. Tracklist: Valiant Emcee and Motiv – “Hype Check (Feat. Armanni Reign and MisTy)” *DRS Interview #1 Segment* The Vanguard Project and DRS - “Everyday is Stolen” Cnof and MC Astro – “The Soul Hop Thing” *Degs Interview Segment* DJ Spiller and Degs - “Struggles (Vocal Edit)” Loggi and Pat Fulgoni - “Symptoms of Another World” *DRS Interview #2 Segment* DRS and Pitch 92 - “Still No Good” Makoto and Robert Manos - “Invisible” *Cleveland Watkiss Interview Segment* Alibi and Cleveland Watkiss - “Grace” *Collette Warren Interview Segment* Collette Warren with Quadrant and Iris - “Betrayal” Tyr Kohout and Anastasia - “Schema (Jesta Remix)” *TRAC Interview Segment* Random Movement and TRAC - “Living In a Dream” *Inja Interview Segment* Crissy Criss - “Launch” *Konny Kon Interview Segment* Children of Zeus - “Slow Down (Zed Bias Remix)” *MC Coppa Interview Segment* Lights Out - “Serenity” Zar with Lady Soul and Diligent Fingers - “Just One” Scott Allen and Emcee Tell - “Soul Signal” *Armanni Reign Interview Segment* Armanni Reign and Mayhem - “Good Look” Bellyman's Car Barz, International Edition, USA – TRAC, Dre, Armanni Reign, Woes, Josiah Scribes, Valiant Emcee, Astro, Zezo

durée : 00:58:35 - Une vie, une oeuvre - par : Christine Bernard, Philippe ROIZES - Surnommée « Lady Soul », couronnée « The Queen Of Soul », la voix, l’émotion et l’énergie d’Aretha Franklin subliment la musique afro-américaine. - réalisation : Rafik Zenine - invités : Sébastian Danchin Historien de la culture et de la musique afro américaine, auteur; Dee Dee Bridgewater; Nicole Bacharan Historienne et politologue, spécialiste de la société américaine

Radio show [Proud Eagle] #281 (Mixed by Nelver) @ DROP THE BASS RADIO (16-10-2019) Tracklist: 01. Polygon - High (feat. Lois Lauri) 02. Nelver - What It Is (Exclusive) 03. Grafix - Break the Cycle 04. Rowpieces - We Need More Dissidents 05. Tamtam - Rise (Machinedrum Remix) 06. Dustkey - Central Station Player 07. Nelver - Heatwave (Exclusive) 08. Low:r - New Hope 09. Hugh Hardie - A Deeper Blue (feat. Charli Brix) 10. Sili - Stalactites 11. The Outsiders - To Belong (feat. Pyvot) 12. Fade Black - Sane (feat. Leo Law) 13. Kung - Set Me Free 14. Phace & Noisia - Micro Organism (Buunshin Remix) 15. Monika - Rocket Sprocket 16. Monika - Wake Up 17. NC-17 & Dave Owen - Picture Me Rollin 18. Revaux - Sacred 19. Disphonia - Careful 20. Lockjaw - Optics 21. Random Movement - Impetus 22. Shapeshifter - Break Me Down (The Upbeats Remix) 23. Surreal - Dawnscape 24. Bladerunner - Breathe 25. Ewol & Skylark - Forerunner 26. Ed:It - Brink (feat. Lady Soul) 27. Upgrade & Trigga - Trigga Finga 28. Rift - Falling 29. Operate - Chambers 30. Tyrone & Ulterior Motive - Velvet 31. K2T & Echo Motion - Arctotis 32. Urbandawn - Homecoming Video: https://www.youtube.com/c/Nelver Follow Nelver: - vk.com/mr.nelver - open.spotify.com/artist/3qbau1M2XoOfFPjCFMPndX - https://soundcloud.com/nelver - www.facebook.com/nelverdnb - www.mixcloud.com/Nelver - www.mixcloud.com/Nelver/select - www.instagram.com/nelvermusic - twitter.com/Nelvermusic - t.me/nelvermusic

Wenn ihr uns dabei unterstützen oder mitmachen wollt für die Gesundheit von Männern Spenden zu sammeln; tretet unserem Mo-Space bei: https://moteam.co/drum-bass-hamburg Dieses mal haben wir einen deepen Guest-mix von @half9, beginnt bei 1:09:00 Tracklist Podcast 1. Pola & Bryson - Cold Love [Shogun Audio] 2. Posij - A Car That Cranks [Vision Recordings] 3. Bladerunner - Intensity [Hi Resolution] 4. Xenon - Soundboy VIP [DLT9] 5. Whiney ft. Bop - Breadcrumbs [Med School Music] 6. Twisted Individual - Behold a Pale Shetland Pony [Grid Recordings] 7. Upgrade ft. Trigga - Trigga Finger [Low Down Deep] 8. Dope Ammo ft. Rio Hellyer - Wishin’ On A Star (Exile Remix) [Dope Ammo Records] 9. Despersion - Sawmill [Kill Tomorrow] 10. A.M.C - Gotham [Titan Records] 11. Redpill - More Energy [Blackout Music NL] 12. Smooth & DC Breaks - Spectrum [RAM Records] 13. Skeptical, Safire, Morph ft. DRS - With You [Plasma Audio] 14. Maduk ft. Dennis Pedersen, Rino & Ella Noel - Miles Apart (Fox Stevenson) [Liquicity Records] 15. Creatures - Transitions [Ekou Recordings] 16. Logics - Hedonism [Delta9 Recordings] 17. ZeroZero - 22s [Sub:Stance Release: 18.10.2019] 18. RISK - Queensbridge [Soundcloud Free Download] 19. Need For Mirros - Lambo [V Recordings] 20. Metrik - Gravity [Hospital Records] 21. Pierce Fulton feat. Noosa - What Is Gonna Make You Happy (Urbandawn Remix) [Potential Fun] 22. Enei - Ripped Face [Soundcloud Free Download] 23. Particle - Inner Walls [Critical Music] 24. DC Breaks & Loadstar pres. OPPOSITION ft. Doktor - HIGHER (VIP) [Bassrush Records] 25. Knife Party - Ghost Train (Muzzy Remix) [Earstorm] 26. Fade Black ft. Leo Law - Sane [Critical Music] 
 Half9 Guest-Mix 1. Ed:It - Brink (ft. Lady Soul) 2. Black Barrel - Silk Sink 3. Alix Perez, Noisia - Underprint 4. Ill Truth - The Realist (VIP) 5. Kyrist, Monrroe - Transcend 6. Amoss, Survey - Loose Change 7. Enei - Northern Noise 8. Monty - Legion 9. Enei ft. Anastasia - Limits 10. Fre4knc - Full Measure 11. NC-17 - King Of The Hll 12. Skeptical - Orbit 13. Scorpio - Trouble 14. HLZ, Arpxp - Radar 15. Creatures - Tamar 16. Hydro, War - NDE 17. Am:x - Rectine 18. Black Barrel - Fabric 19. Trex - Rolling Dub 20. Hydro, Total Science, War - Denial 21. Ed:it - Generally Speaking 22. Nami & Kapha - Praxis 23. Dub Head - Bring You Back Online 24. Trex - Take My Hand 25. LSB - Swerved 26. Acrus, D-Flect, Incus - Solstice Jazz

