Podcast appearances and mentions of leon huff

Play Episode Listen Later Sep 17, 2024 46:16

Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.© 2024 All Rights Reserved© 2024 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud

LeRoy Bell

The B.I.Stander Podcast

Play Episode Listen Later Jun 18, 2024 70:08

www.LeRoyBell.com is an American singer and songwriter. He and friend Casey James formed the duo Bell and James, composing songs that were hits for other artists most notably two charting hit singles for Elton John. Later Bell with bassist Terry Morgan formed the group, LeRoy Bell & his Only Friends. In 2011, Bell auditioned for the American The X Factor and was chosen for the Final 16 and went on to the live shows being mentored by Nicole Scherzinger. He was eliminated after the ﬁfth live show ﬁnishing 8th overall in the inaugural season of the American The X Factor. BELL AND JAMES Bell and James was a duo soul group formed by LeRoy Bell (on drums and guitar) and Casey James (on guitar, bass and keyboards). They both had played in other bands together before they decided to team up as Bell & James. The duo released three albums: Bell & James (1978), Only Make Believe (1979) and In Black and White (1980), and had a number of singles, the most successful and well-known being “Livin' It Up (Friday Night)” released on A&M Records. It reached #15 on the U.S. Hot 100. SONGWRITING LeRoy Bell also co-wrote many songs for others in partnership with Casey James. They were encouraged by LeRoy's uncle Thom Bell who owned Mighty Three Music, a music publishing and production company along with Kenny Gamble and Leon Huff. The latter were a famous composing duo collaboration Gamble and Huff to whom Bell and James provided some of their compositions. Their songs were recorded by a number of groups including: The Spinners The O'Jays (notably in “This Time Baby”) The Temptations Rita Marley Gladys Knight & the Pips Freda Payne The Three Degrees WITH ELTON JOHN Most notably, two of the LeRoy Bell songs were recorded by Elton John. One was “Mama Can't Buy You Love” and the other “Are You Ready for Love”. The songs, a LeRoy Bell-Casey James co-composition appeared in the The Thom Bell Sessions in 1977. Elton John's song version of “Mama Can't Buy You Love” went to the Top 10 in the general charts and #1 the Adult/Contemporary chart and in the fall of 1979, earning Elton a Grammy Nomination for “Best Male R&B Vocal Performance”. His song “Are You Ready for Love” was even a bigger hit. Tracklist of Elton John singles: Side 1: “Are You Ready for Love” (LeRoy Bell, Thom Bell, Casey James) (8:31) Side 2.1: “Three Way Love Affair” (LeRoy Bell, Casey James) (5:31) Side 2.2: “Mama Can't Buy You Love” (LeRoy Bell, Casey James) (4:03) In February 1989, The Complete Thom Bell Sessions was released by MCA Records, although it had been recorded in 1977. In addition to “Mama Can't Buy You Love” and “Are You Ready for Love”, it featured three additional songs, including “Country Love Song” also co-written by LeRoy Bell. 1. “Nice and Slow” (Elton John, Bernie Taupin, Thom Bell) 2. “Country Love Song” (LeRoy Bell, Casey James) 3. “Shine on Through” (Elton John, G. Osborne) 4. “Mama Can't Buy You Love” (LeRoy Bell, Casey James) 5. “Are You Ready for Love” (LeRoy Bell, Casey James) 6. “Three Way Love Affair” (LeRoy Bell, Casey James) In 2003, Fat Boy Slim mixed Elton John's single version making it to the British Singles Chart. The song also charted in many European charts. WITH TEDDY PENDERGRASS LeRoy Bell had a long-running cooperation with Teddy Pendergrass for whom he wrote 5 songs in three different albums: 1979: “I'll Never See Heaven Again” on the album Teddy 1979: “Set Me Free”, also on album Teddy 1982: “Loving You Was Good” on album This One's for You 1983: “Heaven Only Knows” from the album Heaven Only Knows (lead song) Pendergrass album 1990: “Glad to Be Alive” from the album Truly Blessed OTHERS 1979: Lou Rawls: “Bark, Bite (Fight All Night)” on the album Let Me Be Good to You 1980: Lou Rawls: “Heartache (Just When You Think You're Loved)” and “You Are” on album Sit Down and Talk to Me 1988: Kimiko Kasai: “Love Talk” from album Love Talk (lead song) 2001: Me and You: “You Never Know What You Got (Til It's Gone)” 2002: Jennifer Lopez: “Still” cowritten with James and Jennifer Lopez herself in the latter's album This Is Me… Then 2005: The Freemasons: “Love on My Mind” that appears on albums Shakedown, Unmixed and Shakedown 2 He has also written for Phyllis Hyman SOLO CAREER Starting in the 2000s, he worked solo and toured extensively. In the process, he released various albums including his debut solo EP Spending Time (on his own

Episode 31: Locked on Philadelphia: the best nu disco edits and remixes/los mejores nu disco ediciones y remixes

DiscCo.

Play Episode Listen Later May 23, 2024 67:26

A nudisco celebration of the music of Philadelphia International Records and the role it played in the development of disco. Founded in 1971 by Kenneth Gamble and Leon Huff, the label's original vision was to rival Berry Gordy's Motown organisation. Gamble and Huff were also responsible for writing many of the label's greatest hits, which often featured their own in-house orchestra MFSB (or Mother Father Sister Brother). Gamble and Huff have also been activists supporting the black community and improving south Philadelphia. They created Universal Companies which in 2003 partnered with others in a $100 million plan to construct and renovate 400 homes. Together they have written over 3,000 songs producing 175 gold and platinum records, making them some of the most prolific songwriters of all time. They were inducted into the Rock and Roll Hall of Fame in 2008. Mixed with love in London. XX F*All the original tracks are available on Spotify, where you'll find the playlist so you can create your own mix. (NB promo tracks and exclusives may not be available.)Una celebracion nudisco de la música de Philadelphia International Records (PIR) y el papel que jugó en el desarrollo de la música disco. Fundada en 1971 por Kenneth Gamble y Leon Huff, la visión original del PIR era rivalizar con la organización Motown de Berry Gordy. Gamble y Huff también fueron responsables de escribir muchos de los grandes éxitos de PIR, que a menudo contaban con su propia orquesta interna MFSB (o Mother Father Sister Brother). Gamble y Huff también han sido activistas que apoyan a la comunidad negra y mejoran el sur de Philadelphia. Crearon Universal Companies que en 2003 se asociaron con otros en un plan de 100 millones de dólares para construir y renovar 400 viviendas. Juntos han escrito más de 3.000 canciones y han producido 175 discos de oro y platino, lo que los convierte en algunos de los compositores más prolíficos de todos los tiempos. Fueron incluidos en el Rock and Roll Hall of Fame en 2008. Mezclado con amor en Londres. XXF*Todas las canciones originales están disponibles en Spotify, donde encontrarás la lista para que puedas crear tu propia mezcla. (Es posible que las canciones promocionales y exclusivas no estén disponibles).Here's the track list:1 | Lou Rawls | You'll never find another love like mine (F*Monday Exclusive Edit, featuring Kenny Summit, Frankie Knuckles, Eric Kupper & Jerry Ropero)2 | The Philadelphia International All Stars | Let's clean up the ghetto (Sascha Satoshi Edit)3 | People's Choice | Do it any way you wanna (DJ S remix)4 | Billy Paul | Bring the family back (DJ Fopp disco mix)5 | Billy Paul | Only the strong survive (Chuggin Edits)6 | Teddy Pendergrass | I don't love you any more (RLP Re edit)7 | Lou Rawls | This song will last forever (Belony Edits)8 | The O'Jays | I love music (Dave Lee Sweet Music Mix)9 | Harold Melvin and the Bluenotes | Don't leave me this way (Extended Mike and Tess Edit)10 | Lou Rawls | See you when I get there (WVZ Mix)

Episode 2476: Charlie Ingui ~ Original Lead Vocalist of The Soul Survivor's ~ "Expressway to Your Heart", Philadelphia International's #1 Breakthru

Talk and Rock Radio Podcast

Play Episode Listen Later May 19, 2024 46:16

Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.© 2024 All Rights Reserved© 2024 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud

#37 - "J."

Lightnin' Licks Radio

Play Episode Listen Later May 19, 2024 110:35

Lickers Jay and Deon wax poetic on ten of their favorite records from their respective collections which are filed under the letter J. Their choices lead to discussions on Blindboy Boatclub (he rules), the origins of their nicknames (do you even know these guys?), another blind-bought Burger Records beauty (Jay is a total Burger fanboy), Steve Albini (R.I.P.), and much more. Tune in and rock out! --- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted yet somehow still award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential theme of their upcoming thirty-seventh episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru I, so naturally, they went with J. Sonic contributors to the thirty-seventh episode of Lightnin' Licks Radio podcast include: Brothers Johnson, Holland-Dozier-Holland, Lee Moses, Steve Albini, L.L. Cool J, Patience, Prince Paul, De La Soul, Freddie King, Little Walter, Blinboy Boatclub, SHANNON, Cornbroom Jenkins, Mighty Mista Knapps, Lucy Givens, Sesame Street, Huey Lewis & the News, The Jesus Lizard, Jonathon Wolffe, Kenny Gamble, Leon Huff, The Three Degrees, EMINIM, Labi Siffre, Marilyn Manson, Hootie & the Blowfish, Drive Like Jehu, Led Zepplin, Helmet with David Yow, Junk Monkeys, Goo Goo Dolls, Syl Johnson, Howlin' Wolf, Wu-tang Clan, Kanye West with Jay-Z, Hank & Kieth Shocklee with Public Enemy, Charlie Rich, Cypress Hill, The Luniz, R2D2, Jessie Jones, Death Valley Girls, Pete Jolly, Art Pepper, Jessica McQuarter, Herb Alpert, Jerry Moss, Ugly Duckling, DJ Einstein, Jimmie & Vella, Bobby Womack, Dead Prez, J. Cole, Kendrick Lamar, Anthony Fantano, Drake, Timmy Thomas, Post-POTUS George W. Bush, Childish Gambino, Jobriath, David Bowie, Stephen Trask, Vernard Jonson, Peter C. Johnson, Paul Vance & Lee Pockriss, Cody Jinks, Shellac, the Radiolab archives, The Clockers. LLR “J” mixtape: [SIDE A](1) The Jesus Lizard - Mouth Breather (2) Jimmie & Vella - Well (3) Peter C. Johnson - Snowblind (4) J. Cole - No Role Modelz (5) Vernard Johnson - Soul Metamorphosis Medley MegaMix [SIDE B] (1) Pete Jolly - Springs (2) Junk Monkeys - Round and Round (3) Syl Johnson - Is It Because I'm Black (4) Jessie Jones - Sugar Coated (5) Jobriath - World Without You Thanks for listening. Tune in again sometime within a few weeks for another bonus episode. Have a great summer! *former REVIEW magazine best live streaming production --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Me and Mrs. Jones (Billy Paul)

Low-Noise

Play Episode Listen Later Mar 11, 2024 12:37

A (relatively) in-depth analysis of Me and Mrs. Jones by Billy Paul in (just under) fifteen minutes.Paul Williams known professionally as Billy Paul, was an American soul singer, known primarily for the song which was written by Kenny Gamble, Leon Huff, and Cary Gilbert. It describes an extramarital affair between a man and his lover, Mrs. Jones. The two meet in secret "every day at the same cafe", at 6:30, where they hold hands and talk. Hmmm...The single, released on the Philadelphia International label, was included on the album 360 Degrees of Billy Paul and was a number one hit for Paul in 1972.Me and Mrs. Jones was also recorded in 2007 by Michael Bublé along with with Bublé's then-girlfriend, Emily Blunt, who appears at the end of the track to perform the final verse. Other artists who have recorded the song include Monk Montgomery (1974), The Dramatics (1974), Freddie Jackson (1992), Robson Green (2002), Darryl Hall & John Oates (2003) and Taufik Batisah (2004).The song has been featured in several movies, most notably Bridget Jones's Diary, in the scene where Bridget's mother begins an extramarital affair (of course).In this episode I am in discussion with Dr. Andrew Webber.Podcast intro features an excerpt from 'Ma' from the album 'Asimov' by Inafer Era.I hope you enjoy the podcast and do leave feedback if you like what you you have heard.Mathew Woodall

Johnny Madara "At The Hop" Part 3

Play Episode Listen Later Feb 29, 2024 48:24

Johnny Madara was born in Philadelphia, Pennsylvania, in 1936. His family lived in public housing known as "projects" located in south Philadelphia. He was the only one of six children interested in music. He took vocal lessons and began his career as a musical artist. His first recording was released in 1957 and became a hit record single "Be My Girl" Later in 1957 he wrote a song called "Do the Bop" with Dave White. The "Bop" was a popular dance on the TV show, American Bandstand. Dave White was a member of a local group 'The Juvenaires' and they recorded the song with Madara on lead vocal.Local DJ Artie Singer got a co-writers' credit for the song. He took the record to Dick Clark,the host of "America Bandstand". Clark suggested some changes. The lyrics and title were changed to "At the Hop", The Juvenaires became Danny and the Juniors. They recorded the song, this time with Danny Rapp on lead vocal.It became a US number 1 and international hit. He later co-wrote other hits including "1-2-3" for Len Barry, and "You Don't Own Me" for Lesley Gore. In 1965, he and White co-wrote and performed, as the Spokesmen, the song "Dawn of Correction", an answer song to Barry McGuire's hit "Eve of Destruction". The song reached number 36 on the Billboard Hot 100. The pair also formed their own publishing company which was later sold to Michael Jackson. Madara also worked as a record producer, and discovered both Leon Huff and Kenny Gamble (Gamble and Huff), later a successful songwriter and producer attributed to pioneering the style of music known as Philly Soul, and the recording artist Hall and Oates. Medora spent two years in Las Vegas working with one of the most successful performers of all time, Wayne Newton. He produced two of his albums and further produced and wrote songs for a Christmas television special for Wayne Newton on CBS. In the mid 1970s he moved to Los Angeles, and produced music for movies including Cinderella Liberty and Hey Good Lookin', as well as for television. His songs have appeared on some of the biggest grossing soundtrack albums of all time, including American Graffiti and Woodstock ("At The Hop"), Grease ("Rock and Roll is Here to Stay"), Hairspray ("The Fly" and "You Don't Own Me"), Mr. Holland's Opus ("1-2-3"), and Dirty Dancing and The First Wives Club ("You Don't Own Me"). It was the 1996 hit film, The First Wives Club, that not only featured "You Don't Own Me", but it was used as the theme of the movie. On November 27, 2016, the song was announced to be inducted into the Grammy Hall of Fame.

Johnny Madara "At The Hop" Part 2

Talk and Rock Radio Podcast

Play Episode Listen Later Feb 23, 2024 68:15

Johnny Madara was born in Philadelphia, Pennsylvania, in 1936. His family lived in public housing known as "projects" located in south Philadelphia. He was the only one of six children interested in music. He took vocal lessons and began his career as a musical artist. His first recording was released in 1957 and became a hit record single "Be My Girl". Later in 1957 he wrote a song called "Do the Bop" with Dave White. The "Bop" was a popular dance on the TV show, American Bandstand. Dave White was a member of a local group 'The Juvenaires' and they recorded the song with Madara on lead vocal.Local DJ Artie Singer got a co-writers' credit for the song. He took the record to Dick Clark,the host of "America Bandstand". Clark suggested some changes. The lyrics and title were changed to "At the Hop", The Juvenaires became Danny and the Juniors. They recorded the song, this time with Danny Rapp on lead vocal.It became a US number 1 and international hit. He later co-wrote other hits including "1-2-3" for Len Barry, and "You Don't Own Me" for Lesley Gore. In 1965, he and White co-wrote and performed, as the Spokesmen, the song "Dawn of Correction", an answer song to Barry McGuire's hit "Eve of Destruction". The song reached number 36 on the Billboard Hot 100. The pair also formed their own publishing company which was later sold to Michael Jackson. Madara also worked as a record producer, and discovered both Leon Huff and Kenny Gamble (Gamble and Huff), later a successful songwriter and producer attributed to pioneering the style of music known as Philly Soul, and the recording artist Hall and Oates. Medora spent two years in Las Vegas working with one of the most successful performers of all time, Wayne Newton. He produced two of his albums and further produced and wrote songs for a Christmas television special for Wayne Newton on CBS. In the mid 1970s he moved to Los Angeles, and produced music for movies including Cinderella Liberty and Hey Good Lookin', as well as for television. His songs have appeared on some of the biggest grossing soundtrack albums of all time, including American Graffiti and Woodstock ("At The Hop"), Grease ("Rock and Roll is Here to Stay"), Hairspray ("The Fly" and "You Don't Own Me"), Mr. Holland's Opus ("1-2-3"), and Dirty Dancing and The First Wives Club ("You Don't Own Me"). It was the 1996 hit film, The First Wives Club, that not only featured "You Don't Own Me", but it was used as the theme of the movie. On November 27, 2016, the song was announced to be inducted into the Grammy Hall of Fame.