Recorded 2019-07-07 00:01:59 Tracklisting: * Critical Event & Scott Allen - This Love's For Real * T.E.E.D. - Garden (Calibre Remix - Pulsaar Retouch) * Alix Perez & Monty - Good To Me * HLZ - Circus Shot * Critical Impact & Sinai - Looking Dub * Philth & Stealth - Condensation * 4 Hero - 9X9 (Marcus Intalex & ST Files Dub Mix) * Brain & Sequence - The Mountain * Rizzle - Disturbance 2 * Cisages - Uganda * The Upbeats & Noisia - Shibuya Pet Store * Rizzle - Silly Games * Amoss - Sundance * HLZ - Amethyst * Alix Perez & Icicle - Live with It * Hydro, DLR & War - It's Not Too Late * Rizzle - Memory Glitch * Ed:It - Brink (Feat. Lady Soul) * Halogeniz - Line B * Enei, Kasra, Bou - No Logos * Kallan HK - Flight Path * Unglued & Phace - Malware * TC - April Fools 0.2 * Misanthrop, Phace - Energie (Joe Ford Remix) * Camo & Krooked - Loa * Document One - Shutdown Ft. Takura * Enei, Kasra - Disappearing Ink * Iklektix - I Need You * HLZ - Eternal * Critical Impact - Mr Smith (ft Skibadee) * Black Barrel - Tiptoe * Critical Impact & DRS - Crazy * DJ Hybrid - Takeover (VIP) * Breakage - As We Enter * Alix Perez - Slink * DJ Patife & Vangeliez - Unexpected * Philth - The Teacher * S.P.Y - Cold Wave Feat Diane Charlemagne (VIP) * Skeptical - Process of Elimination * Xtrah - Born Killa * Breakage - Spread Out * Sade - No Ordinary Love (LSB Bootleg) * Makoto - Spiritual Love (Makoto Dnb Edit) * Paul T & Edward Oberon - Broken * Hugh Hardie - Cold Touch * The Upbeats & Halogenix - Kronan * S.P.Y - Noodles and Overdue Bills Download, Distribute, and Donate!

Buckle up because Katherine Hepburn is loose on the world. Sarah, J.C. and Austin dive into the classic screwball comedy Bringing Up Baby. Is it inspiring or exhausting? They also listen to an incredible Aretha Franklin album and a weirder than you would expect sitcom. Enjoy!   Intro 0:00 -- 15:10 Bringing Up Baby 15:10 -- 37:55 Lady Soul 37:55 -- 46:37 The Monkees 46:37 -- 55:34 Outro 55:34 -- 58:32   --Leave your own henge ratings at TheArtImmortal.com --Be sure you leave an iTunes review   Twitter iTunes YouTube   Join us next time as we discuss more random things. Until then, email or tweet us your thoughts, leave a review on iTunes and other crap every podcast asks you to do. (But we love that you do it!)   Artwork by Ray Martindale Opening tune and clips by Adam Lord  

Radio show [Proud Eagle] #264 (Mixed by Nelver) @ DROP THE BASS RADIO (19-06-2019) Tracklist: 01. Ed:It - Brink (feat. Lady Soul) 02. Skylark - Echo 03. Minos - Reverse Repeats 04. Sikka - Classic Upright 05. Nelver - Doesn't Take 06. Kallan HK - Flight Path 07. Saikon - Eastern Shimmer 08. Sound In Noise - Cowards 09. Utah Jazz & DRS - Handle This (Pola & Bryson Remix) 10. DJ Ransome & SynthForce - Glacier 11. Nelver - Morning Jam 12. Rowpieces - I Give You All My Lovin 13. The Vanguard Project - Stitches (Calibre Remix) 14. Kumarachi - Lisbon 15. Deadline - Bitter 16. DOt. - Tantrum 17. Etherwood - Lulerain 18. Nelver - Private Time 19. FD - Still The Same 20. The Vanguard Project - Murkleton 21. Etherwood - Away From It All 22. Silence Groove - Care More 23. Modest Intentions - Meaningful Life 24. Edlan & Tremah - The Breakup (Ash:Ram Remix) 25. Lockjaw - Empath (Esym Remix) 26. Pola & Bryson - Flat Jam 27. FD - Deadly Styles 28. Mr. Joseph - Set It Off 29. LSB - Moonshine Video: https://www.youtube.com/c/Nelver Follow Nelver: - vk.com/mr.nelver - open.spotify.com/artist/3qbau1M2XoOfFPjCFMPndX - https://soundcloud.com/nelver - www.facebook.com/nelverdnb - www.mixcloud.com/Nelver - www.mixcloud.com/Nelver/select - www.instagram.com/nelvermusic - twitter.com/Nelvermusic - t.me/nelvermusic

Recorded 2019-06-16 00:06:00 Tracklisting: * Barrington Levy - Here I Come (Nu:Tone Remix) * Hugh Hardie - Negomi * Halogenix, Solah - Out Of Line * Paul T & Edward Oberon - Broken * Alibi, Command Strange - Stardust * Andrezz, L-Side - Better Days * Hugh Hardie - Cold Touch * Logistics - Been Dreaming ft. InMost Lyra * Scott Allen - Fantasy Is Reality * SoulCulture - Stoned Love * Technimatic - Frozen Leaves * Wilkinson, Hayla - I Need (Wilkinson & Metrik Remix * Dimension - Black Church * Paul T & Edward Oberon - Look for the LIght * TELYKast - Better feat. Aly Ryan (Dr. Apollo Remix) * Molly Collins, Bella Penfold - Better on My Own (Levela Remix) * L 33 - My Town * Joe Ford - Urgency * Disprove - Stratos * Metrik - We Got It (feat. Rothwell) (S.P.Y Remix) * DJ Marky, Bungle - Prime Time * Brookes Brothers - Good to Me (feat. Majesty) * Culture Shock - Raindrops * Nitri + Jinadu - Searching (Break Remix) * Etherwood - Light My Way Home (feat. Eva Lazarus) (Logistics Remix) * Moby - Why Does My Heart Hurt (Technimatic Remix) * Zinc - Show Me (Sigma Remix) * Break - Take Me Away * Friction - Lost It Mode (feat. Linguistics) * Misanthrop, Phace - Energie (Joe Ford Remix) * L 33 - Put It Down * Magnetude - Friday * Andy C - Back & Forth * Friction - Music House * L 33 - The Door * Camo & Krooked - Loa * Document One - Shutdown Ft. Takura * Hugh Hardie - Behind The Reels * Halogenix - Line B * Ed:It - Brink (Feat. Lady Soul) * Nu:Logic - Side By Side (feat. Thomas Oliver) * Dawn Wall - Between the Sheets feat. Artificial Intelligence * SpectraSoul - Shelter Ft. Lily McKenzie (VIP Mix) * Logistics - The Trip * XRS, DJ Marky, Vikter Duplaix - Moments of Lust (Makoto Remix) * 1991 - Bad * Dimension - Crowd Reaction VIP * David Boomah - Pure INtentions (DJ Chap Remix) * Dimension - UK * Dimension - Whip Slap * Metrik - Fatso (VIP) * Drumsound & Bassline Smith - Come With Me * Drumsound & Bassline Smith - Jungle All The Way * Drumsound & Bassline Smith - Can U Feel It VIP * Tantrum Desire - Vybez * Tantrum Desire, Matrix & Futurebound - Shadows (Club Mix) * The Upbeats - Erosion feat, Culture Shock * Metrik - What's Out There * Tantrum Desire - Gravitate Download, Distribute, and Donate!