Hillbilly Boys – First Song, The 12th Street Rag. ep8, 1939

Retro Radio Podcast

Play Episode Listen Later Feb 2, 2024 14:22

Playlist: Bob Wills kicks off with, the 12th Street Rag. Pat tells a little about the differences in flour, and what makes hillbilly flour so much better. Leon Huff sings,…

family time comedy boys drama radio friendly classic vintage westerns hillbillies first song leon huff

GROOVIN' BLUE SHOW 24 - 01

WAGRadio

Play Episode Listen Later Jan 30, 2024 79:34

! What's Past - Is Prologue ! ! ! Callin' ALL The Boom Booms & The Zoom Zooms ! ! ! Turn On - Choon In - Zig Zag ! ! ! Hello World . . . Groovin' Blue Is On The Air ! ! . . . GROUND DOWN TO THE UNDERGROUND . . . * * * GROOVIN' BLUE 24 - 01 * * * Groovin' Blue is dedicated to Dr. Li Wenliang 1. (4:27) WAGRadio GB 24 - 01 Intro - Produced by WAGRadio Vinyl Librarian William "Fats Is Back" Reiter (formerly Bill Reiter - The All-Niter) 2. (3:41) "Next To Me (DJZigZag Krankie Frankie Cee EdiT of the Blakk Habit Dub Mix)" - WTS [Jack Rose Music Promotions] 3. ( :42) WAGRadio Feel AwRite Id 4. (3:56) "Ease My Mind (DJZigZag EdiT)" - PATRICK WAYNE, DJ THREEJAY [Monoside] 5. ( :04) WAGRadio We In Here Id 6. (4:21) "Jungle Fever" - THE CHAKACHAS [Polydor (Canada) 45rpm No. PD 064] 1971 Arr. Albimoor 7. (3:59) "Movin On Workin (DJZigZag King Cattrell EdiT)" - JONK & SPOOK [Discobox (IT)] 8. ( :24) WAGRadio NuRetro Id 9. (5:59) "Think (DJZigZag Snitches Get Stitches EdiT) - DJ MARK BRICKMAN [Midnight Riot] 2021 * samples "Think (About It)" - The Female Preacher Lyn Collins [People Records 45rpm No. 608] Prod./Arr. James Brown 1972 10.( :38) WAGRadio Word Up Id 11.(4:04) "Country Side" - SARKODIE, BLACK SHERIF [Sarkcess] 12.(3:06) "I Mess Up Everything I Get My Hands On" - JOE TEX [Epic 45rpm No. 8-50313] 1976 Prod. Buddy Killen 13.(7:29) "Show You The Way To Go (DJZigZag EdiT of the Butch Le Butch House Gangsta Remix)" - THE JACKSONS * samples the original 45rpm version on Epic / Philadelphia International Records No. 8-50350 Prod. Kenneth Gamble, Leon Huff, Gene McFadden, John Whitehead, Dexter Wansel, The Jacksons Arr. Dexter Wansel 1976 14.( :08) WAGRadio GB2017 Open Segment 15.(3:32) "I Have The Cash (DJZigZag Keswick Florist EdiT)" - AGISS EDSON [Moiss Music] 16.(5:25) "Coming Home Baby" - EL CHICANO [Kapp Records Lp No. KS-3632 "Viva Tirado"] 1970 Prod. Gordo 17.( :57) WAGRadio Real Id 18.(4:39) "Buried Treasures (DJZigZag Groovin' Blue Radio Show EdiT)" - THE SOFIA GOODMAN GROUP [Joyous Records Cd No. "Secrets Of the Shore"] 19.(3:53) "Just Friends" - DANNY BOY [Chicago Creed Music Group] * real name Daniel Steward 20.(3:58) "Back On 74 (DJZigZag EdiT)" - JUNGLE [Caiola] 21.( :31) WAGRadio ZigyZagZig Id 22.(3:41) "Tormento (DJZigZag Little Pricketts Rock EdiT)" - DJ WADY, AFROLOKO [Bedroom Muzik] 23.( :19) WAGRadio Gotta Lissen Id 24.(5:35) "Don't Be Jazz (DJZigZag Vic K Cel Fone EdiT)" - PANDO G, TESTDRIVE [Deep House South Africa Records] 25.( :56) WAGRadio It Go . . . Id 26.(4:57) "Mini003A" - APPAREL WAX [Apparel Music] 27.( :07) Nu GB End 79:34

shore james brown pd ks arr prod hello world call in groovin past is prologue john whitehead back on leon huff dexter wansel kenneth gamble

#1 The Story of Billy Paul-Me & Mrs Jones

The Story of...

Play Episode Listen Later Dec 21, 2023 9:46

In een nieuwe serie podcasts vertel ik je het verhaal achter een legendarische soul- of popsong. In aflevering 1 van dit nieuwe seizoen het verhaal achter Me & Mrs Jones van Billy Paul, uit 1972. Veel luisterplezier. Muziek van PIR Gamble and Huff, Raw Silk, interview Billy Paul The Signature Sounds, interview Joe Chambers with Leon Huff.

veel huff muziek billy paul joe chambers leon huff raw silk

Dexter Wansel Story

Radio Funk | Le Podcast de Funky Pearls Radio

Play Episode Listen Later Nov 24, 2023 3:22

Today on Funky Pearls Radio, we're diving into the captivating journey of Dexter Wansel , a multi-talented keyboardist, arranger, producer, and recording artist whose influence is deeply woven into the fabric of Philadelphia International Records. Born Dexter Gilman Wansel on August 22, 1950, in Bryn Mawr, Pennsylvania, Dexter's musical odyssey began in the bustling corridors of the Uptown Theater in Philadelphia. As a 12-year-old gofer, he rubbed shoulders with legends like Stevie Wonder and Patti Labelle, sparking his passion for music. Dexter's life took a dramatic turn when he served in the Vietnam War, a harrowing experience that left a profound impact on him. Despite this, Dexter returned with a renewed vigor for music, channeling his experiences into his art. In 1975, Dexter's path crossed with Kenneth Gamble and Leon Huff, the masterminds behind Philadelphia International Records. As a member of Yellow Sunshine, alongside guitarist Roland Chambers, Dexter's talent shone brightly, leading to session work with The Ebony's and eventually becoming a part of the staff creative collective at Philadelphia International Records. Dexter's genius blossomed at PIR, where he arranged, played keyboards, and wrote songs for acts like The O'Jays, Teddy Pendergrass, and The Intruders. His work with Patti Labelle, especially the song 'Shoot Him on Sight', showcased his ability to craft songs across genres. Dexter Wansel's compositions are a testament to his versatility and profound musicality. He wrote for Jean Carn, Shirley Jones, The Jacksons, The Stylistics, and many more, crafting songs that are revered in R and B history. His work with artists like Amy Keys, The O'Jays, Miles Jaye, and Marilyn Scott further diversified his portfolio. In addition to his prolific work as a songwriter and arranger, Dexter released several influential solo albums, including 'Life on Mars' (1976), 'Voyager' (1978), and 'Time Is Slipping Away' (1979). These albums, featuring tracks like 'The Sweetest Pain' and 'Solutions', are celebrated for their innovative fusion of R and B with space-age and funk elements. Dexter Wansel's contributions extend beyond the United States. He worked with U.K. soul artists like Junior and Loose Ends, further establishing his international appeal. His later albums, such as 'Captured' (1986) and 'Universe' (1991), continued to showcase his evolution as an artist, exploring new sounds and themes. In 2021, Dexter released 'The Story Of The Flight Crew To Mars', demonstrating his enduring creativity and relevance in the modern music scene. Throughout his career, Dexter Wansel has remained a beacon of innovation and artistry in R and B music. As we celebrate Dexter Wansel's legacy on Funky Pearls Radio, we're reminded of the power of music to transcend boundaries and time. From the hallowed halls of the Uptown Theater to the forefront of Philadelphia International Records, Dexter Wansel's journey is a testament to the enduring spirit of R and B music. His contributions have left an indelible mark, inspiring generations of musicians and music lovers alike.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The O'Jays Story

Radio Funk | Le Podcast de Funky Pearls Radio

Play Episode Listen Later Nov 24, 2023 3:42

Today on Funky Pearls Radio, we're exploring the remarkable story of The O'Jays , a group that has left an indelible mark on R and B and soul music with their harmonious sounds and timeless hits. Originating from Canton, Ohio, The O'Jays were initially formed as a quintet, later evolving into a trio during their most prominent recording years in the mid-1970s at Philadelphia International Records. The original lineup included Walter Williams, Bill Isles, Bobby Massey, William Powell, and Eddie Levert. The group, initially known as The Triumphs and later The Mascots, changed their name to The O'Jays in 1963 as a tribute to the local Cleveland radio DJ, Eddie O'Jay. Their early singles as The Mascots, including 'Story Of My Heart' and 'Lonely Rain', gained local traction and set the stage for their future success. The O'Jays' journey took a significant turn when they met producers Kenny Gamble and Leon Huff. This collaboration led to the release of the album 'The O'Jays In Philadelphia' in 1969, showcasing their early work under Gamble and Huff's guidance. Their big break came in 1972 with the single 'Back Stabbers' from the album of the same name, which became a massive hit. The group's success continued with the release of 'Ship Ahoy' in 1973, featuring the iconic 'For the Love of Money', and their live album 'The O'Jays Live In London' in 1974. Albums like 'Survival' and 'Family Reunion' in 1975 further solidified their status in the R and B world, with hits like 'I Love Music' and 'Living For The Weekend'. Tragedy struck with the passing of William Powell in 1977, but the group continued, with Sammy Strain joining the lineup. Their subsequent albums, including 'Travelin' at the Speed of Thought' (1977) and 'So Full of Love' (1978), which featured 'Use Ta Be My Girl', continued to chart successfully. Throughout the late '70s and '80s, The O'Jays released several albums, including 'Identify Yourself' (1979) and 'My Favorite Person' (1982), showcasing their ability to evolve with the times. Their album 'When Will I See You Again' in 1983 was notable for its modern sound, further demonstrating their versatility. The O'Jays continued to release music into the new millennium, with albums like 'For The Love' (2001) and 'Imagination' (2004). Their contributions to music were recognized with inductions into the Vocal Group Hall of Fame in 2004 and The Rock and Roll Hall of Fame in 2005. In 2003, The O'Jays co-starred in the movie 'The Fighting Temptations', showcasing their talent beyond music. The group's ongoing influence and popularity were celebrated at the 2009 BET Award Show, where they were honored with the Life Time Achievement Award. Despite challenges, including Walter Williams' battle with multiple sclerosis, The O'Jays have continued to inspire with their music and performances. Their latest albums, including 'Christmas With The O'Jays' (2010) and 'The Last Word' (2019), reflect their enduring appeal and legacy. As we honor The O'Jays on Funky Pearls Radio, we celebrate a group that has been the soundtrack to many lives, with songs that speak to love, struggle, and triumph. From their humble beginnings in Canton to the pinnacle of soul and R and B music, The O'Jays' journey is a testament to the enduring power of music to connect, uplift, and endure.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Whispers Story

Radio Funk | Le Podcast de Funky Pearls Radio

Play Episode Listen Later Nov 23, 2023 3:21

Today on Funky Pearls Radio, we're diving into the rich history of The Whispers , an iconic R and B group known for their harmonious vocals and timeless classics. The Whispers, formed in 1963 in the Watts area of South Central Los Angeles, California, started as a quintet featuring Nicholas Caldwell, Walter Scott, Wallace 'Scotty' Scott, Marcus Hutson, and Gordy Harmon. Over the years, the group underwent several changes, but the core of their sound remained intact, defined by soulful melodies and poignant lyrics. Signing to Dore label in 1964, The Whispers released their early singles like 'I Was Born When You Kissed Me', laying the foundation for a career that would span decades. Their transformation from The Mascots to The Whispers in 1963 was a tribute to Cleveland radio DJ Eddie O'Jay, marking a new chapter in their journey. The late '60s saw The Whispers climbing the soul charts with 'The Time Will Come' and achieving their first R and B Top Ten hit with 'Seems Like I Gotta Do Wrong'. Working with Soul Clock and later producers Kenny Gamble and Leon Huff, the group honed their sound, leading to a series of successful albums and singles. In the mid-1970s, Gordy Harmon was replaced by Leaveil Degree from the Friends of Distinction, and the group continued to release hit albums like 'Bingo' and 'Whispers Getting Louder'. Their move to Soul Train Records saw the release of 'One For The Money', showcasing their ability to blend soulful harmonies with dancefloor-friendly tracks. The late '70s and early '80s marked a prolific period for The Whispers, with albums like 'Open Up Your Love', 'Headlights', and 'Happy Holidays To You'. Their self-titled album released in 1979 included the massive hit 'And The Beat Goes On', which was later sampled in Will Smith's 'Miami'. Entering the '80s, The Whispers moved into their most successful period with albums like 'Imagination', featuring hits like 'It's a Love Thing', and 'This Kind Of Lovin'', showcasing their versatility and timeless appeal. Their success continued with albums like 'Love Is Where You Find It', 'Love For Love', 'So Good', and 'Just Gets Better With Time', which included the R and B number one hit 'Rock Steady'. In 1990, their album 'More Than The Night' featured the hit 'Innocent', demonstrating their enduring appeal. Despite the departure of Marcus Hutson due to illness and the decision not to replace him after his death in 2000, The Whispers continued to perform as a quartet. In 2006, they released 'For Your Ears Only', and in 2009 they were back in the U.K. for live performances. Tragedy struck with the passing of Nicholas Caldwell in January 2016, and Gordy Harmon in January 2023, but the legacy of The Whispers lives on. Their contribution to R and B and soul music is unparalleled, with a discography that spans over 32 albums and 39 singles. As we celebrate The Whispers on Funky Pearls Radio, we honor a group whose music has been the soundtrack to countless lives. From their early days in Los Angeles to their rise as R and B legends, The Whispers' journey is a testament to the enduring power of music to connect, inspire, and transcend generations.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

HitStory - Billy Paul - Me and Mrs Jones

De Sublime Ochtendshow - HitStory

Play Episode Listen Later Nov 22, 2023 6:35

Dit verhaal begint bij de toen nog jonge Kenneth Gamble en Leon Huff, de oprichters van platenmaatschappij Philadelphia International Records. De twee zaten vaak in hun vaste kroeg te fantaseren over hoe ze 'Motown' zouden gaan verslaan. Het is dan ook in die kroeg dat hun allereerste nummer 1 voor het label ontstaat. Jaap vertelt je wat Billy Paul bijdroeg aan het succes van deze plaat in een nieuw HitStory!

dit jaap billy paul leon huff philadelphia international records kenneth gamble

Episode 2420: Charlie Ingui of The Soul Survivor's ~ "Expressway to Your Heart", Philadelphia International's #1 Major Music Hit Breakthru

live acast props alice coltrane leon huff face radio

Play Episode Listen Later Oct 14, 2023 46:16

Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud

A Cup Of J.O.E. - iamgregordeee // 13-09-23

The Face Radio

Play Episode Listen Later Sep 13, 2023 177:32

Props and praise everybody as we bring you another edition of a cup of j.o.e. with smooth sounds ranging from Alice Coltrane to Leon Huff. thank you so so much for joining us so enjoy!!!! & black lives still matter!!!!Tune into new broadcasts of A Cup of J.O.E., LIVE, Wednesdays from 9 AM - Noon EST / 2 - 5 PM GMT.For more info visit: https://thefaceradio.com/a-cup-of-j-o-e///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Johnny Madara 'Do The Bop' 'At The Hop'

Talk and Rock Radio Podcast

Play Episode Listen Later Aug 3, 2023 94:18

John Madara was born on May 28, 1936 and grew up in Philadelphia, at a time when the city was teeming with groups and artists such as The Spaniels, The Clovers, Harvey and The Moonglows, Billy Ward and The Dominos and the great Jackie Wilson. Rock and roll was starting to take root and John Madara was destined to make rock and roll history. In 1957, John launched his solo career, with his first record, "Be My Girl," reaching the National charts. That same year, John co-wrote with Dave White a song called "Do The Bop." On the advice of Dick Clark, whose local show, American Bandstand, had just gone National, the title and lyrics were changed to "At The Hop." Danny and The Juniors recorded it, and by Christmas of 1957 it had reached the top of the pop and R&B charts worldwide. "At The Hop" remained #1 for an astounding 7 weeks, the first record ever to reach that success, and it has remained a rock and roll classic to this day. Barry) and “You Don't Own Me” (Lesley Gore). He also produced for Danny and The Juniors, “Rock and Roll Is Here To Stay." In the Mid ‘60s, John, Dave and local D.J. Ray Gilmore formed a group called “The Spokesmen” and released “The Dawn of Correction," an answer song to the enormous hit “Eve of Destruction” by Barry McGuire. At the same time, John was producing for other artists when he discovered a young man, Leon Huff, who later teamed up with Kenny Gamble and became one of the most prolific songwriting teams in the history of rock and roll, defining an entire category of Black popular music known as "The Sound of Philadelphia." He also discovered one of the most prolific duos of all time, Daryl Hall and John Oates. With them he produced two albums. In 1965, John and Dave started their own publishing company, discovering and signing new songwriters. The company was very successful, and in 1984, it was sold to Michael Jackson. In 1967, John, Dave and Local D.J. Ray Gilmore wrote the song, "Sadie The Cleaning Lady," which became a huge hit in Australia with singer, Johnny Farnham. John moved to L.A. in the ‘70s, where he found success writing and producing for movies and television. He produced the soundtrack for the James Caan/Marsha Mason movie, “Cinderella Liberty," and also produced the title song for the Cliff Robertson movie “Ace Eli and Roger of the Sky.” In the mid ‘70s, he was music supervisor for the hugely successful “Sid and Marty Kroft Comedy Hour." This was in conjunction with an ABC Comedy Hour and network special which launched the new ABC season. During that time, John wrote and produced the music for the show, and was hands on with the mixing and editing. In the late ‘70s, he also wrote the theme song for ABC Sports, which ran for two years. Las Vegas was also becoming a happening place for singers and performers. So it would seem appropriate that John would spend two years of his life working with one of the most successful performers of all time, Wayne Newton. He produced two of Wayne's albums and also produced and wrote songs for a Christmas television special for Wayne on CBS. In the mid ‘80s, John teamed up with one of the great film animators of all time, Ralph Bakshi. Ralph, known for the controversial film “Fritz The Cat," and also the highly regarded films “American Pop” and “Lord Of The Rings," needed songs for his upcoming animated film “Hey Good Lookin." John collaborated with the extremely talented writer/singer Ric Sandler, and they wrote and arranged all 18 songs in the film, which John produced. Ric also performed all of the songs. Time Magazine and Playboy raved about the film and later called it a cult classic. Through the years, John has produced albums and singles for companies such as CBS, Warner Bros., Polydor, Atlantic, Paramount, 20th Century, MGM and ABC Records. Madara & White songs have reached millions of people through radio, films and television. Worldwide sales of their songs and productions have reached over 2 hundred million records. Their songs have appeared on some of the biggest grossing soundtrack albums of all time, including “American Graffiti” and “Woodstock” (At The Hop), “Grease” (Rock and Roll is Here to Stay), “Hairspray” (The Fly and You Don't Own Me), “Mr. Holland's Opus” (1-2-3), and “Dirty Dancing” and “The First Wives Club” (You Don't Own Me). It was the 1996 hit film, “The First Wives Club," that paid the contemporary power of their talent the ultimate compliment by not only featuring “You Don't Own Me” but by making it the theme of the movie. Contemporary, in fact, has proven to be one of the mainstays of John Madara's contributions through the years. He has consistently offered the world of music songs that speak clearly of given eras, but have equal impact on all eras. John has continued to write and produce music, working with young, up-and-coming artists. He has always been a futurist, excited about working with new technology and incorporating it into his music and productions. His hands-on approach to every project he is involved in, whether it be as a writer, producer, music supervisor, editor, engineer or mixer, has enabled John to maintain the sound that is uniquely his own. In March of 2001, “At The Hop” was voted by the Recording Industry Association of America as one of the top 100 songs of the century. The soundtrack album, “Grease," was voted one of the top albums of the century. “Rock and Roll Is Here To Stay” is featured on that album.

Helen Scott of The Three Degrees - “When Will I See You Again”

BAAS Entertainment

Play Episode Listen Later Jul 28, 2023 83:53

Episode 80. Host Troy Saunders has his latest conversation with the legendary Helen Scott, one the founders of The Three Degrees, best known for their 1973 worldwide hit, “When Will I See You Again”. The Three Degrees have been doing it and doing it strong for over 60 years and this special episode will focus on their incredible career.Their manager Richard Barrett brought three young teenagers, Scott, Fayette Pinkney and Janet Harmon, together in Philadelphia. The three didn't know each other before joining the group, which recorded for the Philly-based Swan Records. They scored their first hit in 1965 with the single “Gee Baby (I'm Sorry),” which Troy plays a sample of.Troy says that The Three Degrees helped initiate Philadelphia International Records (“You can say it, I won't” quips Scott). Philly International is the legendary Kenneth Gamble & Leon Huff soul label that featured The O'Jays, Patti LaBelle, Teddy Pendergrass, and McFadden & Whitehead. Philadelphia International Records created a musical legacy that culminated in "TSOP (The Sound of Philadelphia)," the 1974 hit recording by MFSB featuring vocals by The Three Degrees that was the theme for “Soul Train,” the first TV theme song (and perhaps the first disco song) to reach number one on the Billboard Hot 100. When Don Cornelius refused to allow any references to “Soul Train” in the single release, The Three Degrees' singing of the title was removed. But, the group would achieve their own major commercial success when “When Will I See You Again” became a hit later that year.Troy and Helen discuss how The Three Degrees had tremendous success in the U.K., where they performed for Prince Charles' 30th birthday celebration at Buckingham Palace. Not only did they tour the palace before most people were able to do so, but they were invited to attend the wedding reception of Prince Charles and Lady Diana, among the few Americans invited. The press even nicknamed The Three Degrees as “Charlie's Angels”. The group performed for almost every member of the royal family in support of their various trusts and charities.Helen is proud that The Three Degrees have maintained that name since 1963. It's been a joyful ride that not many groups have been able to accomplish. The conversation covers the wide range of styles that the group covered throughout their career and Helen is very open and candid in telling their amazing story. She also shares her suggestions to new artists who are just beginning their musical journey. This episode is a memorable dive into a great musical journey from the legendary singer who lived it.Listen and subscribe to the BAAS Entertainment Podcast on Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Spotify, Stitcher and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

The influence of Black music: How 'Flyte Tyme' changed the world from a recording studio

North Star Journey

Play Episode Listen Later Jun 30, 2023 8:26

An obscure funk band founded by a group of Minneapolis teenagers in the early 1970s caused Minnesota's music scene to catch lightning in a bottle not once, but twice. Minnesota has served as home base for two globally recognized music powerhouses — Prince and his Paisley Park sound and the Flyte Tyme Studios' groove of Jimmy “Jam” Harris and Terry Lewis.The band Flyte Tyme was established in 1972. A pre-fame Prince was merely a player in it. The band's name was based on the song “Flight Time” by jazz trumpeter Donald Byrd. Flyte Tyme had a rotating cast for nearly a decade with acclaimed local artists who would go on to work as longtime collaborators and, at times, rivals.That list included the likes of Jellybean Johnson, Cynthia Johnson and Alexander O'Neal who rotated in and out as members. But, the keyboardist and bassist, a young Harris and Lewis, respectively, remained constant. By the time 1980 rolled around, the band was done and Prince had assumed the mantle of king of the local music scene.“The Time” is a truncated version of “Flyte Tyme” and featured Harris and Lewis on keyboards and bass, respectively, and Morris Day on vocals.“Prince once said that the only band he ever feared was The Time,” said Christopher Fuller, co-founder of the Los Angeles-based Black Music Project, a group of artists and academics who promote the history of Black music as the story of America. “And, he was referring to The Time of Morris Day and Jimmy Jam and Terry Lewis and he kind of saw them as a threat. I think that's part of the reason they got fired.”Sources dispute whether it was Prince or Day who fired them, but Harris and Lewis were fired from the band because they were in Atlanta producing music for another act and missed a flight time.The pair could have licked their wounds, founded a middling funk band and carried on. But, they decided to create a music studio in south Minneapolis and later in Edina with their earnings. Make great music and keep it coming Gary Hines spent 10 years as a staff producer for Flyte Tyme and topped the charts with his Flyte Tyme-produced group, “Sounds of Blackness.”When Hines first entered the nondescript building at 4330 Nicollet Avenue on Minneapolis' southside, he knew Harris and Lewis had created something special. “Walking in the door and it was like, ‘Oh, my God!',” he said. “Seeing their Grammys and the photos of artists they had worked with and the range of those artists, you know, Michael, Janet, Lionel Richie … and the groups, New Edition.”To Hines, it was like he was handed the keys to the kingdom.Hines was one of about 10 staff producers, including local artists Jellybean Johnson, Stokely Williams and Jeff Taylor who comprised Flyte Tyme's front line. Their mission was simple: make great music and keep it coming. “The producers would basically live at Flyte Tyme — 12 to 14 hours or more, pretty much daily,” said Hines. “It was part of the joy and the intensity. There was a sign at the entryway that read, ‘The only thing that smokes in this building is the music!'”One of the producers' duties was to screen incoming submissions, which came in the mail, through couriers or were handed directly to the producers. There were demos from unknowns and from celebrities like Dolly Parton. Every staff producer screened hundreds of CDs and cassettes each week. “Jam and Lewis were looking for at least a song a week from us,” Hines said. “It might be two weeks and sometimes it might be a couple in a week.”Besides screening demos for the next hit song, the producers were also writing, often for bands they fronted, Stokely Williams, for example, was lead singer for Mint Condition. The band recorded their hit “Breakin' My Heart (Pretty Brown Eyes)” at Flyte Tyme's Edina studio in 1991. In 1992 the song peaked at No. 6 on the Billboard Hot 100 chart and No. 3 on Billboard's Hot R&B chart.Producers would also assist other projects in the pipeline. Whether it was through singing or playing, everyone was expected to contribute. “You were writing constantly, improving and honing your craft, obviously for their perusal, review and approval,” he said. “They were like ‘Don't not write. Write a bad song, but keep writing. Hone your craft.'”In its heyday, Flyte Tyme churned out 100 Billboard Top 10 songs; 16 Number One Hot 100 hits and 26 R&B Number One hits. That includes Janet Jackson's multi-platinum hit record “Control” which dropped in 1986.The process clearly worked. Imagine 1960s Detroit had spawned a trio of Berry Gordys, who then went on to create two Motowns. That was the late century Twin Cities music scene.But, Christopher Fuller says the Motown comparison is not as accurate as another.“Jimmy and Terry I think one would say they're closer to the Philly International [production studio] of Kenny Gamble and Leon Huff because basically those two were the Philly Sound. And, like Jimmy and Terry, they were songwriters, too. Not just producers,” he said.Fuller adds that unlike legendary Beatles producer George Martin, Jam and Lewis wrote or co-wrote many of the songs for the artists they worked with.Music created at Flyte Tyme reached audiences around the world.Hines remembers the chills he got touring with Sounds of Blackness when he first heard overseas audiences singing along to lyrics borne in Flyte Tyme studios.“Many of whom were not English speaking, but they knew every lyric, not only the choruses, but the verses in the bridge … and were singing them in perfect English!”Since Prince's passing and Flyte Tyme's move away from the Twin Cities, the founders of The Minneapolis Sound may have fallen quiet, but Fuller says their legacy is still with us in the new acts and their songs.“We're still seeing their effect today. The most popular music right now, globally, is K-Pop [Korean Pop Music],” Fuller said. “But, you know what K-Pop is? It's reconstituted Black music – especially 90s R&B, which along with Teddy Riley and New Jack Swing was Flyte Tyme. Jimmy and Terry. Just about all of modern pop music owes a huge debt to them.”

Episode 2387: Charlie Ingui of The Soul Survivor's ~ "Expressway to Your Heart", Philadelphia International's #1 Major Music Hit Breakthru

Play Episode Listen Later Jun 3, 2023 46:16

Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic ,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others.The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud

Public Enemy x Mass Incarceration

Being Black- The '80s

Play Episode Listen Later May 31, 2023 26:07

“Black Steel In the Hour of Chaos” is Public Enemy's look at prison and mass incarceration. In this episode, we leap from that song into talking about the New Jim Crow and mass incarceration and how being in America is like being in a prison. Guests: Dr. Christina Greer, Fordham Professor Hank Shocklee, Producer Adam Bernstein, Director, Black Steel in the Hour of Chaos Jim Jones, Rapper Credits: Public Enemy - Black Steel in the Hour of Chaos Writer: Chuck D, Eric Sadler, Hank Shocklee & Flavor Flav Label: Def Jam Recordings & Columbia Records Publisher: Shocklee Music, Songs Of Reach Music, Songs Of Universal Inc, Terrordome Music Publishing Llc, Your Mother S Music Inc Public Enemy - Fight The power Writer: Flavor Flav, Gary G-Wiz, Chuck D, Hank Shocklee, Eric Sadler & Keith Shocklee Label: Def Jam Recordings Publisher: Reach Global Songs, Shocklee Music, Songs Of Reach Music, Songs Of Universal Inc, Terrordome Music Publishing Llc, Your Mother S Music Inc Public Enemy - Burn Hollywood Burn Writer: Ice Cube, Big Daddy Kane, Chuck D, Keith Shocklee & Eric Sadler Label: Def Jam Recordings & Columbia Records Publisher: Cold Chillin' Music Publishing Inc, Gangsta Boogie Music, Universal Music Corporation Public Enemy - Fear of a Black Planet Writer: Chuck D, Eric Sadler & Keith Shocklee Label: Def Jam Recordings and Columbia Records Publisher: Bridgeport Music Inc, Reach Global Songs, Songs Of Universal Inc Jay Z - 99 Problems Writer: JAY-Z, Rick Rubin, Ice-T, DJ Aladdin, Kenneth Gamble, Leon Huff, N.D. Smart II, Leslie West, Bun B, John Ventura, Norman Landsberg, Billy Squier & Felix Pappalardi Label: Def Jam Recordings & Roc-A-Fella Records Publisher: Carter Boys Music, EMI April Music, Rhyme Syndicate Music, Copyright Control, Ammo Dump Music, Carrumba Music, Songs of the Knight, Spirit Two Music, Warner Music Group, Universal - Songs of Polygram International, BMG & Careers-BMG Music Publishing Muhammad Ali Gives His Stance On The Vietnam War, The Dick Cavett Show Muhammad Ali Refuses Induction, Opposing Vietnam War, The Boys Who Said NO! Michelle Alexander Extended Interview, Religion and Ethics Weekly, PBS Speaking Freely: Chuck D, Freedom Forum House Negro/Field Negro, Malcolm X Message To The GrassrootsSee omnystudio.com/listener for privacy information.