Check out our website ali3ncar.com for new announcements! ;) 0.00.28 Benny Page - Gangsta (Rene LaVice Remix) 0.04.28 BMotion - The Focus 0.07.44 Polygon - Fusion 0.11.22 DJ Phantasy - Junglist (feat. Doktor) 0.14.58 Bensley - One Last Chance (feat. Skyelle) [Remix] 0.18.28 Urbandawn - Come Together (feat. Tyson Kelly) 0.22.11 EdIt - Brink (feat. Lady Soul) 0.26.30 Oakwite - Chlorophyll 0.28.38 Halogenix - Would You 0.30.50 Fracture & Fox - Give Me Love 0.34.05 Netsky - Iron Heart (Nu:Logic Remix) 0.37.38 Sound In Noise - Deep Inside 0.39.49 Tom Walker - Not Giving In (Andy C Remix) 0.43.06 Brookes Brothers - In the Moment (feat. Amahla) 0.46.11 LSB - Here With Me 0.49.16 Workforce - Fragments 0.51.28 Zero T & Steo - Can’t Hide 0.55.50 Hybrid Minds - Jetstream (feat. Thomas Oliver)

Bassland Show @ Pioneer DJ TV (12.06.2019) - Новые Drum&Bass релизы! Mainstream, Neurofunk, Deep, Liquid Funk #BasslandShow@djprofit на Pioneer DJ TV (Москва) каждую среду с 23 до 00 ночи Подписывайтесь на эфиры: Apple: https://podcasts.apple.com/ru/podcast/bassland-show/id1128353377?mt=2 Android: https://basslandshow.podster.fm 1. DJ Phantasy - Junglist (feat. Doktor) 2. Culture Shock - Bunker 3. Culture Shock - Neighbourhood 4. Sound In Noise - Deep Inside 5. Tesen & Hizzleguy - Desire 6. Rockwell & Phace - LOCK 7. Teddy Killerz - Be Afraid 8. Teddy Killerz - Push The Dubs 9. Camo & Krooked - Loa 10. DLR, ABIS & Signal - Artworld 11. Montesco - Lodge Causeway 12. Ed:It - Brink (feat. Lady Soul) 13. Fracture & Alix Perez - Realise 14. Coop - Natural 15. Fracture - Give Me Love (feat. Fox) 16. Dexcell - Missing Pieces 17. Villem & McLeod - The Sea (BCee Remix) 18. FD - Not That Bad 19. LSB - Melrose 20. FD - Top2Bottom (Roller) 21. Furney - Can't Go Back 22. Furney & LADY EMZ - Okinawa 23. Furney - Late Night People 24. Brookes Brothers - In the Moment (feat. Amahla) https://vk.com/djprofit https://t.me/profit_live https://www.instagram.com/profit_dj https://www.facebook.com/profitdj https://www.youtube.com/user/profitabledj #pioneerdjtv #bassland #basslandshow #drumandbass #dnb #edm #djprofit #radioshow #bassmusic

Monthly podcast from the Co-Lab Recordings stable, hosted by label co-owner Benny Colab bringing you the latest releases and exclusive forthcoming music from Co-lab and sister labels Sumo Beatz, Calypso Muzak and Pure Vibez Recordings alongside his favourite tracks from across the rest of the Drum and Bass scene. This month we have a special guest mix from Jaxx, celebrating his latest release, the "Bionic" EP out now on Calypso Muzak. Track listing. Aries and Nicky Blackmarket 1 - Zar ft Lady Soul and Dilligent Fingers - Just One 2 - Lenzman - Roseland 3 - Motiv and Channel - Solaedo Village 4 - Flaco - Just In Time 5 - Motiv - Modaji 6 - Channel - Colorado Dreams 7 - Carlito and Addiction - Rain On Me 8 - T Rex - Fallin Down 9 - Dilligent Fingers ft Charla Green - So Many Times 10 - Calibre - Simple Sa 11 - Alibi - Eruption 12 - Shimah - I Got To Be 13 - Chug - Birdland 14 - Dj Trace and Emery and Sofi Mari - Elation 15 - Teej - Fatal Attraction 16 - Heist - Philly Styler (Random Movement Remix) 17 - Channel and Zar - Breath 18 - Flaco - I Just Need You 19 - Leaf - Analogue Vision *********JAXX - GUEST MIX ********** 1 -Jaxx feat. Wednesday Amelia - Zoots2- 3 - Jaxx - Hurdles 4 -Jaxx - Lemon Tree 5 - Heist - Ruler Of Olympus 6 - Bigga Star and Jaxx - Bionic 7 - Trakker - Neighbourhood Snitch 8 - Jaxx and MPW feat. Iyahbinghi Ancient - Fix Up 9 - Suv and AK1200 - Oblivion 10 - K Jah feat. Diligent Fingers - Dutty Like a Bumbo(Coda remix) 11 - Jaxx - Complications 12 - Jaxx - Pressin' Buttons 13 -T>I - Spirit Level 14 - Jaxx - Live Your Life 15 - Heist - Dissect The Past 16 - Jaxx and Dub General - Distressed 17 - Saxxon - Electrolytes 18 - Jaxx and Dub General - 7 AM ******************************************** 20 - Shimon and Andy C - Recharge 21 - Warhead andand Teej - Cloaked 22 -T>I - Tapurnakus 24 - Teej ft Duskee - Scripture 25 - Oz - Give Me a Sign (Warhead Remix) 26 - Oz - Assassin (Bou Remix) 27 - Aries and Nicky Blackmarket - One Part Jungle 28 - Kumo - Catch a Break 29 - Kings Of The Rollers ft Chimpo - Shella 30 - Ben Snow - Refugee 31 - Jeopardize - Even The Odds VIP 32 - Heist - Fathamos Gob 33 - Oz - I.C.Y (Heist Remix) 34 - Oz - Southside VIP 35 - Filthy Habits - Untitled 36 - AC13 - Awake 37 - Saxxon and Jaxx - The Triangle

Lady Soul completed a remarkable 12 months of achievement for Aretha Franklin. Having been signed to Atlantic in 1966 after years in the doldrums at Columbia. These 10 tracks represent Aretha Franklin’s coronation as the Queen of Soul. There’s soul. And then there’s Aretha Franklin.