Episode 2366: Charlie Ingui ~ The Soul Survivor's ~ "Expressway to Your Heart", Philadelphia International's #1 Major Music Hit Breakthru

Play Episode Listen Later Mar 29, 2023 46:16

Gamble & Huff, Philadelphia International Rock & Soul Classic Charlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020. Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label. I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS. Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic ,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others.The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBAS Audacy: https://tinyurl.com/BASAud

"Don't Leave Me This Way" 2023-02-26 Random Soundcheck

Random Soundchecks

Play Episode Listen Later Feb 26, 2023 4:02

Harold Melvin & the Blue Notes, Kenneth Gamble, Leon Huff, Cary Gilbert, Thelma Houston, Hal Davis, and me.

soundcheck blue notes harold melvin thelma houston leave me this way leon huff kenneth gamble

Gamble and Huff, els arquitectes del Philadelphia sound

El celobert

Play Episode Listen Later Feb 21, 2023 61:46

Des d'un petit estudi als suburbis de Filad

love money sound philadelphia gamble huff filad harold melvin leon huff billy paul me

154- Pink, Gospel Chops and Trolls :: Brian Frasier-Moore

The Rich Redmond Show

Play Episode Listen Later Feb 10, 2023 61:20

Brian Frasier Moore- Musical Director/Producer/Musician PERFORMED WITH: The Whitehead Brothers, Les Nubians, Jill Scott, Glenn Lewis, Aaliyah, Usher, Goodie Mob, Patti LaBelle, George Howard, Vivian Green, Bruce Parham(Gospel), Ernie Sanders(Gospel), Steve Middleton(Gospel), Vikter Duplaix, Kenny Gamble and Leon Huff, Billy Paul, Bunny Sigler,Teddy Pendergrass, James Poyser, Backstreet Boys, Justin Timberlake, Ciara, Eric Benet, Ginuine, Toni Braxton, Keny "Babyface" Edmonds, Christina Aguilera, Janet Jackson, Madonna, Timbaland, Queen Latifah PERFORMED ON: AOL Sessions Presents: Christina Aguilera AOL Sessions Presents: Backstreet Boys Televised Performances: Jay Leno Conan O'Brien David Letterman Jimmy Kimmell Craig Ferguson Carson Daly Jenny Jones Keenan Ivory Wayans SNL Good Morning America Today Show Later with Jools and Holland SUPERBOWL XLVI SUPERBOWLII SUPERBOWL LIV Award Show Performances: Grammy Awards Latin Grammy Awards MTV Awards MTV Movie Awards American Music Awards Billboard Awards CMT Crossroads VH1: Men Strike Back DVD's: Madonna: "Sticky and Sweet" Madonna: "MDNA" Christina Aguilera: "Christmas 'Reflections' Concert" Christina Aguilera: "Stripped" Christina Aguilera: "Back to Basics" Janet Jackson: "All for You" Glenn Lewis: "Inside My World" Babyface: "Grown and Sexy Live" Usher Live: "My Way” Some Things That Came Up: 2:30 New gig with PINK 4:50 long rehearsals with dancers and pop acts 7:15 daily habits: family, cardio, music enjoyment time 8:15 starting drumming at age 5 and the obligation of church 9:00 first co cert was Amy Grant and finding purpose 10:40 Aliyah and genuine started 30 year touring life 11:00 The Masked Singer and Jimmy Fallon's “That's My Jam” tv shows 19:00 Ignoring the trolls 20:00 www.bfnworld.com 23:20 Consultations 30:00 Listening to reel from dropping the needle on records 30:30 Backing up Lionel Richie, The Eurythmics at Rock N' Roll Hall Of Fame 2033 32:20 A book, a documentary, a solo record 34:00 The genius of Alex Acuna 36:40 John Patitucci's “On The Corner” and THAT sound. 39:30 Guilty pleasure of boxing knockouts and MMA on Tik Tok 41:50 Loop package from www.yurtrock.com 43:40 Recording drums for movies and cartoons 46:15 Documentaries and listening to records 49:50 Playing at The White House for an Obama party 52:50 Family 57:00 Top Gun:Maverick 58:50 Shark Tank product Contact: www.bfmworld.com www.yurtrock.com IG: @bfm22 The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits! Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at: https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1 One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)! Buy Rich's exact gear at www.lessonsquad.com/rich-redmond Follow Rich: @richredmond www.richredmond.com Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur. Follow Jim: @jimmccarthy www.jimmccarthyvoiceovers.com

tv new york family tiktok success los angeles las vegas digital rich playing nashville barack obama illinois white house south carolina documentary connecticut mma crash recording pink guilty usher shark tank loop trolls justin timberlake ignoring top gun maverick drummer drums ciara janet jackson jimmy fallon candid backstreet boys backing rock and roll hall of fame frasier christina aguilera masked singer timbaland jill scott jason aldean lionel richie honing rock n patti labelle consultations eurythmics toni braxton amy grant professional life amazon best selling teddy pendergrass goodie mob eric benet billy paul jools jim mccarthy rich redmond john patitucci my jam george howard glenn lewis vivian green leon huff kenny gamble les nubians vikter duplaix on the corner james poyser bunny sigler alex acuna gospel chops

Me And Mrs. Jones by Billy Paul

Classic 45's Jukebox

Play Episode Listen Later Dec 1, 2022

Label: Phil. Int'l. 3521Year: 1972Condition: M-Last Price: $15.00. Not currently available for sale.Listening to this Philly Soul classic again today, I was thinking that the spark of genius at work here, in the collaboration among Kenny Gamble, Leon Huff and Bobby Martin, is precisely the same as that which gave life to the Motown genius of producer/writers like Norman Whitfield & Barrett Strong, with miracles of Soul music such as "Just My Imagination" by the Temptations. Anyway, what I mean is... I love it! Not on the Rolling Stone, Dave Marsh or Kev Roberts lists? I think I'm hearing something those guys don't, cause to me this is a 2-star recommendation (our highest)! Note: This beautiful copy comes in a vintage Philadelphia Int'l Records factory sleeve. It has gorgeous, pristine Mint audio.

Como lo oyes - Black Lover - 23/09/22

Como lo oyes

Play Episode Listen Later Sep 23, 2022 58:34

Seguimos combinando actualidad y nuestra búsqueda habitual de grandes clásicos del soul, rhythm and blues, funk, disco, rap, etc. Hoy rescatamos a Phillip Bailey, One way, Windjammer o Stevie Wonder. Joe Simon nacido en septiembre de 1943 en Simmesport, Louisana. Más intérprete que autor hoy ofrecemos su versión de un clásico de Kenny Gamble y Leon Huff que fue su éxito hace medio siglo exactamente. Antes había grabado como miembro del grupo vocal The Golden Tones for Hush en 1960. Comenzamos con el nuevo disco del guitarrista madrileño Pedro Andrea que hace un par de homenajes a Wonder. DISCO 1 PEDRO ANDREA Isn’t She Lovely (2) DISCO 2 STEVIE WONDER Boogie On Reggae Woman 1974 (ESCA) DISCO 3 JONAS BLUE & Louisa Johnson Always Be There (ESCA) DISCO 4 DANNY TOEMAN When The Lights Go Down (ESCA) DISCO 5 JOE SIMON Drowning On The Sea Of Love (ESCA) DISCO 6 ONE WAY Condemned (Cara 2 Corte último) DISCO 7 JOHN LEGEND ft. Saweetie All She Wanna Do (ESCA) DISCO 8 TRISTAN SIMONE Music Is Dead (ESCA) DISCO 9 EARTH WIND & FIRE & Angie Stone Wonderland (PROMISE) (ESCA) DISCO 10 PHILLIP BAILEY & Phil Collins Easy Lover (Cara 2 Corte 1) DISCO 11 BROTHERS JOHNSON Stomp! (ESCA) DISCO 12 DIANA ROSS Let’s Do It (ESCA) DISCO 13 GAIL ANN DORSEY Wasted Country (Cara 1 45 RPM) Corporate World WINDJAMMER I Thought It Was You (Cara 1 Corte 3) Escuchar audio

Episode 2276: Charlie Ingui of The Soul Suvivors ~ "Expressway to Your Heart", Philadelphia International's #1 Major Music Hit Breakthru Pt 1

world change sound philadelphia press oppression god bless high calling world better calling of god john whitehead thom bell leon huff kenny gamble philadelphia international records

Play Episode Listen Later Jul 2, 2022 43:41

Gamble & Huff, Philadelphia International Rock & Soul Classic Charlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020. Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label. I am a Music Lover of All Styles, Generations. This Week I Flashback....... The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS. Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969. During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing. Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic ,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others. The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2022 All Rights Reserved© 2022 Building Abundant Success!!Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBAS

Press on Toward the Mark of the High calling of God

GROW Podcast

Play Episode Listen Later Jun 25, 2022 19:35

GROW Greatness Reached over Oppression through Wisdom Wake up Everybody, The World won't get no better, if we just let it beThe World won't get no better, We got to Change it yeah, You and meGene McFadden and John Whitehead became songwriters for Philadelphia International Records, a soul music power house, together they would team with Victor Carstarphen along with Leon Huff, Kenny Gamble and Thom Bell to create The Sound of Philadelphia;‘Wake Up Everybody No More Sleepin In BedNo More Backward Thinkin Time For Thinkin AheadThe World Has Changed So Very MuchFrom What It Used To Be SoThere Is So Much Hatred War An' PovertyWake Up All The Teachers Time To Teach A New WayMaybe Then They'll Listen To Whatcha Have To SayCause They're The Ones Who's Coming Up And The World Is In Their HandsWhen You Teach The Children Teach Em The Very Best You Can.The World Won't Get No Better If We Just Let It BeThe World Won't Get No Better WeGotta Change It Yeah, Just You And Me.Wake Up All The Doctors Make The Ol' People WellThey're The Ones Who Suffer An' Who Catch All The HellBut They Don't Have So Very Long Before The Judgement DaySo Won'tcha Make Them Happy Before They Pass Away.Wake Up All The Builders Time To Build A New LandI Know We Can Do It If We All Lend A HandThe Only Thing We Have To Do Is Put It In Our MindSurely Things Will Work Out They Do It Every Time'Wake Up EverybodySung by Teddy PendergrassWe got to Change it yeah, You and Me Sow Love, be the Change to make the World Better for you and me God Bless you as You GROW

Celebrating Gamble and Huff

IncenseNashtrays

Play Episode Listen Later Jun 6, 2022 149:26

Tonight we review the music of Philadelphia International Records founders Kenny Gamble and Leon Huff. Their music was full of life, love, and soul. Sit back, relax and enjoy. This Series on my Black American Music tree breaks down who, what, when, where, and how black American music has influenced the world.

american gamble huff this series leon huff kenny gamble philadelphia international records

Michael Jackson Part 1 of 2

Icons and Outlaws

Play Episode Listen Later May 30, 2022 65:35

The future king of pop, Michael Joseph Jackson, was born on August 29, 1958 in Gary, Indiana. Joe Jackson, Michael's dad, was a former boxer and crane operator at U.S. Steel during the 1950s in Gary – according to a fantastic article by Rolling Stone, quoted in the book; Dave Marsh's Trapped: Michael Jackson and the Crossover Dream, there were actual quotas in place on how many black workers were allowed to move up the ladder into skilled trades in the city's mills. This idiocy meant black workers were paid less than white workers. Unfortunately, this also meant they were subject to higher rates of fatal industry-related illnesses – but Papa Joe hoped that music would lift his life. Michael's mother, Katherine Scruse, was from Alabama but lived in East Chicago, Indiana when she met Joe. Momma Katherine played clarinet and piano, had dreams of being a country-and-western performer, worked part-time at Sears, and was a Jehovah's Witness. She grew up listening to country & western music, and even though she had a dream to be a musician, she was stricken with a bout of polio that had left her with an unfortunate and permanent limp. Papa Joe and Momma Katherine were young when they married in 1949 and started on the idea of a big ol family. The first of the bunch was Maureen (aka Rebbie) in 1950, then Sigmund (aka Jackie) in 1951, Toriano (Tito) followed up in 1953, Jermaine in 1954, La Toya in 1956, Marlon in 1957. Then there came Michael in 1958, Randy in 1961, and little baby Janet in 1966, making her 16 years younger than Rebbie. Marlon was actually a twin but their brother, Brandon, died shortly after birth. M.J. and his cluster of brothers and sisters constantly had music around them. Papa Joe was super into the new electric R&B sound tearing up Chicago, which wasn't far away, not to mention the beginning stages of early rock & roll. So Papa Joe formed a band with his brothers called "the Falcons," making some extra coin in the surrounding area at parties and small clubs. In his 1988 autobiography, Moonwalk, Michael wrote, "They would do some of the great early rock & roll and blues songs by Chuck Berry, Little Richard … you name it," Going on to say, "All those styles were amazing, and each had an influence on … us, though we were too young to know it at the time." The Falcons eventually broke up, and Papa Joe put down his guitar and hid it in his bedroom closet. He wouldn't let anyone near it, let alone touch it, giving us insight into his control over the household. Regardless of Papa Joe's musical dismay, Momma Katherine taught her flock of kiddies how to harmonize while listening to her favorite country/western songs. Tito, just like daddy, was drawn to music and one day thought it was a bright idea to snag Papa Joe's precious guitar from the closet and take it to practice with his brothers. Well, guess what? He broke a string. Michael later said Joe whipped Tito for the infraction and, "he let him have it,." After the whoopin', Papa Joe told Tito to show him what he could do on the guitar. Well, Papa joe was floored. Tito impressed the crap out of him. Is it possible that at that very moment, Papa Joe's lightbulb blew a breaker and saw his musical dreams come to fruition vicariously through his kids? First, he bought Tito his own guitar and taught him some Ray Charles music, then he got Jermaine a bass. Soon he was working all his sons into an ensemble. So, I'm going to say yes, the breaker blew. Papa Joe loved the blues, but he appreciated that his kids liked the new R&B – Motown and soul – and more than likely saw dollar signs every time they mentioned it. Joe wanted Jermaine to be the lead singer with Jackie and Tito, and Michael and Marlon playing the tambourine and congas. Michael has said that his father told him he had a "fat nose" (just a little foreshadowing here) and abused him during rehearsals. Michael recalled that Joe often sat in a chair with a belt in his hand as his children rehearsed, ready to punish any mistakes. Joe acknowledged that he regularly whipped Michael. Katherine said that although whipping came to be considered abuse, it was a common way to discipline children when Michael was growing up. Jackie, Tito, Jermaine, and Marlon have said that their father wasn't abusive and that the whippings, which were harder on Michael because he was younger, kept them disciplined and out of trouble. Michael said his childhood was lonely and isolated. At just four years old, Momma Katherine saw Michael singing along to a James Brown song, and she saw – in both his voice and moves – he was already better than his older brother. So she told Joe, "I think we have another lead singer." Katherine would later say that sometimes Michael's precocious abilities frightened her – she probably saw that his childhood might give way to stardom – but she also noticed that there was something undeniable about his young voice. Michael was also a natural entertainer. He absolutely loved singing and dancing, and because he was so young, the choice was clear, Michael was young, AND Michael was BAD. Get it? No? He was fantastic, OK? Joe Jackson was good at what he did. "He knew exactly what I had to do to become a professional," Michael later said. "He taught me exactly how to hold a mic, make gestures to the crowd, and handle an audience." But by Joe's own admission, he was also unrelenting. "When I found out that my kids were interested in becoming entertainers, I really went to work with them," he told the time in 1984. "I rehearsed them about three years before I turned them loose. That's practically every day, for at least two or three hours. … They got a little upset about the whole thing in the beginning because the other kids were out having a good time. … Then I saw that after they became better, they enjoyed it more." That isn't always how Michael remembered it. "We'd perform for him, and he'd critique us," he wrote in Moonwalk. "If you messed up, you got hit, sometimes with a belt, sometimes with a switch. … I'd get beaten for things that happened mostly outside rehearsal. Dad would make me so mad and hurt that I'd try to get back at him and get beaten all the more. I'd take a shoe and throw it at him, or I'd just fight back, swinging my fists. That's why I got it more than all my brothers combined. I'd fight back, and my father would kill me, just tear me up." Those moments – and probably many more – created a loss that Jackson never got over. He was essential to the family's music-making, but there was no other bond between father and son. Again, from Moonwalk: "One of the few things I regret most is never being able to have a real closeness with him. He built a shell around himself over the years, and once he stopped talking about our family business, he found it hard to relate to us. We'd all be together, and he'd just leave the room." Around 1964, Joe began entering the Jackson brothers in talent contests, many of which they handily won. Michael started sharing lead vocals with Jermaine, and the group's name was changed to the Jackson 5. In 1965, the group won a talent show; Michael performed the dance to Robert Parker's 1965 song "Barefootin'" and sang the Temptations' "My Girl." From 1966 to 1968, the Jackson 5 toured the Midwest; they frequently played at a string of black clubs known as the Chitlin' Circuit as the opening act for artists such as Sam & Dave, the O'Jays, Gladys Knight, and Etta James. Oh, and James Brown. No one was as important to Michael as James Brown. "I knew every step, every grunt, every spin and turn," he recalled. "He would give a performance that would exhaust you, just wear you out emotionally. His whole physical presence, the fire coming out of his pores, would be phenomenal. You'd feel every bead of sweat on his face, and you'd know what he was going through….You couldn't teach a person what I've learned just standing and watching." The chitlin circuit was a collection of performance venues throughout the eastern, southern, and upper Midwest areas of the United States that provided commercial and cultural acceptance for African American musicians, comedians, and other entertainers during the era of racial segregation in the United States through the 1960s. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows were featured, and local auditoriums and high school dances. In August 1967, while touring the East Coast, they won a weekly amateur night concert at the Apollo Theater in Harlem, NY. "At first, I told myself they were just kids," Joe said in 1971. "I soon realized they were very professional. There was nothing to wait for. The boys were ready for stage training, and I ran out of reasons to keep them from the school of hard knocks." So in 1966, he booked his sons into Gary's black nightclubs and some in Chicago. Many of the clubs served alcohol and several featured strippers. "This is quite a life for a nine-year-old," Katherine would remind her husband, but Joe was undaunted. "I used to stand in the wings of this one place in Chicago and watch a lady whose name was Mary Rose," Michael recalled. "This girl would take off her clothes and panties and throw them to the audience. The men would pick them up and sniff them and yell. My brothers and I would be watching all this, taking it in, and my father wouldn't mind." Sam Moore of Sam and Dave recalled Joe locking Michael – who was maybe 10 years old – in a dressing room while Joe went off on his own adventures. Michael sat alone for hours. He also later recalled having to go onstage even if he'd been sick in bed that day. On those tours, the most famous place was the Apollo in New York, where the Jackson 5 won an Amateur Night show in 1967. Joe had invested everything he had in his sons' success, though any accurate recognition or profit would also be his success. While on the circuit, Joe had known Gladys Knight, who was enjoying a string of small wins with Motown, America's pre-eminent black pop label. With the encouragement of both Knight and Motown R&B star Bobby Taylor, of Bobby Taylor and the Vancouvers, Joe took his sons to Detroit to audition for the label after they opened for Taylor at Chicago's Regal Theater in 1968. Taylor produced some of their early Motown recordings, including a version of "Who's Lovin' You." In 1969, Motown moved the Jackson family to Los Angeles, set them up at the homes of Diana Ross and the label's owner, Berry Gordy, and began grooming them. Finally, Motown executives decided Ms. Ross should introduce the Jackson 5 to the public. Michael remembered Gordy telling them, "I'm gonna make you the biggest thing in the world. … Your first record will be a number one, your second record will be a number one, and so will your third record. Three number-one records in a row." In 1959, Gordy founded Tamla Records – which soon became known as Motown – in Detroit. By the time he signed the Jackson 5, Motown had long enjoyed its status as the most essential black-owned and -operated record label in America, spawning the successes of Smokey Robinson and the Miracles, the Temptations, Mary Wells, the Four Tops, and Diana Ross and the Supremes, among others. Unlike Stax and Atlantic, Motown's soul wasn't incredibly bluesy or gritty, nor was it music that spoke explicitly to social matters or to the black struggle in the U.S. By its nature, the label exemplified black achievement. Still, its music was made to be consumed by the pop mainstream – which of course, meant a white audience as much as a black one (the label's early records bore the legend "The Sound of Young America"). At the time, rock music was exceedingly becoming a medium for full-length albums. However, Motown maintained its identity as a label that manufactured hit singles, despite groundbreaking albums by Stevie Wonder and Marvin Gaye. Gordy was looking for a singles-oriented group to deliver hits for young people and give them somebody to identify as their own and admire. The Jackson 5, Gordy said, would exemplify "bubblegum soul." The Jackson 5 made their first television appearance in 1969 in the Miss Black America pageant, performing a cover of "It's Your Thing." Rolling Stone later described the young Michael as "a prodigy" with "overwhelming musical gifts" who "quickly emerged as the main draw and lead singer." The Jackson 5's first three singles – "I Want You Back," "ABC" and "The Love You Save" – became Number One hits as Gordy had promised, and so did a fourth, "I'll Be There." "I Want You Back" became the first Jackson 5 song to reach number one on the U.S. Billboard Hot 100; it stayed there for four weeks. It was originally written for Gladys Knight and The Pips and Diana Ross. The group was established as the breakout sensation of 1970. Fred Rice, who would create Jackson 5 merchandise for Motown, said, "I call 'em the black Beatles. … It's unbelievable." And he was right. The Jackson 5 defined the transition from 1960s soul to 1970s pop as much as Sly and the Family Stone. When many Americans were uneasy about minority aspirations to power, the Jackson 5 displayed an agreeable ideal of black pride, reflecting kinship and aspiration rather than opposition. Moreover, they represented a realization that the civil rights movement made possible, which couldn't have happened even five or six years earlier. Not to mention, the Jackson 5 earned the respect of the critics. Reviewing "I Want You Back" in Rolling Stone, Jon Landau wrote, "The arrangement, energy and simple spacing of the rhythm all contribute to the record's spellbinding impact." Yes, we all they were a fantastic group. However, there was no question about who the Jackson 5's true star was and who they depended on. Michael's voice also worked beyond conventional notions of male-soul vocals – it surpassed genders. Cultural critic and musician Jason King wrote, "It is not an exaggeration to say that he was the most advanced popular singer of his age in the history of recorded music. His untrained tenor was uncanny. By all rights, he shouldn't have had as much vocal authority as he did at such a young age." In May 1971, the Jackson family moved into a large house on a two-acre estate in Encino, California. Michael turned from a child performer into a heart-throbbing teen idol during this period. Michael and his brothers seemed like they were everywhere for at least the first few years and enjoyed the praise of the masses. But soon, they experienced some problematic limitations. The music they were making wasn't really of invention – they didn't write or produce it – and after Michael was relegated to recording throwback tunes like "Rockin' Robin," in 1972, he worried that the Jackson 5 would become an "oldies act" before he left adolescence. Michael released four solo studio albums with Motown: Got to Be There (1972), Ben (1972), Music & Me (1973), and Forever, Michael(1975). "Got to Be There" and "Ben," the title tracks from his first two solo albums, sold well as singles, as did a cover of the aforementioned, Bobby Day's "Rockin' Robin." They were frustrated by Motown's refusal to give creative input, so The Jackson 5 started producing themselves and creating their own sound. When given creative leeway, Stevie Wonder and Marvin Gaye showed the ability to grow and change – and sell records. And with 1974's "Dancing Machine," the Jacksons proved they could thrive when they tackled a funk groove and brought the robot dance into popularity. Motown, however, wouldn't consider it. "They not only refused to grant our requests," Michael said in Moonwalk, "they told us it was taboo to even mention that we wanted to do our own music." Michael understood this: Motown would not let the Jackson 5 grow. But unfortunately, they also wouldn't let him grow as an artist. So Michael waited, studying the producers he and his brothers worked with. "I was like a hawk preying in the night," he said. "I'd watch everything. They didn't get away with nothing without me seeing. I really wanted to get into it." In 1975, The Jackson 5 left Motown, and Joe Jackson negotiated a new deal for his sons with Epic Records for a 500 percent royalty-rate increase and renamed themselves the Jacksons, with younger brother Randy joining the band around this time. The contract also stipulated solo albums from the Jacksons (though the arrangement did not include Jermaine, who married Gordy's daughter Hazel and stayed with Motown, creating a rift with the family that lasted for several years). Motown tried to block the deal and stopped the brothers from using the Jackson 5 name. Instead, epic initially placed them with Philadelphia producers Kenny Gamble and Leon Huff. Still, it wouldn't be until 1978's "Destiny" that the Jacksons, with Michael as their primary songwriter, finally took control over their music and rebranded their sound with the dance-tastic hits "Blame It on the Boogie" and "Shake Your Body (Down to the Ground)," while bringing a newly found emotional embellishment in songs like "Push Me Away" and "Bless His Soul." Destiny, however, was just the start. After that, Michael was ready to make significant changes to establish his dominance as a solo artist. In 1977, Michael moved to New York City to star as the Scarecrow in The Wiz. It costarred Diana Ross, Nipsey Russell, and Ted Ross. The movie was a box-office failure but has gained significant traction as a cult classic. Its score was arranged by a gentleman named Quincy Jones, who later produced three of Michael's solo albums. In New York, Jackson often hung out at the Studio 54 nightclub, where he discovered early hip hop; this influenced his beatboxing on future tracks such as "Working Day and Night." In 1978, Jackson broke his nose during a dance routine. A rhinoplasty led to breathing difficulties that later affected his career. During this time, he fired his father as his manager and found himself a new father figure, that guy Quincy Jones. Jones was a respected jazz musician, bandleader, composer, and arranger who had worked with Clifford Brown, Frank Sinatra, Lesley Gore, Count Basie, Aretha Franklin, and Paul Simon. In addition, he wrote the film scores for The Pawnbroker, In Cold Blood, and In the Heat of the Night. Michael liked Quincy's ear for mixing complex hard beats with soft overlayers. "It was the first time that I fully wrote and produced my songs," Jackson said later, "and I was looking for somebody who would give me that freedom, plus somebody who's unlimited musically." Specifically, Michael said his solo album had to sound different than the Jacksons; he wanted a cleaner and funkier sound. These two getting together was history in the making. Quincy brought an ethereal buoyancy to Michael's 5th solo album, Off the Wall, and his soft erotic fever on songs like "Rock With You" and "Don't Stop' Til You Get Enough," and in a fantastic moment like "She's Out of My Life," Where Quincy pulled out and left the intense heartbreak in Michael's voice. The tears in She's Out of My Life are real. Jackson would break down in tears at the end of each studio take. "We recorded about - I don't know - 8 to 11 takes, and every one at the end, he just cried," producer Quincy Jones said. "I said, 'Hey - that's supposed to be, leave it on there.'" The resulting album was a massive hit, selling more than 5 million copies in the U.S. alone by 1985 and producing four top ten singles. It reached number 3 on the Billboard 200 and sold more than 20 million copies worldwide. “Don't Stop Til You Get Enough” was solely written by Michael. He decided to write the song after constantly humming the melody at home. Michael won three American Music Awards for his solo work in 1980: Favorite Soul/R&B Album, Favorite Soul/R&B Male Artist, and Favorite Soul/R&B Single for "Don't Stop 'Til You Get Enough." He also won a Grammy Award for Best Male R&B Vocal Performance for "Don't Stop 'Til You Get Enough." However, he thought he should have taken away more. The Doobie Brothers' "What a Fool Believes" won Record of the Year, and Billy Joel's 52nd Street won Album of the Year. Michael was stunned and kind of bitter. "My family thought I was going crazy because I was weeping so much about it," he later said. "I felt ignored and it hurt. I said to myself, 'Wait until next time' – they won't be able to ignore the next album. … That experience lit a fire in my soul." Michael told Quincy and others that his next album wouldn't simply be more immense than "Off the Wall," it would be the biggest album ever. Man, he wasn't lying. In 1981, Michael was the American Music Awards winner for Favorite Soul/R&B Album and Favorite Soul/R&B Male Artist. In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit. So what are royalties, you may ask? Music royalties are compensation payments received by songwriters, composers, recording artists, and their respective representatives in exchange for the licensed use of their music. Michael recorded with Freddie Mercury, the star-studded frontman of future Icons Queen, from 1981 to 1983, recording demos of "State of Shock," "Victory," and "There Must Be More to Life Than This." The recordings were supposed to be for an album of duets, but, according to Queen's manager Jim Beach, the relationship went to crap when Jackson brought a llama into the recording studio. Yes, a llama. Also, Michael was upset by Mercury's drug use. But yet... a llama. Luckily, those songs were released in 2014. Michael recorded "State of Shock" with Mick Jagger for the Jacksons' album Victory (1984), the fifteenth studio album by the Jacksons. The album was the only album to include all six Jackson brothers together as an official group; also, it was the band's last album to be entirely recorded with Michael as lead singer. In 1982, Michael contributed "Someone in the Dark" to the audiobook for the film E.T. the Extra-Terrestrial.

united states america music new york california new york city chicago man los angeles state americans sound ms philadelphia ny victory alabama dad forever night detroit african americans record abc indiana wall heat dark witness cultural miracles atlantic beatles vancouver midwest studio michael jackson rolling stones ground knight east coast apollo papa steel shock atlanta falcons billboard mercury grammy awards frank sinatra number one temptations stevie wonder aretha franklin my life tito jehovah circuit boogie james brown motown billy joel rockin sears marvin gaye mick jagger quincy jones freddie mercury lovin paul simon ray charles diana ross sly scarecrows little richard wiz chuck berry supremes latoya smokey robinson billboard hot gladys knight family stone american music awards jacksons etta james joe jackson gordy pips my girl moonwalk count basie sigmund apollo theater four tops epic records berry gordy encino in cold blood robert parker mary rose i want you back sam moore jason king young america blame it lesley gore mary wells papa joe clifford brown fool believes amateur night east chicago jon landau jim beach sam dave chitlin bobby taylor your thing leon huff rock with you dave marsh kenny gamble pawnbroker dancing machine stop til you get enough miss black america michael joseph jackson rebbie music me shake your body down

2022.04.15 WORLD PREMIERE with Mark Evich

The Drop with Danno on GFN 광주영어방송

Play Episode Listen Later Apr 15, 2022 139:19

As broadcast April 15, 2022 with plenty of exclusive stuff to take home with you. Tonight we welcomed LA-based soul singer-songwriter Mark Evich to the show, and just like our conversations via text leading up to this, we covered a lot. From his disgust with the Russian invasion of Ukraine to the influence of an art teacher helping him discover his love of rnb back in the day, it was a great conversation not to mention the choice selects on the playlist! We're honored to give the world premiere spin to his upcoming single "PRIME," which you can only get a listen to right here on The Drop until next Friday!#feelthegravityTracklisting:Part I (00:00)Archie Bell & The Drells – StrategyDwele – A.N.G.E.L. Karriem Riggins – Bahia DreaminEric Lau – Contacttajima hal – WavemotionBADBADNOTGOOD feat Arthur Verocai & Karriem Riggins – Beside April Part II (30:03)The Hue feat Kissey Asplund – Stressin' Thes One – Hard TimesVanJess feat Lucky Daye – Slow DownMasego & FKJ – TadowDJ Cam Quartet – Rebirth of CoolRobert Glasper Experiment with Pete Rock – Everybody Loves The Sunshine Part III (66:50)Mark Evich – Back Home with UTemu – Wear My Shoes Lynda Dawn – Fonk StreetLeon Bridges – Bad Bad NewsLuis Miguel – Luz VerdeZo! feat Eric Roberson – We Are On The Move Part IV (114:14)Mark Evich – PRIMEKeni Burke – Risin' to the TopLarry June – 6am in SausalitoRick Ross – Santorini GreeceBsuavee feat WESTSIDE BOOGIE, Yoey Composes & Yelly – California DreamSteelo feat Arin Rey & Buddy – My Love

music new york california live history texas new york city interview strategy los angeles soul france japan san francisco russia ukraine radio toronto russian drop detroit blues vietnam tx teachers brasil vladimir putin nigeria korea sisters beats premiere prime funk playlist worldwide moscow buddy sf live show influences new music zo seoul rick ross rnb busan temu lofi world premiere dance music luis miguel music history yokohama hue nightly downtempo antiwar leon bridges public radio spread love people under the stairs roy ayers masego sausalito radio free badbadnotgood rize larry june music radio gilles peterson gwangju dwele fkj archie bell jt donaldson vanjess westside boogie philly soul dj cam leon huff live record steelo robert glasper experiment om records arthur verocai philadelphia international eric lau keni burke everybody loves the sunshine gfn mushroom jazz thes one kissey asplund jazzy beats

Soulbeat: Butler's Songwriters Workshop (04/04/22)

SoulBeat

Play Episode Listen Later Apr 4, 2022

"La música negra se está involucrando intelectualmente. Se estaba metiendo en cosas que realmente tocan a la gente. La música en sí misma se está volviendo más honesta" JB Con José Manuel Corrales.

workshop butler songwriters dinah washington terry callier leon huff kenny gamble philadelphia international records soulbeat

Soulbeat: Butler's Songwriters Workshop (04/04/22)

SoulBeat

Play Episode Listen Later Apr 4, 2022

"La música negra se está involucrando intelectualmente. Se estaba metiendo en cosas que realmente tocan a la gente. La música en sí misma se está volviendo más honesta" JB Con José Manuel Corrales.

workshop butler songwriters dinah washington terry callier leon huff kenny gamble philadelphia international records soulbeat