Hace ya unas semanas tratamos brevemente el tema del Soul. Hoy iniciamos una mini serie de programas para abordar un estilo de música que merece mucha más atención de la que le dimos en su momento. Y, como no, nos situamos en la decada de los 60, … otra vez!!! En ese momento, sobre el año 1963, el término “rhytm’n blues” no significaba ni mucho menos lo mismo para los estadounidenses que para los Rolling Stones. Los bluesmen a los que estos idolatraban eran de una generación anterior. En Estados Unidos la urbana e inmaculada “Sherry”, de los Four Seasons, encabezaba la lista de “R&B” a finales de 1962, pese a tratarse de un dudua italoamericano puro y duro, y la razón era muy simple: a los adolescentes negros les gustaba ese sonido tanto como a los blancos. Los Four Seasons de Nueva Jersey, los Impressions de Chicago, los Miracles de Detroit, las Shirelles de Nueva York, todos ellos estaban guisando un estofado posrock’n’roll que daría paso a algo que, más tarde, se llamó SOUL. Si bien el uso de la palabra soul como denominación popular del género no se verificaría hasta la aparición en 1966 de “What is Soul”, el sencillo de Ben E. King, el sonido en sí ya se había introducido en la conciencia del pop en 1957, concretamente el día en que Sam Cooke cambió el espiritual negro por la música profana. Pero fue nuestro amigo Ben E. King el que perfiló con precisión el nuevo estilo. Esto es “What is Soul”. Sam Cooke no fue el primero que adjuró de la iglesia para derretir a las jovencitas: el primer guaperas del góspel de posguerra había sido Sonny Til, el líder de los Orioles, pero Cooke mezclaba como nadie la finura con el rugido del espiritual negro, y cantaba con intensidad y sin esfuerzo. Nació en Clarksdale (Misisipi) en 1931. Cuando tenía nueve años se unió al coro de sus hermanos y hermanas que acompañaban a su padre, pastor baptista, en sus viajes de predicación. Su decisión de abandonar la música religiosa en 1957 cayó muy mal en la feligresía. Así, su primer single “Lovable”, paso sin pena ni gloria y esto le hizo pensar si su decisión había sido acertada. Lo supo cuando publicó su segundo disco “You Send Me”. Éxito instantáneo, el sencillo se aupó al número uno y allí permaneció tres semanas, durante las cuales Cooke se convirtió en ídolo no solo de las chicas negras del Bronx, el público al que en principio se dirigía, sino también de las señoritas judías de Brooklyn. Los éxitos se sucedieron en cascada. Cooke no se explicaba su don: “Me pongo a cantar y me viene solo” declaró en cierta ocasión. Sea como fuese, en todas sus creaciones latía un trasfondo abrasivo que indicaba a las claras que, por mucha cara de bueno que tuviese, más valía no dejarlo a solas con la hermana pequeña de uno. Perfectamente podía haber hecho carrera como delincuente. Era, a un tiempo, ángel y diablo y en su música podemos apreciar al predicador fervoroso y al pecador arrepentido. Pero para todo el mundo era el chico de oro y siempre iba por delante del resto. Tras echar los cimientos de la música soul, fundó su propia discográfica, SAR, con brazo editorial incluido. Eran maniobras prácticamente inauditas en un artista de raza negra. En 1962 la música de Cook adquirió una nueva intensidad, como se aprecia en la cruda “Bring It Home To Me” Y es que, algo estaba cambiando. En ese año, el gobierno de Kennedy había obligado al Comité de Comercio Interestatal a dictar una nueva orden contra la segregación racial en virtud de la cual los pasajeros de los autobuses podían sentarse donde quisieran. Se retiraron de las estaciones los letreros de “blanco” y “negro”, y en los mostradores de las cafeterías se empezó a atender a los clientes con independencia del color de su piel. En septiembre un adolescente llamado James Meredith ganó un pleito y logró que lo admitiesen en la Universidad de Misisipi. Los disturbios subsiguientes se cobraron dos víctimas mortales, pero gracias a la escolta de una guardia armada, Meredith pudo asistir a clase. En la desgarrada “That’s Where It’s At” de 1963, resuenan el orgullo negro y las tribulaciones de la raza aunque, según Bob Stanley, nuestro biógrafo de cabecera, la letra no respondiese tanto al estado de la nación como a la vida del propio Cooke, que por aquel entonces se deshacía en jirones: su esposa Bárbara estaba perdiendo la cabeza por la afición del artista al alcohol y las mujeres, y ese verano, el hijo de ambos, se había ahogado en la piscina de la casa familiar. Una tragedia. Tenía para todo. El día 11 de diciembre de 1964 se lió con quien no debía, una prostituta que huyó con la ropa del cantante mientras él estaba en el baño. Medio desnudo y gritando como un poseso, Cooke asustó tanto a la dueña del motel que la mujer lo mató de un balazo. Nuestras felicitaciones a la asociación del rifle. Su último trabajo fue un sencillo en el que se incluía “A chage is gonna come”, una canción que Cooke compuso después de escuchar el “Blowin in the wind” de Bob Dylan y concluyó que debería escribir algo que reflejase su vida personal y la de sus amigos. La canción es un augurio entreverado de esperanza y optimismo. Es una pena que fuera su epitafio. Si Sam Cooke era la voz del soul, el sello Stax era el molde. Los hermanos Estelle y Jim Stewart fundaron este sello y se instalaron en el ruinoso cine Capitol. El puesto de palomitas de la entrada se convirtió en una tienda de discos llamada Satellite, con cuyos ingresos se sufragaba el estudio de grabación. El hijo de Estelle, Pachy, había estado ensayando con unos chicos del instituto, entre ellos el guitarrista Steve Cropper (apuntad este nombre) y el bajista Donald Dunn, alias “Pato Donald”, que se hacían llamar los Royal Spades y que experimentaban con el country, el R&B y el rockabilly, y que, a fuerza de ensayar, se convirtieron en un grupo conjuntado al máximo, capaz de acompañar a cualquier artista de paso. Y así fue como, un día, se presentó por allí Rufus Thomas, locutor de una emisora local: su hija Carla había compuesto una cancioncilla titulada “Gee Whiz” y quería grabarla. Una vez pasada por el tamiz de los Royal Spades, la canción llegó al top 10. Y es esta… Poco después, un instrumental de una sola nota, sucio y con predominio de metales, titulado “Last Night”, obra de los Royal Spades pero publicado con el nombre los Mar-Keys, llegó nada menos que al número dos. El sello Stax estaba en marcha. Los numerosos éxitos que acumularon en el año 1962 hicieron que el sello Stax se convirtiera en el sonido Memphis y, por ello, se ganó el derecho a colgar un letrero encima de la tienda de discos que rezaba “Souls-ville USA”. Uno de estos éxitos fue, sin lugar a dudas, su famoso “Green Onions”. Los músicos empezaron a demandar el estilo Stax y por el estudio terminó pasando gente como Sam & Dave, Otis Redding, Judy Clay, Eddie Floyd y Johnnie Taylor. El sonido Stax no tardó en hacerse más importante que el artista, y el sello se convirtió en el equivalente sureño de la factoría Spector. Pero no estaban solos. La otra discográfica que definió el floreciente género del soul fue la neoyorquina Atlantic Records. Uno de sus fundadores, el Sr. Ertegun, era un gran amante del blues y, justamente, del blues procedía Ray Charles. En sus comienzos Charles era un pianista dotado del don de imitar a sus ídolos: Louis Jordan, Nat King Cole o Charles Brown, pero cuando el Sr. Charles empezó a componer sus propias obras, y la discográfica había sabido esperar pacientemente, todo cambió. Compuso y grabó “I got a woman”, su primer sencillo con el sello que fue número uno de la lista de R&B en enero de 1955. Más tarde, esta canción conocería las versiones unos “desconocidos” tales como Elvis Presley o los Beatles. La bomba Ray Charles estalló en 1959, cuando el hombre compuso, sobre una sencilla pieza, concretamente una antífona, religiosa, de seis minutos de duración y que era mitad revival evangélico, mitad procacidad burdelera. Lo nunca visto!!! La pieza se llamaba, bueno, y se llama… “What’d I Say” Desde ese momento y hasta mediada la década de los 60 rara sería la estrella en ciernes, desde Stevie Wonder a los Searchers, que no citase entre sus influencias a Ray Charles: “el hermano Ray”, “el genio”, “el hermano número uno del soul”… etc. Convencido de sus dotes, el artista picó en otros géneros: primero grabó jazz instrumental; después coqueteó con el country en una revisión del clásico “Georgia on My Mind”, otro número uno en 1.960 En la canción, Ray se enfrenta a dos lealtades encontradas. El sur era su patria, pero en 1960 también era el campo de batalla por los derechos civiles de los negros. Dos años más tarde, Charles grabó un elepé entero con la misma temática. Hacía falta mucho valor para mezclar country y soul, pero también mucha sutileza. A estas alturas, el artista ya había dejado el sello Atlantis para aceptar una jugosa suma de ABC-Paramount. Sin nadie que le parara los pies, el hermano Ray se lanzó de cabeza al “countrypolitan” orquestal y firmó dos de los singles de más éxito en su trayectoria, “I can’t stop loving you” y “You don’t know me” A mediados de la década de 1960 Ray Charles ya había exprimido el truco del country hasta la última gota y perdió tanta credibilidad ante la crítica y los colegas del gremio que al terminar el decenio apenas se hablaba de él. Tal vez una de las estrellas de Atlantis más injustamente infravaloradas fue Bárbara Lewis. Nuestro amigo Bob Stanley, en su libro “La historia del pop moderno” dice de ella: “su voz de jade pulido en “Hello Stranger”, tema con ritmo de shuffle, a caballo entre la música de verbena y la de tocador: morirá feliz el afortunado a quien, siquiera una sola vez en su vida, le canten personalmente esta canción”. Bueno, pues esta es la canción… Pero el mayor fichaje del sello, en todos los sentidos, fue Aretha Franklin. Dueña de una voz capaz de reventar un micrófono a medio kilómetro, Aretha cantaba como una fuerza de la naturaleza. La futura dama del Soul ya había grabado algunos temas para el sello Columbia, pero Ertegun la animó y convenció para cambiar de sello discográfico y en Atlantic echó el resto. Aretha había nacido el 25 de marzo de 1942 en Memphis (Tennessee), y creció en Detroit. Es hija del predicador Clarence LeVaughn Franklin y la cantante de góspel Bárbara Franklin. Su madre abandonó a su familia cuando Aretha era una niña, y poco tiempo después, murió. Su padre vio pronto el talento de Aretha, por lo que quiso que tomara clases de piano, pero ella lo rechazó y prefirió aprender por sí sola con la ayuda de grabaciones. En este tiempo, permanecía en un tour itinerante de góspel, donde uno de los primeros temas que interpretó fue «Precious Lord». Los genios del góspel Clara Ward, James Cleveland y Mahalia Jackson eran íntimos de su familia, por lo que Aretha creció rodeada de ellos. Fue precoz en todos los aspectos de su vida. Con doce años tuvo a su primer hijo, y dos años después tuvo el segundo. Esto que suena es esa primera grabación con su grupo de góspel. Por cierto, ya me diréis si os suena… Cuando Aretha abandonó Columbia para fichar por la compañía discográfica Atlantic Records, el productor Jerry Wexler se propuso sacarle todo el soul que llevaba dentro. El primer single que grabó para Atlantic Records fue «I never loved a man (the way I love you)”. Este tema ha sido avalado por muchos críticos como una de las grandes canciones del soul, y la revista Rolling Stone escribió: «Franklin ha grabado su versión de la maravilla soul, un lamento sobre qué-mal-me-has-tratado, con la Muscle Shoals Rhythm Section, unos chicos blancos de Alabama». El single irrumpió en todas las radios, pero aún lo haría con mucha más fuerza “Respect”, versión de la canción que Otis Redding había grabado en 1965 y con la que Aretha se consagraba definitivamente. La canción se grabó en los estudios de Atlantic, en Nueva York, el 14 de febrero de 1967. A la versión original de Redding se le añadió un puente y un solo de saxo, de la mano de King Curtis. El 10 de marzo de 1967 se editaba un álbum en el que Aretha también contribuyó como compositora con varios temas. Destacamos este "Dr. Feelgood (Love Is a Serious Business)". Un precioso blues. Ese mismo año, consiguió dos premios Grammy, siendo la segunda mujer en hacerlo. También en 1967, concretamente el 4 de agosto, editó un nuevo disco del que nos apetece destacar uno de sus temas. Se trata de “Satisfaction”, el éxito de los Rolling. Vamos a oir una versión, grabada en directo, en el Olimpia de Paris en el año 1968. Nos despedimos del programa de hoy y de nuestra admirada Aretha Franklin, ahora si, para siempre, porque como sabeis, Aretha Franklin falleció el pasado día 16 de agosto, a la edad de 76 años en su domicilio de Detroit. No obstante, su larga trayectoria profesional da para muchas más horas de programación, horas que le dedicaremos con muchísimo gusto. Cerramos pues este programa con su gran éxito "Chain of fools", un tema incluido en su disco Lady Soul, editado en 1.968, y con el que volvería a conocer el éxito masivo.