GROOVIN' BLUE SHOW 22 - 03

WAGRadio

Play Episode Listen Later Mar 30, 2022 79:37

Dedicated to the memory of Dr. Li Wenliang 1. ( :27) WAGRadio GB 22-03 Intro - Convened unobservantly together by the brain (but mostly brawn) of the WAGRadio Vinyl Librarian William "Fats Is Back" Reiter in his spare time. This one was much too short! 2. (2:36) "edamame (DJ Beatzilla & Bossa Nova Stimulate Edit)" - Bbno$, RICH BRIAN, NuKey [88 rising] 3. (2:14) "edamame (instrumental)" - Bbno$, RICH BRIAN, NuKey [88 rising] 4. ( :30) WAGRadio Rollin' Satellite Id 5. (4:27) "Keep On Movin' (Marco Corona Cuts)" - DEODATO [Krone Records] 6. ( :47) Stereo Explained . . . 7. (2:44) "(There's Gonna Be A) Showdown" - ARCHIE BELL & THE DRELLS [Atlantic Lp No. SD 8226 "(There's Gonna Be A) Showdown"] 1968 - Norman Harris, Roland Chambers (gtr), Bobby Martin (vb), Leon Huff (pn), Thomas Bell (org), Ronnie Baker (bs), Earl Young (dm), Vince Montana (perc) Arr. Bobby Martin Prod. Gamble - Huff 8. ( :18) WAGRadio DJZZ Orig. Id 2019 9. (6:09) "Funky Feeling (DJZigZag Pungle Junk EdiT)" - TWO LEE [Bunny Clan] 10.(2:50) "Good Times" - ZAK ABEL [Vertigo Berlin] 11.(2:53) "I Need Your Loving" - DON GARDNER and DEE DEE FORD [Fire 45rpm No. 508] 1962 A Bobby Robinson Production 12.(1:01) WAGRadio 2020 Retro Id 13.(4:05) "Pull Down" - BLACK MIGHTY WAX, DJ FADE [Irma Dance Floor Records] 14.( :06) WAGRadio Kolt ZigZag Id 15.(3:14) "Real Thing" - PINK SWEAT$ ft. TORI KELLY [Atlantic] 16.( :31) WAGRadio 2019 CompSegue Id 17.(4:16) "You Are My Girl (Funky Mix)" - CHRISTINE de VILLA, ENOIS SCROGGINS [Toulhouse] 18.(3:27) "Jack That Cat Was Clean" - DR. HORSE [Fire 45rpm No. 514] 1962 Prod. Bobby Robinson & Marshall E. Sehorn 19.(3:50) "What Is Jazz (DJZigZag Clyde The Ethiopian EdiT)" - G. MARKUS, BEN GOMORI [Monologues Records] 2021 20.(6:52) "Chameleon" - RON HOLLOWAY ft. LARRY WILLIS [Milestone Cd No. MCD-9276-2 "Groove Update"] 1998 - James King (bs), Lenny Robinson, Rodney Youngs (dm), Benjie Porecki (kybd), Barnett Williams (kybd, perc), Larry Willis (pn), Ron Holloway (tn sx) 21.( :41) WAGRadio Luv See Id 22.(2:01) "Bruce (DJZigZag X10DaMix)" - BLUEWERKS, NOKIAA [Astralwerks] 23.(2:59) "Lost Sometimes" - JULIA SHUREN and WAMI [That Eric Alper PR] 24.( :32) WAGRadio Rollin' Wit ZeeZee Id 25.(4:02) "Oulala (Doug Gomez Merecumbe Soul Radio Mix)" - IGNACE de SOUZA, BODDHI SATVA, DOUG GOMEZ [Soul N Pepa] 26.(3:28) "I (Who Have Nothing) - JOHN EDWARDS [Cotillion Lp No. SD9009] 1976 27.(5:52) "Track ID2" - MR. ID, YOUNES AKHRAZ [Kaoz Theory] 28.(2:26) "Love Nwantiti (Ah Ah Ah)" - CKAY [Chocolate City Music] Nigeria 29.(2:36) "Bounce It" - LaTheGoat, BIG FREEDIA [Queen Diva Music] 30.( :06) G.B. End 79:37 http://wagradioonline.blogspot.com

id dedicated villa sd souza arr prod mcd groovin james king boddhi satva rich brian bbno leon huff bobby martin ronnie baker larry willis

Episode 37: Philly Soul and the Sound of the 70s

For the Record: The 70s

Play Episode Listen Later Feb 28, 2022 45:55

There is no single sound that defines the 70s but there is no doubt that Philly Soul, or the Sound of Philadelphia, is an essential element. The O'Jays, The Spinners, Three Degrees, Harold Melvin and the Blue Notes, and Billy Paul are just some of the artists that created silky, lush soul records under the direction of "The Mighty Three": Thom Bell, Kenny Gamble, and Leon Huff. With a distribution deal from Clive Davis at CBS Records, Gamble and Huff were not only the McCartney and Lennon of the 70s, they created Philadelphia's Motown. Their brand of soul, or "funk dressed in a tuxedo" was not just dressed up R&B, but also told stories and spoke to social issues that were part of the fabric of the 70s. --- Send in a voice message: https://anchor.fm/amy-lively/message

sound philadelphia gamble motown mccartney huff spinners clive davis blue notes three degrees harold melvin billy paul cbs records philly soul leon huff kenny gamble

PIR Episode 1: Start a Love Train

Play Episode Listen Later Feb 25, 2022 18:08

In the first episode of our podcast on The Story of Philadelphia International Records, we'll introduce you to our host, John Morrison, who will kick things off with a trip through the early days of Philadelphia International Records. We'll also explore 1972's Back Stabbers by The O'Jays and 1972's 360 Degrees of Billy Paul by Billy Paul, featuring exclusive interviews with Kenny Gamble, Leon Huff and Mark Anthony Neal, the James B. Duke professor of African American Studies at Duke University. This season of the VMP Anthology Podcast is hosted by John Morrison. It's written by John Myers and Alex Lewis, with help from John Morrison. It was produced by Alex Lewis and John Myers of Rowhome Productions, and executive produced by Amileah Sutliff. A special thanks to the people at Sony Music and Philadelphia International Records.

PIR Episode 3: Wake Up Everybody

Play Episode Listen Later Feb 25, 2022 18:31

Next up, our journey through Philadelphia International Records finds us right at the label's height of ubiquity during the mid-1970s. This episode will cover the story of Harold Melvin and The Blue Notes' 1975 record, Wake Up Everybody, and Dexter Wansel's widely sampled 1976 record, Life on Mars, featuring interviews from Kenny Gamble, Leon Huff, PIR vocal trio The Jones Girls member, Shirley Jones, and Mark Anthony Neal, the James B. Duke professor of African American Studies at Duke University. This season of the VMP Anthology Podcast is hosted by John Morrison. It's written by John Myers and Alex Lewis, with help from John Morrison. It was produced by Alex Lewis and John Myers of Rowhome Productions, and executive produced by Amileah Sutliff. A special thanks to the people at Sony Music and Philadelphia International Records.

PIR Episode 4: Here to Create Music

Play Episode Listen Later Feb 25, 2022 18:43

On the fourth and final episode of The Story of Philadelphia International Records, we'll explore the fascinating passion projects that defined the late 1970s for PIR. This episode will cover the story of 1977's Let's Clean Up the Ghetto by The Philadelphia International All-Stars — a supergroup featuring Billy Paul, Archie Bell, Teddy Pendergrass, The Three Degrees and more — and Leon Huff's own 1980 solo album, Here to Create Music. We'll hear from Kenny Gamble, Leon Huff, PIR vocal trio The Jones Girls member, Shirley Jones, and Mark Anthony Neal, the James B. Duke professor of African American Studies at Duke University. This season of the VMP Anthology Podcast is hosted by John Morrison. It's written by John Myers and Alex Lewis, with help from John Morrison. It was produced by Alex Lewis and John Myers of Rowhome Productions, and executive produced by Amileah Sutliff. A special thanks to the people at Sony Music and Philadelphia International Records.

PIR Episode 2: T.S.O.P (The Sound of Philadelphia)

LEGENDS OF SPORTS & MUSIC

Play Episode Listen Later Feb 25, 2022 17:15

Our second iteration of VMP's Anthology podcast on Philadelphia International Records starts off at the former site of Sigma Sound Studios, the long-gone historic recording studio where most of the artists on Philadelphia International recorded. This episode will cover the story of PIR house band MFSB's 1973 record, Love is the Message, and vocal trio The Three Degrees' 1973 self-titled release, and we'll hear from Kenny Gamble, Leon Huff, The Three Degrees's Valerie Holiday and PIR vocal trio The Jones Girls member, Shirley Jones. This season of the VMP Anthology Podcast is hosted by John Morrison. It's written by John Myers and Alex Lewis, with help from John Morrison. It was produced by Alex Lewis and John Myers of Rowhome Productions, and executive produced by Amileah Sutliff. A special thanks to the people at Sony Music and Philadelphia International Records.

MICHAEL JACKSON PART 1

Play Episode Listen Later Feb 10, 2022 138:20

My cohost Logan & I took a look at Michael's career when the Jacksons left Motown for CBS/Epic/Philly International between 1976-1980. We talked about him learning how to be a great songwriter under the tutelage of Kenneth Gamble & Leon Huff. We also reveal how the legendary partnership between Michael & Quincy Jones began. Throughout this episode I recall the horrible conditions of NYC growing up between the ages of 8-12 during this time period.

new york city michael jackson motown quincy jones jacksons leon huff kenneth gamble

Harold Melvin & The Blue Notes "Wake Up Everybody" and New Music from Carli Brill and St. Panther

Discologist

Play Episode Listen Later Feb 2, 2022 49:51

Harold Melvin & The Blue Notes featuring Teddy Pendergrass were one of the pillars of the mighty Philadelphia International Records label run by Kenneth Gamble and Leon Huff. On their fourth album (and last with Pendergrass) mixed social issues with quiet storm and the results were an album that – despite hitting #1 on the R&B charts in 1975 and producing a ubiquitous disco hit – still seems underappreciated to this day.Join us as we discuss this phenomenon plus share recent discoveries by Carli Brill and St. Panther on an all-new episode of the all-new Discologist.Support this show http://supporter.acast.com/discologist. See acast.com/privacy for privacy and opt-out information.

wake new music panther brill carli teddy pendergrass blue notes harold melvin pendergrass leon huff philadelphia international records kenneth gamble

Billy Paul 1:7:22 7.56 PM

CAT BEAR

Play Episode Listen Later Jan 8, 2022 3:31

Keyboard player: Gail NoblesAll vocals: Gail NoblesPhoto credit: PhillyCAM/ WikipediaUsage: CC BY 2.0Only the Strong Survive is a song written by Jerry Buttler, Kenny Gamble, and Leon Huff and originally sung in 1968 by Jerry Butler. But Billy Paul also recorded Only the Strong Survive in 1977. He had his own version and it was released on the Philadelphia International label. It entered the singles chart on Nov. 17, 1977, had a chart life of seven weeks and a peak position of No. 33.Billy Paul is the man that sung the song Me and Mrs. Jones. That was also written by Kenny Gamble and Leon Huff. The song was released in 1972.Well, I hope you're enjoying the Cat Bear's music commentary. I'd like to thank you all for listening. You gave the Cat Bear a wonderful 2021. It hasn't been easy making the music, sounds, and voices and vocals for the podcast. Then writing down everything I say on top of that. Podcasting can be a lot of work depending on what you do. When I first starting podcasting, I had no idea how I was going to talk about music without music. I had to figure out how to beat and bang on the drums pads. I had a tough time trying to get the drums to record what I played. It's easy to just play the loops, but sometimes you might want a special beat or sound. So if you're thinking about you're own show, and if you want to talk about music, you might be surprised at what you come up with. It might turn out to be alright. Podcasting can make a creator out of you. You're listening to the Cat Bear. I'm you're host, Gail Nobles. I'll be back again soon with more music commentary. Goodbye now.

music soul podcasting commentary goodbye 1970s keyboard r&b tributes soul music music commentary billy paul strong survive jerry butler leon huff kenny gamble philadelphia international

Episode 55: Billy Amendola with Earl Young Part 1

The Modern Drummer Podcast

Play Episode Listen Later Oct 28, 2021 55:42

Welcome to this week's Modern Drummer Podcast with Billy Amendola and August 2021 MD cover artist Earl Young. Tune in to watch/listen to part 1 as Billy and Earl talk about how The Sound of Philadelphia (TSOP) was born—Earl's early days learning drums, going in the studio with the rhythm section Baker, Harris, Young, and how the trio began working with Kenny Gamble, Leon Huff, and Thom Bell - three of the most successful producer/songwriters of all-time. Parts of Earl's interview can be read in his cover story in both print/digital editions of MD but, we had so much to cover that we wound up talking for hours and having enough material for the magazine and two episodes for the MD Podcast. Earl's career is astounding because most people know him as the recording drummer/singer/performer of the Grammy award-winning group The Trammps. To this day, the group is still selling out shows around the world. Earl also happens to be one of the most recorded Disco/R&B/Soul drummers of all time. Earl created a whole new sound he innovated called disco. At one point, TSOP/MFSB/Salsoul turned out hit after hit after hit and had songs on the radio in the 1960s & 70s that are now “Soul/R&B/Disco classics.” Enjoy part 1, and please come back for part 2. “Burn Baby Burn!”

young sound grammy harris md earl burn baby burn amendola trammps thom bell leon huff kenny gamble md podcast

The Legacy Of The Jones Girls' "Nights Over Egypt"

CHOONS

Play Episode Listen Later Aug 11, 2021 30:51

Raised in Detroit, Michigan and vocally trained by their mom, gospel singer Mary Frazier Jones, Shirley, Brenda, and Valorie Jones were a musical wonder from the very start. Their misty harmonies caught the ears of some of the greatest performers of all time—from Norman Connors to Aretha Franklin and Diana Ross— who hired them as their backing vocalists.They became so damn good that Kenneth Gamble and Leon Huff signed them to Philadelphia International Records and gave them all the attention they deserved with beautifully-crafted songs like “You're Gonna Make Me Love Somebody Else,” “At Peace With Woman,” and “I Just Love The Man.”Their ride on the ‘love train' reached its ultimate destination with a mysterious jazz-infused track written by Dexter Wensel and Cynthia Biggs El, inspired by a failed college trip to Egypt. It almost never made it to the PIR catalogue, but after the girls laid their vocals, “Nights Over Egypt” grew to become a Quiet Storm standard and source of inspiration for Hip-Hop and Rap artists, musicians, and music lovers everywhere, cementing the singers' place in the industry.More on Shirley JonesWebsiteInstagramShow TracklistingWho Can I Run To (Xscape)Put A Little Love In Your Heart (Mary Frazier Jones)Oh I Feel Good (Mary Frazier Jones and the Jones Sisters)Almighty Fire (Aretha Franklin)Love Hangover (Diana Ross and the Jones Sisters Live at Midnight Special)You're Gonna Make Me Love Somebody Else (The Jones Girls)I Just Love The Man (The Jones Girls)At Peace With Woman (The Jones Girls)Nights Over Egypt (The Jones Girls)I Won't Tell (Shirley Jones)Host and Producer: Diego MartinezExecutive Producer: NickFreshAudio Engineer: Adam Fogel Follow us on social media: @choonspod

michigan detroit hip hop raised rap nights aretha franklin diana ross pir soul music quiet storm jones girls philly soul leon huff norman connors philly sound philadelphia international records kenneth gamble

EP 012 Kamilah Barrett Forster

I Miss Him Podcast

Play Episode Listen Later Jul 28, 2021 58:28

EP 012 - Kamilah's life changed at a Prince concert when she was dancing with friends in the 2nd row. She caught the Purple One's attention and he invited her to dance on stage with him. The rest is history. In this episode the triple threat (actress, singer and dancer) Kamilah Barrett Forster tells Melissa and Jasia her captivating story of how she was discovered by Prince and the friendship they carried throughout his life. She also shares the story of the connect that brought her a Prince so close together, her mother Vinnie Barrett. Vinnie Barrett is an awarded songwriter who has worked with R&B icons Kenny Gamble and Leon Huff (founders of Philadelphia International) and penned such hits as “Sideshow” and “Love Won't Let Me Wait.” Prince was a fan of Vinnie's to say the least. Full story in the episode. IG @kamilahbarrett4sterIMDB https://www.imdb.com/name/nm2053597/I Miss Him Podcast Socials:IG @istillmisshimpodcastFB https://www.facebook.com/ImisshimpodcastTwitter @imisshimpodcastCredits:"I Miss Him" Podcast Is:Produced & Hosted by Melissa Williams & Jasia Kiersnowski |All Art by #Jdawnink |Original Music by Michael Schifanelli |"Mushroom" by Uros R. |

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Gamble & Huff

Rock & Roll High School With Pete Ganbarg

Play Episode Listen Later Jul 1, 2021 66:22

As creators of the "Philly Sound" and their own Philadelphia International Records label, Kenny Gamble & Leon Huff have written and produced over 175 gold and platinum records, including all-time classics by The O'Jays, Billy Paul, Harold Melvin & The Blue Notes, MFSB, The Three Degrees, Lou Rawls, Teddy Pendergrass, and The Jacksons. Their hits include iconic classics like “Love Train” by The O'Jays and “Me And Mrs. Jones” by Billy Paul. In 1995, they were inducted into the Songwriters Hall Of Fame and in 2008, the Rock and Roll Hall of Fame. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Radio One's For The Culture Podcast: History of Philadelphia Soul Music

For The Culture: The History of Black Music Podcast Series

Play Episode Listen Later Jun 23, 2021 75:52

Welcome to Radio One's “For The Culture Podcast: The History of Black Music”. In this episode, Radio One Host and Programmer Jay “Mixin” Dixon along with Tiffany Bacon will take you through the history of Soul Music, specifically in the “Birthplace of America,” Philadelphia, Pa. Learn about Kenneth Gamble, Leon Huff, and Philadelphia International Records. The Jacksons and their Philadelphia ties. The early beginnings of Patti LaBelle, The Roots, Jill Scott, Jazmine Sullivan, and more. Make sure to like, review, and subscribe for future and previous episodes wherever you listen to your favorite podcasts See omnystudio.com/listener for privacy information.

america philadelphia roots michael jackson jill scott patti labelle soul music birthplace jacksons black music jazmine sullivan radio one culture podcast podcast history leon huff philadelphia soul philadelphia international records kenneth gamble

50 Years Of Philadelphia International Records

Fresh Air

Play Episode Listen Later May 31, 2021 48:39

TSOP (The Sound of Philadelphia) was the theme from 'Soul Train,' and was one of the many hits written and produced by Kenny Gamble and Leon Huff for Philadelphia International Records, the label they co-founded. The label is celebrating its 50th anniversary this year. They recorded The O'Jays, Patti LaBelle, Harold Melvin and the Blue Notes, Teddy Pendergrass, Billy Paul, McFadden and Whitehead, Soul Survivors and more. We'll listen back to the interview Terry Gross recorded with Gamble and Huff in 2008, in which they talked about their partnership, their label, and some of their greatest recordings.Also, Kevin Whitehead reviews the album 'Black to Future' by the London quartet Sons of Kemet.