Hace ya unas semanas tratamos brevemente el tema del Soul. Hoy iniciamos una mini serie de programas para abordar un estilo de música que merece mucha más atención de la que le dimos en su momento. Y, como no, nos situamos en la decada de los 60, … otra vez!!! En ese momento, sobre el año 1963, el término “rhytm’n blues” no significaba ni mucho menos lo mismo para los estadounidenses que para los Rolling Stones. Los bluesmen a los que estos idolatraban eran de una generación anterior. En Estados Unidos la urbana e inmaculada “Sherry”, de los Four Seasons, encabezaba la lista de “R&B” a finales de 1962, pese a tratarse de un dudua italoamericano puro y duro, y la razón era muy simple: a los adolescentes negros les gustaba ese sonido tanto como a los blancos. Los Four Seasons de Nueva Jersey, los Impressions de Chicago, los Miracles de Detroit, las Shirelles de Nueva York, todos ellos estaban guisando un estofado posrock’n’roll que daría paso a algo que, más tarde, se llamó SOUL. Si bien el uso de la palabra soul como denominación popular del género no se verificaría hasta la aparición en 1966 de “What is Soul”, el sencillo de Ben E. King, el sonido en sí ya se había introducido en la conciencia del pop en 1957, concretamente el día en que Sam Cooke cambió el espiritual negro por la música profana. Pero fue nuestro amigo Ben E. King el que perfiló con precisión el nuevo estilo. Esto es “What is Soul”. Sam Cooke no fue el primero que adjuró de la iglesia para derretir a las jovencitas: el primer guaperas del góspel de posguerra había sido Sonny Til, el líder de los Orioles, pero Cooke mezclaba como nadie la finura con el rugido del espiritual negro, y cantaba con intensidad y sin esfuerzo. Nació en Clarksdale (Misisipi) en 1931. Cuando tenía nueve años se unió al coro de sus hermanos y hermanas que acompañaban a su padre, pastor baptista, en sus viajes de predicación. Su decisión de abandonar la música religiosa en 1957 cayó muy mal en la feligresía. Así, su primer single “Lovable”, paso sin pena ni gloria y esto le hizo pensar si su decisión había sido acertada. Lo supo cuando publicó su segundo disco “You Send Me”. Éxito instantáneo, el sencillo se aupó al número uno y allí permaneció tres semanas, durante las cuales Cooke se convirtió en ídolo no solo de las chicas negras del Bronx, el público al que en principio se dirigía, sino también de las señoritas judías de Brooklyn. Los éxitos se sucedieron en cascada. Cooke no se explicaba su don: “Me pongo a cantar y me viene solo” declaró en cierta ocasión. Sea como fuese, en todas sus creaciones latía un trasfondo abrasivo que indicaba a las claras que, por mucha cara de bueno que tuviese, más valía no dejarlo a solas con la hermana pequeña de uno. Perfectamente podía haber hecho carrera como delincuente. Era, a un tiempo, ángel y diablo y en su música podemos apreciar al predicador fervoroso y al pecador arrepentido. Pero para todo el mundo era el chico de oro y siempre iba por delante del resto. Tras echar los cimientos de la música soul, fundó su propia discográfica, SAR, con brazo editorial incluido. Eran maniobras prácticamente inauditas en un artista de raza negra. En 1962 la música de Cook adquirió una nueva intensidad, como se aprecia en la cruda “Bring It Home To Me” Y es que, algo estaba cambiando. En ese año, el gobierno de Kennedy había obligado al Comité de Comercio Interestatal a dictar una nueva orden contra la segregación racial en virtud de la cual los pasajeros de los autobuses podían sentarse donde quisieran. Se retiraron de las estaciones los letreros de “blanco” y “negro”, y en los mostradores de las cafeterías se empezó a atender a los clientes con independencia del color de su piel. En septiembre un adolescente llamado James Meredith ganó un pleito y logró que lo admitiesen en la Universidad de Misisipi. Los disturbios subsiguientes se cobraron dos víctimas mortales, pero gracias a la escolta de una guardia armada, Meredith pudo asistir a clase. En la desgarrada “That’s Where It’s At” de 1963, resuenan el orgullo negro y las tribulaciones de la raza aunque, según Bob Stanley, nuestro biógrafo de cabecera, la letra no respondiese tanto al estado de la nación como a la vida del propio Cooke, que por aquel entonces se deshacía en jirones: su esposa Bárbara estaba perdiendo la cabeza por la afición del artista al alcohol y las mujeres, y ese verano, el hijo de ambos, se había ahogado en la piscina de la casa familiar. Una tragedia. Tenía para todo. El día 11 de diciembre de 1964 se lió con quien no debía, una prostituta que huyó con la ropa del cantante mientras él estaba en el baño. Medio desnudo y gritando como un poseso, Cooke asustó tanto a la dueña del motel que la mujer lo mató de un balazo. Nuestras felicitaciones a la asociación del rifle. Su último trabajo fue un sencillo en el que se incluía “A chage is gonna come”, una canción que Cooke compuso después de escuchar el “Blowin in the wind” de Bob Dylan y concluyó que debería escribir algo que reflejase su vida personal y la de sus amigos. La canción es un augurio entreverado de esperanza y optimismo. Es una pena que fuera su epitafio. Si Sam Cooke era la voz del soul, el sello Stax era el molde. Los hermanos Estelle y Jim Stewart fundaron este sello y se instalaron en el ruinoso cine Capitol. El puesto de palomitas de la entrada se convirtió en una tienda de discos llamada Satellite, con cuyos ingresos se sufragaba el estudio de grabación. El hijo de Estelle, Pachy, había estado ensayando con unos chicos del instituto, entre ellos el guitarrista Steve Cropper (apuntad este nombre) y el bajista Donald Dunn, alias “Pato Donald”, que se hacían llamar los Royal Spades y que experimentaban con el country, el R&B y el rockabilly, y que, a fuerza de ensayar, se convirtieron en un grupo conjuntado al máximo, capaz de acompañar a cualquier artista de paso. Y así fue como, un día, se presentó por allí Rufus Thomas, locutor de una emisora local: su hija Carla había compuesto una cancioncilla titulada “Gee Whiz” y quería grabarla. Una vez pasada por el tamiz de los Royal Spades, la canción llegó al top 10. Y es esta… Poco después, un instrumental de una sola nota, sucio y con predominio de metales, titulado “Last Night”, obra de los Royal Spades pero publicado con el nombre los Mar-Keys, llegó nada menos que al número dos. El sello Stax estaba en marcha. Los numerosos éxitos que acumularon en el año 1962 hicieron que el sello Stax se convirtiera en el sonido Memphis y, por ello, se ganó el