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50 Years Of Philadelphia International Records

Fresh Air

Play Episode Listen Later May 31, 2021 48:39

TSOP (The Sound of Philadelphia) was the theme from 'Soul Train,' and was one of the many hits written and produced by Kenny Gamble and Leon Huff for Philadelphia International Records, the label they co-founded. The label is celebrating its 50th anniversary this year. They recorded The O'Jays, Patti LaBelle, Harold Melvin and the Blue Notes, Teddy Pendergrass, Billy Paul, McFadden and Whitehead, Soul Survivors and more. We'll listen back to the interview Terry Gross recorded with Gamble and Huff in 2008, in which they talked about their partnership, their label, and some of their greatest recordings.Also, Kevin Whitehead reviews the album 'Black to Future' by the London quartet Sons of Kemet.

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Episode 12: From the Vault

YoD PodCast

Play Episode Listen Later May 2, 2021 22:53

We meet up with Leon Huff Jr. That's right son of the great Leon Huff and talk about what he's been up to lately. Stay tuned! We've been up to some things as well.

vault leon huff

The Keynote Cafe's Interview with Vinnie Barrett

THE KEYNOTE CAFE

Play Episode Listen Later Mar 20, 2021 73:21

Host LaVelle Powell chops it up with legendary songwriter Vinnie Barrett, who has written some of the biggest classic hits for artists such as Major Harris, Blue Magic, Ronnie Dyson and many more. She is known as well for her hit collaborations with songwriter Bobby Eli and her work with music pillars Kenny Gamble and Leon Huff of Philadelphia International Records.

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Como lo oyes - Black Family - 19/03/21

Como lo oyes

Play Episode Listen Later Mar 19, 2021 58:52

Se cumplen 50 años del sello Philadelphia International que fundaron Kenneth Gamble, Leon Huff y Thom Bell rodeándose de una treintena de grandes instrumentistas para acompañar a los artistas y que formaron la MFSB. Roy Ayers es leyenda viva. Un poquito de Nile Rodgers y Bernards Edwards. Nuestro frecuentado momento “chic”. Y. Más éxitos de la época dorada del funk disco con Cheryl Lynn, The Whispers o Stephanie Mills. Y para terminar lo. Nuevo, el cuarto disco de Myles Sanko. DISCO 1 MFSB Freddie's Dead 7’11 DISCO 2 ROY AYERS Can't You See Me You Send Me 6’58 DISCO 3 STEPHANIE MILLS Whatcha Gonna Do With My Lovin' (Dj ''S'' Remix) 6’30 DISCO 4 CHIC Good Times 8’03 DISCO 5 SISTER SLEDGE We Are Family 8’17 38 DISCO 6 THE WHISPERS And The Beat Goes On 6’47 45 DISCO 7 CHERYL LYNN Sleep Walkin' 6’25 DISCO 8 MYLES SANKO Where Do We Stand 7’00 Escuchar audio

Bobby Rush - "If you dont like the blues, you dont like ya mamma"

IncenseNashtrays

Play Episode Listen Later Mar 12, 2021 61:49

Bobby Rush started playing with Delta blues guitarists Boyd Gilmore and Elmore James in Arkansas during the early '50s before migrating to Chicago. Bobby's “Sock Boo Ga Loo” on the tiny Starville label was picked up by Chess Records in 1967, propelling the singer into the big leagues of R&B. BOBBY RUSH BIO In 1971, Bobby broke through on the national charts with the lowdown funk grinder “Chicken Heads” for Galaxy Records. “That was the first big record I ever had,” notes Rush. The song has since been featured in the film Black Snake Moan, HBO's Ballers, and more. Calvin Carter, the producer of “Chicken Heads,” put out Rush's '72 followup “Gotta Be Funky” on his own On Top logo and then sold Bobby's contract to Stan Lewis' Jewel Records in Shreveport, La. Lewis issued several Rush singles before Bobby made the major label leap in 1974 with “Get Out of Here” for Warner Bros. The sparkling album Rush Hour for Kenny Gamble and Leon Huff 's Philadelphia International empire should have made Bobby a huge star in 1979 but didn't receive its proper praise until the 2000s, when Rolling Stone recognized it as one of the best blues albums of the '70s. An encore LP was summarily shelved, and before long Rush moved back south to Jackson, Mississippi, where his legion of fans eagerly embraced him. The lascivious “Sue” didn't chart for him in 1983 on the LaJam imprint, but it blasted out of countless ghetto jukeboxes and sold over a million records. His reputation for spectacular live performances growing exponentially as he did a minimum of 200 shows a year. His mainstream recognition campaign commenced when he earned his first Grammy nomination for his 2000 album Hoochie Man, followed by an appearance in the Martin Scorsese-produced 2003 PBS docu-series The Blues with his own segment in the episode The Road to Memphis. To date Bobby has earned 12 Blues Music Awards and 48 nominations, including the prestigious B.B. King Entertainer of the Year Award and Album of the Year. Rush co-starred in the 2014 documentary Take Me to the River alongside Terrence Howard, Snoop Dogg, and Mavis Staples. That same year, Bobby joined Dan Aykroyd on The Tonight Show With Jimmy Fallon to perform two songs, marking his first late-night television appearance. In 2019 the feature film Dolemite Is My Name about Rudy Ray Moore making cult classic film Dolemite, was released in select theaters and on Netflix, starring Eddie Murphy, Wesley Snipes, Keegan-Michael Key and with a cameo by Bobby Rush. BOBBY RUSH BIO --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Como lo oyes - BLACK IS BLACK Discos Históricos 50º Aniversario (1971-2021). Capítulo 5 - 12/03/21

Como lo oyes

Play Episode Listen Later Mar 12, 2021 58:26

Hace medio siglo… Earth, Wind & Fire editaron su primer disco lo mismo que el virginiano Bill Withers, fallecido hace menos de un año, mientras que The Isley Brothers ya iban por el noveno de su carrera. Y Stevie Wonder con 20 años alcanzaba el 13º de su carrera. Dr. John sacó el cuarto. Tras componer éxitos y éxitos para Marvin Gaye, Diana Ross y compañía, la gran Valerie Simpson se atrevió a grabar su primer álbum. Betty Wright avanzó en 1971 su álbum de I Love the Way You Love con un pepinazo. Aretha Franklin grabó su concierto memorable en el legendario Filmore West de San Francisco de Bill Graham. Shaft álbum doble de Isaac Hayes, publicado por el sello Stax como banda sonora para la película blaxploitation de 1971 Las noches rojas de Harlem. Fue el disco que anunció el futuro nacimiento del sonido Philly… Hace 50 años se fundó el sello Philadelphia International Records fundado por Kenneth Gamble y Leon Huff, al que dedicaremos un programa entero. DISCO 1 ISAAC HAYES Theme Form Shaft (SOUL CLASSICS - 14) Shaft DISCO 2 BILL WITHERS Ain’t No sunshine (1) Just as I Am DISCO 3 STEVIE WONDER If You Really Love Me (ORDENADOR) Where I’m Coming From DISCO 4 PERSUADERS Thin Line Between Love and Hate (101 SOUL Disc 4 - 4) DISCO 5 BETTY WRIGHT Clean Up Woman (101 SOUL.. Disc 5 - 12) DISCO 6 MARVIN GAYE Mercy Mercy Me (6 ) What’s Going On DISCO 7 EUGENE McDANIELS Headless Heroes (4) Headless Heroes Of The Apocalypse DISCO 8 THE TEMPTATIONS Just My Imagination (BROTHER IN RHYTHM Disc 1 Cara 2 Corte último) Sky’s The Limit DISCO 9 VALERIE SIMPSON Sinner Man (Don't Let Him Catch You) (4) Exposed DISCO 10 THE ISLEY BROTHERS Love The One You’re With (7) Givin’ It back DISCO 11 THE BEGINNING OF THE END Funky NassauPart 1 (101 SOUL Disc 5 - 11) Funky Nassau DISCO 12 EARTH WIND & FIRE Love Is Life (MEMORY TIME 70/71 Disc 2 Cara 1 - último) EW&F DISCO 13 DIANA ROSS Surtender (Cara 1 Corte 7) Surrender DISCO 14 ARETHA FRANKLIN Respect (Cara 1 Corte 1) Live At Filmore West DISCO 15 EDDIE HARRIS & LES McCANN Universal Prisoner (2) Second Movement Escuchar audio

Teddy Pendergrass

P3 Soul

Play Episode Listen Later Mar 7, 2021 109:55

Med en baryton lika mäktig som mjuk hittade han hem i en miljö där gatans råa verklighet mötte sidenlakan. Där honungen hälldes ut över kokande asfalt. Predikanten och trummisen Theodore Pendergrass förvandlades till en av de största soulsångarna, men priset han fick betala blev högt. Teddy kom fram i Philadelphia där ingen drömde intensivare än producent- och låtskrivarparet Kenneth Gamble och Leon Huff. Deras orkestrerade vision gav själslig vägledning och revolutionära teser för dagen, extatiska rytmer att leva ut till på natten och soulindränkt romantik att älska till fram till gryningen. Teddy Pendergrass hade rösten som behärskade alla dessa känslolägen. Han var Gamble och Huffs mest fulländade instrument.

soul philadelphia med gamble p3 deras teddy pendergrass pendergrass leon huff kenneth gamble predikanten

Me And Mrs. Jones by Billy Paul

Classic 45's Jukebox

Play Episode Listen Later Jan 14, 2021

Label: Phil. Int'l. 3521Year: 1972Condition: M-Price: $15.00Listening to this Philly Soul classic again today, I was thinking that the spark of genius at work here, in the collaboration among Kenny Gamble, Leon Huff and Bobby Martin, is precisely the same as that which gave life to the Motown genius of producer/writers like Norman Whitfield & Barrett Strong, with miracles of Soul music such as "Just My Imagination" by the Temptations. Anyway, what I mean is... I love it! Not on the Rolling Stone, Dave Marsh or Kev Roberts lists? I think I'm hearing something those guys don't, cause to me this is a 2-star recommendation (our highest)! Note: This beautiful copy comes in a vintage Philadelphia Int'l Records factory sleeve. It looks very close to Mint (Labels, Vinyl) and has gorgeous, pristine Mint audio.

Christmas Eve with Frank McComb & Family

The Satin Lounge Interviews

Play Episode Listen Later Dec 24, 2020 33:48

#FrankMcComb #BestofTSL www.frankmccomb.bandcamp.com www.thesatinlounge.com Best of The Satin Lounge with Kia René welcomes back legendary soul singer, songwriter, and keyboardist Frank McComb & Family. For those unaware Frank McComb gifted The Satin Lounge with our original theme song. He's always been one of our biggest supporters, we share mutual support and love for one another. We were thrilled to have he and his family join us for this throwback for Christmas Eve. The McCombs share their holiday traditions, original Christmas music and indie hacks for creatives. Tune in as we celebrate the holidays with Frank's Christmas single "How I Remember Christmas" and "The Fans' Favorites a 3-CD set" which celebrates a decade of Frank McComb's music with songs chosen by the fans. We'll also discuss his latest CD "The Living Room" featuring Frank's LA-based trio, Robert Miller on drums, Anthony Crawford on bass. "The Living Room" is a live CD with no production, no backing vocals, bells or whistles and highlights the mastery of Frank as a vocalist and improvisational keyboardist. For your holiday playlist & perfect stocking stuffers consideration downloading his new single "Christmas 2020" (featuring Najee), "How I Remember Christmas" and "Christmas Day". Frank McComb has worked with Branford Marsalis's Buckshot LeFonque band, Prince, Teena Marie, Jazzy Jeff & The Fresh Prince, Philip Bailey, Chaka Khan, Gato Barbierie, The Rude Boys, Patrice Rushen, New Sector Movements, Philadelphia International Records legendary songwriting duo, Kenny Gamble and Leon Huff and a host of other artists. He's had two major label deals (Columbia and Motown's MoJazz group) and an indie contract (Malibu Sessions), releasing the albums Love Stories (co-produced by Marsalis) and The Truth. While with MoJazz he recorded two albums worth of material that were never released. In 2005, he took matters into his own hands and he launched his own record label Boobeescoot Music and prides himself on successfully releasing his music directly to his fans. Download his music! FRANK MCCOMB www.frankmccomb.bandcamp.com FACEBOOK @FrankMcCombFans INSTAGRAM @FrankMcComb TWITTER @MrFrankMcComb OUR SOCIALS www.thesatinlounge.com YouTube Channel #TheSatinLoungeLive INSTAGRAM @_thesatinlounge TWITTER @_thesatinlounge FACEBOOK @TheSatinLoungewithKiaRene www.kiarene.com INSTAGRAM @iamkiarene TWITTER @KiaRene FACEBOOK @iamkiarene --- Send in a voice message: https://anchor.fm/thesatinlounge/message Support this podcast: https://anchor.fm/thesatinlounge/support

Whitney Houston - Wanna Be Startin Somethin - 10:5:20, 9.26 PM

CAT BEAR

Play Episode Listen Later Oct 6, 2020 3:03

Story by: Gail NoblesJingle: Gail NoblesMusic by: Passion HiFhttp://www.thepassionhifi.comDo you remember when Whitney Houston sung live at MJ 30th Anniversary Celebration.? It was the year of 2001, and now when I look back at the video, Whitney was singing Michael's song as if it had been made for her to sing. "If you can't feed your baby, then don't have a baby". She was sining Michael Jackson's "Wanna Be Startin' Somethin'" with the same attitude and expression in her voice. Now I'm thinking Whitney sang "Greatest Love of All, The Star Spangled Banner", and a lot of good love songs. And every song she sang, she made it her own. Whitney had a talent for singing somebody else's song well. Dolly Parton's song, "I Will Always Love You". Whitney Houston was already a superstar. She could have been made a monstrous star. Whitney could have been a big threat. If someone like Kenny Gamble and Leon Huff was behind her with the kind of songs that they wrote, they would have made Whitney rest. They would have had to make her sit down and let somebody else make some cash. That's what a monstrous star is to me. You know what I'm saying? She was already making the cash. And to all those hip hop stars, if Whitney knew how to read a poem, she could have done a little rap too.Whitney Houston could do anything in music. She just didn't get a chance to do all that she wanted to do and all that was in her maybe. There were people that could have brought a lot more out of her. (Singing)I can hear her now in tune with Michael Jackson. I'm Gail Nobles and your listening to The Whitney Soul Podcast on the CAT BEAR.

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The Sound Of Philadelphia

Legends of Philadelphia

Play Episode Listen Later Sep 28, 2020 58:43

Kenneth Gamble and Leon Huff are a songwriting and production duo credited for developing the Philadelphia soul music genre, also known as the Philly sound of the 70s. In addition to forming their own label, Philadelphia International Records, Gamble and Huff have written and produced 175 gold and platinum records, earning them a spot in the Rock and Roll Hall of Fame in 2008. Today we’re going behind the music that keeps Philly stuck in the 70s.