derecho a colgar un letrero encima de la tienda de discos que rezaba “Souls-ville USA”. Uno de estos éxitos fue, sin lugar a dudas, su famoso “Green Onions”. Los músicos empezaron a demandar el estilo Stax y por el estudio terminó pasando gente como Sam & Dave, Otis Redding, Judy Clay, Eddie Floyd y Johnnie Taylor. El sonido Stax no tardó en hacerse más importante que el artista, y el sello se convirtió en el equivalente sureño de la factoría Spector. Pero no estaban solos. La otra discográfica que definió el floreciente género del soul fue la neoyorquina Atlantic Records. Uno de sus fundadores, el Sr. Ertegun, era un gran amante del blues y, justamente, del blues procedía Ray Charles. En sus comienzos Charles era un pianista dotado del don de imitar a sus ídolos: Louis Jordan, Nat King Cole o Charles Brown, pero cuando el Sr. Charles empezó a componer sus propias obras, y la discográfica había sabido esperar pacientemente, todo cambió. Compuso y grabó “I got a woman”, su primer sencillo con el sello que fue número uno de la lista de R&B en enero de 1955. Más tarde, esta canción conocería las versiones unos “desconocidos” tales como Elvis Presley o los Beatles. La bomba Ray Charles estalló en 1959, cuando el hombre compuso, sobre una sencilla pieza, concretamente una antífona, religiosa, de seis minutos de duración y que era mitad revival evangélico, mitad procacidad burdelera. Lo nunca visto!!! La pieza se llamaba, bueno, y se llama… “What’d I Say” Desde ese momento y hasta mediada la década de los 60 rara sería la estrella en ciernes, desde Stevie Wonder a los Searchers, que no citase entre sus influencias a Ray Charles: “el hermano Ray”, “el genio”, “el hermano número uno del soul”… etc. Convencido de sus dotes, el artista picó en otros géneros: primero grabó jazz instrumental; después coqueteó con el country en una revisión del clásico “Georgia on My Mind”, otro número uno en 1.960 En la canción, Ray se enfrenta a dos lealtades encontradas. El sur era su patria, pero en 1960 también era el campo de batalla por los derechos civiles de los negros. Dos años más tarde, Charles grabó un elepé entero con la misma temática. Hacía falta mucho valor para mezclar country y soul, pero también mucha sutileza. A estas alturas, el artista ya había dejado el sello Atlantis para aceptar una jugosa suma de ABC-Paramount. Sin nadie que le parara los pies, el hermano Ray se lanzó de cabeza al “countrypolitan” orquestal y firmó dos de los singles de más éxito en su trayectoria, “I can’t stop loving you” y “You don’t know me” A mediados de la década de 1960 Ray Charles ya había exprimido el truco del country hasta la última gota y perdió tanta credibilidad ante la crítica y los colegas del gremio que al terminar el decenio apenas se hablaba de él. Tal vez una de las estrellas de Atlantis más injustamente infravaloradas fue Bárbara Lewis. Nuestro amigo Bob Stanley, en su libro “La historia del pop moderno” dice de ella: “su voz de jade pulido en “Hello Stranger”, tema con ritmo de shuffle, a caballo entre la música de verbena y la de tocador: morirá feliz el afortunado a quien, siquiera una sola vez en su vida, le canten personalmente esta canción”. Bueno, pues esta es la canción… Pero el mayor fichaje del sello, en todos los sentidos, fue Aretha Franklin. Dueña de una voz capaz de reventar un micrófono a medio kilómetro, Aretha cantaba como una fuerza de la naturaleza. La futura dama del Soul ya había grabado algunos temas para el sello Columbia, pero Ertegun la animó y convenció para cambiar de sello discográfico y en Atlantic echó el resto. Aretha había nacido el 25 de marzo de 1942 en Memphis (Tennessee), y creció en Detroit. Es hija del predicador Clarence LeVaughn Franklin y la cantante de góspel Bárbara Franklin. Su madre abandonó a su familia cuando Aretha era una niña, y poco tiempo después, murió. Su padre vio pronto el talento de Aretha, por lo que quiso que tomara clases de piano, pero ella lo rechazó y prefirió aprender por sí sola con la ayuda de grabaciones. En este tiempo, permanecía en un tour itinerante de góspel, donde uno de los primeros temas que interpretó fue «Precious Lord». Los genios del góspel Clara Ward, James Cleveland y Mahalia Jackson eran íntimos de su familia, por lo que Aretha creció rodeada de ellos. Fue precoz en todos los aspectos de su vida. Con doce años tuvo a su primer hijo, y dos años después tuvo el segundo. Esto que suena es esa primera grabación con su grupo de góspel. Por cierto, ya me diréis si os suena… Cuando Aretha abandonó Columbia para fichar por la compañía discográfica Atlantic Records, el productor Jerry Wexler se propuso sacarle todo el soul que llevaba dentro. El primer single que grabó para Atlantic Records fue «I never loved a man (the way I love you)”. Este tema ha sido avalado por muchos críticos como una de las grandes canciones del soul, y la revista Rolling Stone escribió: «Franklin ha grabado su versión de la maravilla soul, un lamento sobre qué-mal-me-has-tratado, con la Muscle Shoals Rhythm Section, unos chicos blancos de Alabama». El single irrumpió en todas las radios, pero aún lo haría con mucha más fuerza “Respect”, versión de la canción que Otis Redding había grabado en 1965 y con la que Aretha se consagraba definitivamente. La canción se grabó en los estudios de Atlantic, en Nueva York, el 14 de febrero de 1967. A la versión original de Redding se le añadió un puente y un solo de saxo, de la mano de King Curtis. El 10 de marzo de 1967 se editaba un álbum en el que Aretha también contribuyó como compositora con varios temas. Destacamos este "Dr. Feelgood (Love Is a Serious Business)". Un precioso blues. Ese mismo año, consiguió dos premios Grammy, siendo la segunda mujer en hacerlo. También en 1967, concretamente el 4 de agosto, editó un nuevo disco del que nos apetece destacar uno de sus temas. Se trata de “Satisfaction”, el éxito de los Rolling. Vamos a oir una versión, grabada en directo, en el Olimpia de Paris en el año 1968. Nos despedimos del programa de hoy y de nuestra admirada Aretha Franklin, ahora si, para siempre, porque como sabeis, Aretha Franklin falleció el pasado día 16 de agosto, a la edad de 76 años en su domicilio de Detroit. No obstante, su larga trayectoria profesional da para muchas más horas de programación, horas que le dedicaremos con muchísimo gusto. Cerramos pues este programa con su gran éxito "Chain of fools", un tema incluido en su disco Lady Soul, editado en 1.968, y con el que volvería a conocer el éxito masivo.

This week, we commemorate the life an career of the Queen of Soul Aretha by listening to Drew's pick of her 1968 classic "Lady Soul". Come join on this journey of honoring one of the greatest singers in music history by pressing play.Follow along with us on Spotify.Audio Intro: Jahzarr - I Saw You On TVVideo Intro: Lame Drivers - Frozen EggOutro: Matthew Walton - I'll See You In My Dreams

De retour pour une nouvelle saison ! Cette semaine, David (@vinylophyle sur Instagram) vous raconte l’histoire de Chain Of Fools (1967) d’Aretha Franklin. La version intégrale du titre est parue pour la première fois en 1973 sur la compilation The Best Of Aretha Franklin. On la trouve aujourd’hui facilement sur la réédition CD de Lady Soul. La […]

Арета Франклин скончалась на 77-м году жизни в своем доме в окружении близких и друзей 16 августа. Новость об уходе стала неожиданностью, не смотря на то, что в СМИ ранее сообщалось о ее болезни и плохом самочувствии. В «Дельта Миссисипи» вспоминаем выдающийся альбом 68-го года «Lady Soul» – четырнадцатая студийная пластинка американской певицы.

Madonna went on: 'So I showed up for the audition and two very large French record producers sat in the empty theater, daring me to be amazing. The dance audition went well. Then they asked me if I had sheet music and a song prepared. I panicked. I had overlooked this important part of the audition process... 'I had to think fast, my next meal was on the line. Fortunately one of my favorite albums was Lady Soul by Aretha Franklin. I blurted out 'You Make Me Feel'… silence. '(You Make Me Feel Like) A Natural Woman.' Two French guys nodded at me. I said, 'You know, by Aretha Franklin.'' She continued: 'They looked over at the pianist, he shook his head. 'I don't need sheet music,' I said, 'I know every word. I know the song by heart, I will sing it a cappella.' I could see that they did not take me seriously — and why should they? The criticism didn’t seem to dissuade Minaj, as she maintained her opinion while talking to TMZ before the VMAs. “I am the new Harriet Tubman,” she said on her way to the VMAs. When asked if she thought it was too far given Tubman’s slavery connections, Minaj repeated, “No, no, I am Harriet Tubman. Leave me alone.” The controversy began Monday afternoon when she tweeted about Tubman, praising her for shaking “s–t up.”

Howcee Productions Gospel H O W C Internet Radio Box 104 Beatrice AL. 36425  "This is Aretha Franklin" Aretha Louise Franklin   (Aged 76) March 25, 1942   "LIFE" August 16, 2018  "DEATH" Aretha Franklin is called "The Queen of Soul" and "Lady Soul," nicknames that are a tribute to her regal style and impassioned gospel-tinged vocals. The daughter of Rev. C. L. Franklin, a Detroit gospel singer and clergyman, Aretha beg... More »

Tune in as Stacey B. and guests pay tribute to Aretha Franklin: Queen of Soul, who passed away this week August 16, 2018. They will speak on her impact on the music industry and their favorite tunes from her.  Summary Bio Aretha Franklin was born in Memphis, Tennessee, in 1942. A gifted singer and pianist, Franklin toured with her father's traveling revival show and later visited New York, where she signed with Columbia Records.  Franklin went on to release several popular singles, many of which are now considered classics. In 1987 she became the first female artist to be inducted into the Rock and Roll Hall of Fame, and in 2008 she won her 18th Grammy Award, making her one of the most honored artists in Grammy history. Follow @hamptonblunetwork

soundcloud.com/messieurg/the-q...aretha-franklin https://soundcloud.com/messieurg/the-queen-of-soul-aretha-franklin https://hearthis.at/lafrenchpartybymessieurg/aretha-franklin/ TRACKLIST 0:00 Aretha Franklin - Border Song (Holy Moses) 3:30 Aretha Franklin - You And Me 6:30 Aretha Franklin - Dark End Of The Street 11:00 Aretha Franklin - Somewhere 17:00 Aretha Franklin - Ain't No Way 21:00 Aretha Franklin - Do Right Woman - Do Right Man 24:30 Aretha Franklin - See Saw 26:30 Aretha Franklin - I Never Loved a Man (The Way I Love You) 29:30 Aretha Franklin - You're Taking Up Another Man's Place 34:00 Aretha Franklin - I Say A Little Prayer 35:30 Aretha Franklin - Satisfaction 38:00 Aretha Franklin - Spirit In The Dark 42:00 Aretha Franklin - Drown In My Own Tears 46:00 Aretha Franklin - Lean On Me 50:30 Aretha Franklin - Why I Sing the Blues 53:00 Aretha Franklin - It Ain't Fair 56:00 Aretha Franklin - You Are My Sunshine 1:00:30 Aretha Franklin - Pledging My Love / The Clock (Single B-Side) 1:04:30 Aretha Franklin - Sit Down And Cry 1:08:00 Aretha Franklin - Night Life 1:11:30 Aretha Franklin - People Get Ready 1:15:00 Aretha Franklin - Don´t Let Me Loose This Dream 1:17:00 Aretha Franklin - Eleanor Rigby 1:19:30 Aretha Franklin - Spirit in the Dark (Reprise with Ray Charles) [Live at Fillmore West, San Francisco, February 7, 1971] 1:27:30 Aretha Franklin - Share Your Love With Me 1:30:30 Aretha Franklin - Today I Sing The Blues 1:35:00 Aretha Franklin - Good To Me As I Am To You 1:39:00 Aretha Franklin - Save Me 1:41:00 Aretha Franklin - Oh Me Oh My [I'm A Fool For You Baby] 1:44:30 Aretha Franklin - Call Me 1:48:00 Aretha Franklin - All The King's Horses 1:51:30 Aretha Franklin - Pullin' 1:55:00 Aretha Franklin - Ain't Nothing Like The Real Thing 1:58:30 Aretha Franklin - (Sweet Sweet Baby) Since You've Been Gone 2:00:30 Aretha Franklin - Chain Of Fools 2:05:00 Aretha Franklin - Spanish Harlem 2:07:30 Aretha Franklin - Respect 2:09:00 Aretha Franklin - Ain't Nobody Gonna Turn Me Around

soundcloud.com/messieurg/the-q...aretha-franklin https://soundcloud.com/messieurg/the-queen-of-soul-aretha-franklin https://hearthis.at/lafrenchpartybymessieurg/aretha-franklin/ TRACKLIST 0:00 Aretha Franklin - Border Song (Holy Moses) 3:30 Aretha Franklin - You And Me 6:30 Aretha Franklin - Dark End Of The Street 11:00 Aretha Franklin - Somewhere 17:00 Aretha Franklin - Ain't No Way 21:00 Aretha Franklin - Do Right Woman - Do Right Man 24:30 Aretha Franklin - See Saw 26:30 Aretha Franklin - I Never Loved a Man (The Way I Love You) 29:30 Aretha Franklin - You're Taking Up Another Man's Place 34:00 Aretha Franklin - I Say A Little Prayer 35:30 Aretha Franklin - Satisfaction 38:00 Aretha Franklin - Spirit In The Dark 42:00 Aretha Franklin - Drown In My Own Tears 46:00 Aretha Franklin - Lean On Me 50:30 Aretha Franklin - Why I Sing the Blues 53:00 Aretha Franklin - It Ain't Fair 56:00 Aretha Franklin - You Are My Sunshine 1:00:30 Aretha Franklin - Pledging My Love / The Clock (Single B-Side) 1:04:30 Aretha Franklin - Sit Down And Cry 1:08:00 Aretha Franklin - Night Life 1:11:30 Aretha Franklin - People Get Ready 1:15:00 Aretha Franklin - Don´t Let Me Loose This Dream 1:17:00 Aretha Franklin - Eleanor Rigby 1:19:30 Aretha Franklin - Spirit in the Dark (Reprise with Ray Charles) [Live at Fillmore West, San Francisco, February 7, 1971] 1:27:30 Aretha Franklin - Share Your Love With Me 1:30:30 Aretha Franklin - Today I Sing The Blues 1:35:00 Aretha Franklin - Good To Me As I Am To You 1:39:00 Aretha Franklin - Save Me 1:41:00 Aretha Franklin - Oh Me Oh My [I'm A Fool For You Baby] 1:44:30 Aretha Franklin - Call Me 1:48:00 Aretha Franklin - All The King's Horses 1:51:30 Aretha Franklin - Pullin' 1:55:00 Aretha Franklin - Ain't Nothing Like The Real Thing 1:58:30 Aretha Franklin - (Sweet Sweet Baby) Since You've Been Gone 2:00:30 Aretha Franklin - Chain Of Fools 2:05:00 Aretha Franklin - Spanish Harlem 2:07:30 Aretha Franklin - Respect 2:09:00 Aretha Franklin - Ain't Nobody Gonna Turn Me Around

https://soundcloud.com/messieurg/the-queen-of-soul-aretha-franklin

T1/E19 Los Imprescindibles "Lady Soul"

T1/E19 Los Imprescindibles "Lady Soul"

JacPod — DJ Jazzy D, the Groovemaster’s career started at the early age of 14. The ‘Lady Soul’ hitmaker has a story behind the music and today, DJ Jazzy D reveals to Carla where he grew up, how his hit single blew up and his outlook on life, one that has never failed him. It's a story of a young boy who came from a place where dreams don't always come true.

In another universe of lost recordings this already exists but in this reality for the first time Mr DFB, Dr Volume, Rigit Digit and Ganglesprocket chose their favourite music TV moments at short notice and are then forced to justify themselves.  To help with the video part of this audio only expeience there is a YouTube playlist up at https://www.youtube.com/playlist?list=PLuBKVPHCs4lsgRHaeQJKE5Y-HMU3eO414 So we discuss Dusty n Martha's Motown youthquake Lady Soul's explosion in the unlikeliest of places The band who made it all look so much of a real good time The magnetic howling noise of Johnny and the boys Freaky dancing and glasses from local TV heaven Not definitive, not exhaustice, simply off the top of our heads. Part 2 will follow with plenty of swearing, jumping, fury and fun.   

January 1958, 1968: Sinatra, Duane Eddy, Merle Haggard, Byrds, Blue Cheer, Dr. John, Aretha Franklin, Velvet Underground, Kaleidoscope, Gordon Lightfoot, Tjh Mahal

Från 2003. Musikjournalisten Stefan Wermelin gör ett långt porträtt av souldrottningen. Hon kallas Lady Soul eller The Queen of Soul. Här kan ni höra en timme om Aretha Franklin av Stefan Wermelin. Programmet består av gamla intervjuer, arkivmaterial och mycket musik! Ursprungligen sänt i P3 2003.

@Djmarcd Ft. Lady Soul aka @newladyofmusic With #RKelly And Her Hit Single Lady Soul Slide 1.Ignition 2.Snake 3.Thioa Thong 4.Step In The Name Of Love 5.Lady Soul Slide

Manuel Comesaña nos habla de la cantante norteamericana, Aretha Franklin.

THE QUALITY OF THE FIRST RECORDING MADE ME PUT THIS SHOW BACK ON PRE RECORDED IN THE ATAZP STUDIOS.......