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Episode 96: "The Loco-Motion" by Little Eva

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Play Episode Listen Later Sep 1, 2020 36:48

Episode ninety-six of A History of Rock Music in Five Hundred Songs looks at "The Loco-Motion" by Little Eva, and how a demo by Carole King's babysitter became one of the biggest hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Duke of Earl" by Gene Chandler. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of Little Eva, so I've used a variety of sources, including the articles on Little Eva and The Cookies at This Is My Story. The following books were also of some use: A Natural Woman is Carole King's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both Little Eva and The Cookies. There are no decent CDs of Eva's material readily available, but I can recommend two overlapping compilations. This compilation contains Little Eva's only sixties album in full, along with some tracks by Carole King, the Cookies, and the Ronettes, while Dimension Dolls is a compilation from 1963 that overlaps substantially with that album but contains several tracks not on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before this begins -- there is some mention of domestic violence in this episode. If that's something that might upset you, please check the transcript of the episode at 500songs.com if reading it might be easier than listening. A couple of months back, we talked about Goffin and King, and the early days of the Brill Building sound. Today we're going to take another look at them, and at a singer who recorded some of their best material, both solo and in a group, but who would always be overshadowed by the first single they wrote for her, when she was still working as their childminder. Today, we're going to look at Little Eva and "The Loco-Motion", and the short history of Dimension Records: [Excerpt: Little Eva, "The Loco-Motion"] The story of Little Eva is intertwined with the story of the Cookies, one of the earliest of the girl groups, and so we should probably start with them. We've mentioned the Cookies earlier, in the episode on "What'd I Say", but we didn't look at them in any great detail. The group started out in the mid-fifties, as a group of schoolgirls singing together in New York -- Dorothy Jones, her cousin Beulah Robertson, and a friend, Darlene McRae, who had all been in the choir at their local Baptist Church. They formed a group and made their first appearance at the famous Harlem Apollo talent contests, where they came third, to Joe Tex and a vocal group called the Flairs (not, I think, any of the Flairs groups we've looked at). They were seen at that contest by Jesse Stone, who gave them the name "The Cookies". He signed them to Aladdin Records, and produced and co-wrote their first single, "All-Night Mambo". That wasn't commercially successful, but Stone liked them enough that he then got them signed to Atlantic, where he again wrote their first single for the label. That first single was relatively unsuccessful, but their second single on Atlantic, "In Paradise", did chart, making number nine on the R&B chart: [Excerpt: The Cookies, "In Paradise"] But the B-side to that record would end up being more important to their career in the long run. "Passing Time" was the very first song by Neil Sedaka and Howie Greenfield to get recorded, even before Sedaka's recordings with the Tokens or his own successful solo records: [Excerpt: The Cookies, "Passing Time"] But then two things happened. Firstly, one of the girls, Beulah Robertson, fell out with Jesse Stone, who sacked her from the group. Stone got in a new vocalist, Margie Hendrix, to replace her, and after one more single the group stopped making singles for Atlantic. But they continued recording for smaller labels, and they also had regular gigs as backing vocalists for Atlantic, on records like "Lipstick, Powder, and Paint" by Big Joe Turner: [Excerpt: Big Joe Turner, "Lipstick, Powder and Paint"] "It's Too Late" by Chuck Willis: [Excerpt: Chuck Willis, "It's Too Late"] And "Lonely Avenue" by Ray Charles: [Excerpt: Ray Charles, "Lonely Avenue"] It was working with Ray Charles that led to the breakup of the original lineup of the Cookies -- Charles was putting together his own group, and wanted the Cookies as his backing vocalists, but Dorothy was pregnant, and decided she'd rather stay behind and continue working as a session singer than go out on the road. Darlene and Margie went off to become the core of Charles' new backing group, the Raelettes, and they would play a major part in the sound of Charles' records for the next few years. It's Margie, for example, who can be heard duetting with Charles on "The Right Time": [Excerpt: Ray Charles, "The Right Time"] Dorothy stayed behind and put together a new lineup of Cookies. To make sure the group sounded the same, she got Darlene's sister Earl-Jean into the group -- Darlene and Earl-Jean looked and sounded so similar that many histories of the group say they're the same person -- and got another of her cousins, Margaret Ross, to take over the spot that had previously been Beulah's before Margie had taken her place. This new version of the Cookies didn't really start doing much for a couple of years, while Dorothy was raising her newborn and Earl-Jean and Margaret were finishing high school. But in 1961 they started again in earnest, when Neil Sedaka remembered the Cookies and called Dorothy up, saying he knew someone who needed a vocal group. Gerry Goffin and Carole King had become hot songwriters, and they'd also become increasingly interested in record production after Carole had been involved in the making of "Will You Love Me Tomorrow?" Carole was recording her own demos of the songs she and Goffin were writing, and was increasingly making them fully-produced recordings in their own right. The first record the new Cookies sang on was one that seems to have started out as one of these demos. "Halfway to Paradise" by Tony Orlando sounds exactly like a Drifters record, and Orlando was, at the time, a sixteen-year-old demo singer. My guess, and it is only a guess, is that this was a demo intended for the Drifters, that it was turned down, and so the demo was released as a record itself: [Excerpt: Tony Orlando, "Halfway to Paradise"] That made the lower reaches of the Hot One Hundred, while a British cover version by Billy Fury made number three in the UK. From this point on, the new lineup of the Cookies were once again the premier session singers. They added extra backing vocals to a lot of the Drifters' records at this time, and would provide backing vocals for most of Atlantic's artists, as the earlier lineup had. They were also effectively the in-house backing singers for Aldon Music -- as well as singing on every Goffin and King demo, they were also singing with Neil Sedaka: [Excerpt: Neil Sedaka, "Breaking Up is Hard to Do"] But it was Goffin and King who spent the most time working with the Cookies, and who pushed them as recording artists in their own right. They started with a solo record for Dorothy, "Taking That Long Walk Home", a song that was very much "Will You Love Me Tomorrow?" part two: [Excerpt: Dorothy Jones, "Taking That Long Walk Home"] The Cookies were doing huge amounts of session work, working twelve hours a day, seven days a week. Dorothy Jones described being in the studio working on a King Curtis session until literally fifteen minutes before giving birth. They weren't the only ones working hard, though. Goffin and King were writing from their Aldon offices every single day, writing songs for the Drifters, the Shirelles, Bobby Rydell, Bobby Vee, Gene Pitney, the Crickets, the Everly Brothers, and more. And on top of that they had a child and Carole King was pregnant with a second one. And, this being the very early 1960s, it never occurred to either Goffin or King that just because Carole King was working the exact same number of hours as Goffin, that might mean she shouldn't also be doing the housework and looking after the children with no help from Goffin. There was only one way they could continue their level of productivity, and that was to get someone in to help out Carole. She mentioned to the Cookies that she was looking for someone to help her with the children, and Earl-Jean mentioned that a nineteen-year-old acquaintance -- her friend's husband's sister -- had just moved to New York from North Carolina to try to become a singer and was looking for any work she could get while she was trying to make it. Eva Narcissus Boyd, Earl-Jean's acquaintance, moved in with Goffin and King and became their live-in childminder for $35 a week plus room and board. Goffin and King had known that Eva was a singer before they hired her, and they discovered that her voice was rather good. Not only that, but she blended well with the Cookies, and was friends with them. She became an unofficial "fourth Cookie", and was soon in the studio on a regular basis too -- and when she was, that meant that Eva's sister was looking after the kids, as a subcontracted babysitter. During this time, Don Kirshner's attitude was still that he was determined to get the next hit for every artist that had a hit. But that wasn't always possible. Cameo-Parkway had, after the success they'd had with "The Twist", fully jumped on the dance-craze bandwagon, and they'd hit on another dance that might be the next Twist. The Mashed Potato was a dance that James Brown had been doing on stage for a few years, and in the wake of "The Twist", Brown had had a hit with a song about it "(Do the) Mashed Potatoes", which was credited to Nat Kendrick & the Swans rather than to Brown for contractual reasons: [Excerpt: Nat Kendrick and the Swans, "(Do the) Mashed Potatoes"] Cameo-Parkway had picked up on that dance, and had done just what Kirshner always did and created a soundalike of a recent hit -- and in fact they'd mashed up, if you'll pardon the expression, two recent hits. In this case, they'd taken the sound of "Please Mr. Postman", slightly reworked the lyrics to be about Brown's dance, and given it to session singer Dee Dee Sharp: [Excerpt: Dee Dee Sharp, "Mashed Potato Time"] That had gone to number two on the pop charts and number one on the R&B charts, and even inspired its own rip-offs, like "The Monster Mash" by Bobby "Boris" Pickett: [Excerpt: Bobby "Boris" Pickett and the Crypt-Kickers, "The Monster Mash"] So Kirshner just assumed that Sharp would be looking for another dance hit, one that sounded just like "Mashed Potato Time", and got Goffin and King to write one to submit to her. Unfortunately for him, he'd assumed wrong. Cameo-Parkway was owned by a group of successful songwriters, and they didn't need outside writers bringing them hits when they could write their own. Dee Dee Sharp wasn't going to be recording Goffin and King's song. When he listened to the demo, Don Kirshner was astonished that they hadn't taken the song. It had "hit" written all over it. He decided that he was going to start his own record label, Dimension Records, and he was just going to release that demo as the single. The Cookies went into the studio to overdub another layer of backing vocals, but otherwise the record that was released was the demo Eva -- now renamed "Little Eva" -- had sung: [Excerpt: Little Eva, "The Loco-Motion"] The record went to number one, and made Little Eva a star. It also made Gerry Goffin a successful producer, because even though Goffin and King had coproduced it, Goffin got sole production credit on this, and on other records the two produced together. According to King, Goffin was the one in the control room for their productions, while she would be on the studio floor, and she didn't really question whether what she was doing counted as production too until much later -- and anyway, getting the sole credit was apparently important to Gerry. "The Loco-Motion" was such a big hit that it inspired its own knockoffs, including one song cheekily called "Little Eva" by a group called "The Locomotions" -- so the record label would say "Little Eva, The Locomotions", and people might buy it by mistake. You'll be shocked to learn that that one was on a Morris Levy label: [Excerpt: The Locomotions, "Little Eva"] That group featured Leon Huff, who would later go on to make a lot of much better records. Meanwhile, as Little Eva was now a star, Carole King once again had to look for a childminder. This time she insisted that anyone she hired be unable to sing, so she wouldn't keep having to do this. Dimension Records was soon churning out singles, all of them involving the Cookies, and Eva, and Goffin and King. They put out "Everybody's Got a Dance But Me" by Big Dee Irwin, a song that excerpted "The Loco-Motion", "Wah Watusi", "Hully Gully" and "Twist and Shout" among many others, with the Cookies on backing vocals, and with Goffin as the credited producer: [Excerpt: Big Dee Irwin, "Everybody's Got a Dance But Me"] That wasn't a hit, but Dimension soon released two more big hits. One was a solo single by Carole King, "It Might as Well Rain Until September", which went to number twenty even though its only national exposure was a disastrous appearance by King on American Bandstand which left her feeling humiliated: [Excerpt: Carole King, "It Might as Well Rain Until September"] Her solo performing career wouldn't properly take off for a few more years, but that was a step towards it. The Cookies also had a hit on Dimension around this point. Goffin and King had written a song called "Chains" for the Everly Brothers, who had recorded it but not released it: [Excerpt: The Everly Brothers, "Chains"] So they gave the song to the Cookies instead, with Little Eva on additional vocals, and it made the pop top twenty, and the R&B top ten: [Excerpt: The Cookies, "Chains"] Several people have pointed out that that lyric can be read as having an element of BDSM to it, and it's not the only Goffin and King song from this period that does -- there's a 1964 B-side they wrote for Eva called "Please Hurt Me", which is fairly blatant: [Excerpt: Little Eva, "Please Hurt Me"] But the BDSM comparison has also been made -- wrongly, in my opinion -- about one of the most utterly misguided songs that Goffin and King ever wrote -- a song inspired by Little Eva telling them that her boyfriend beat her up. They'd asked her why she put up with it, and she said that he only hit her because he loved her. They were inspired by that to write "He Hit Me (And It Felt Like A Kiss)", an utterly grotesque song which, in a version produced by Phil Spector for the Crystals, was issued as a single but soon withdrawn due to general horror. I won't be excerpting that one here, though it's easy enough to find if you want to. (Having said that, I should also say that while people have said that Goffin & King's material at this point flirts with BDSM, my understanding of BDSM, as it has been explained to me by friends who indulge in such activities, is that consent is paramount, so I don't think that "He Hit Me" should be talked about in those terms. I don't want anything I've said here to contribute to the blurring of distinctions between consensual kink and abuse, which are too often conflated). Originally, Eva's follow-up to "The Loco-Motion" was going to be "One Fine Day", another Goffin and King song, but no matter how much Goffin and King worked on the track, they couldn't come up with an arrangement, and eventually they passed the song over to the Tokens, who solved the arrangement problems (though they kept King's piano part) and produced a version of it for the Chiffons, for whom it became a hit: [Excerpt: The Chiffons, "One Fine Day"] Instead, Goffin and King gave Eva "Keep Your Hands Off My Baby". This is, in my opinion, the best thing that Eva ever did, and it made the top twenty, though it wasn't as big a hit as "The Loco-Motion": [Excerpt: Little Eva, "Keep Your Hands Off My Baby"] And Eva also appeared on another Cookies record, "Don't Say Nothing Bad About My Baby", which made the top ten: [Excerpt: The Cookies, "Don't Say Nothing Bad About My Baby"] The Cookies, Eva, and Goffin and King were such a package deal that Dimension released an album called Dimension Dolls featuring the first few hits of each act and padded out with demos they'd made for other artists. This hit-making machine was so successful for a brief period in 1962 and 63 that even Eva's sister Idalia got in on the act, releasing a song by Goffin, King, and Jack Keller, "Hula Hoppin'": [Excerpt: Idalia Boyd, "Hula Hoppin'"] For Eva's third single, Gerry Goffin and Jack Keller wrote a song called "Let's Turkey Trot", which also made the top twenty. But that would be the last time that Eva would have a hit of her own. At first, the fact that she had a couple of flop singles wasn't a problem -- no artists at this time were consistent hit-makers, and it was normal for someone to have a few top ten hits, then a couple at number 120 or something, before going back to the top. And she was touring with Dick Clark's Caravan of Stars, and still in high demand as a live performer. She also, in 1963, recorded a version of "Swinging on a Star" with Big Dee Irwin, though she wasn't credited on the label, and that made the top forty (and made number seven in the UK): [Excerpt: Big Dee Irwin, "Swinging on a Star"] But everything changed for Little Eva, and for the whole world of Brill Building pop, in 1964. In part, this was because the Beatles became successful and changed the pop landscape, but by itself that shouldn't have destroyed the careers of Eva or the Cookies, who the Beatles admired -- they recorded a cover of "Chains", and they used to play "Keep Your Hands Off My Baby" in their live sets. But Don Kirshner decided to sell Aldon Music and Dimension Records to Columbia Pictures, and to start concentrating on the West Coast rather than New York. The idea was that they could come up with songs that would be used in films and TV, and make more money that way, and that worked out for many people, including Kirshner himself. But even when artists like Eva and the Cookies got hit material, the British Invasion made it hard for them to get a footing. For example, Goffin and King wrote a song for Earl-Jean from the Cookies to record as a solo track just after Dimension was taken over by Columbia. That record did make the top forty: [Excerpt: Earl-Jean, "I'm Into Something Good"] But then Herman's Hermits released their version, which became a much bigger hit. That sort of thing kept happening. The Cookies ended up splitting up by 1967. Little Eva did end up doing some TV work -- most famously, she sang a dance song in an episode of the Hanna-Barbera cartoon Magilla Gorilla: [Excerpt: Little Eva "Makin' With the Magilla"] But Dimension Records was not a priority for anyone -- Columbia already owned their own labels, and didn't need another one -- and the label was being wound down. And then Al Nevins, Don Kirshner's partner in Aldon, died. He'd always been friendly with Eva, and without him to advocate for her, the label sold her contract off to Bell Records. From that point on, she could no longer rely on Goffin and King, and she hopped between a number of different labels, none of them with any great success. After spending seven years going from label to label, and having split up with her husband, she quit the music business in 1971 and moved back to North Carolina. She was sick of the music industry, and particularly sick of the lack of money -- she had signed a lot of bad contracts, and was making no royalties from sales of her records. She worked menial day jobs, survived on welfare for a while, became active in her local church, and depending on which reports you read either ran a soul-food restaurant or merely worked there as a waitress. Meanwhile, "The Loco-Motion" was a perennial hit. Her version re-charted in the UK in the early seventies, and Todd Rundgren produced a version for the heavy metal band Grand Funk Railroad which went to number one in the US in 1974: [Excerpt: Grand Funk Railroad, "The Loco-Motion"] And then in 1988 an Australian soap star, Kylie Minogue, recorded her own version, which went top five worldwide and started Minogue's own successful pop career: [Excerpt: Kylie Minogue, "The Loco-Motion"] That record becoming a hit got a series of "where are they now?" articles written about Eva, and she was persuaded to come out of retirement and start performing again -- though having been so badly hurt by the industry, she was very dubious at first, and she also had scruples because of her strong religious faith. She later said that she'd left the contracts on her table for eight months before signing them -- but when she finally did, she found that her audience was still there for her. For the rest of her life, she was a popular performer on the oldies circuit, performing on package tours with people like Bobby Vee and Brian Hyland, playing state fairs and touring Europe. She continued performing until shortly before her death, even after she was diagnosed with the cancer that eventually killed her, as she once again connected with the audiences who had loved her music back when she was still a teenager. She died, aged fifty-nine, in 2003.

tv new york history europe uk british australian stars north carolina stone atlantic beatles paradise columbia west coast cookies twist paint sharp cds earl halfway bdsm chains dimension herman crystals james brown brilliance breaking up swinging caravan tilt ray charles powder tokens swans crickets kylie minogue lipstick rock music postman monster mash carole king baptist church phil spector british invasion hanna barbera drifters mashed potatoes todd rundgren dick clark columbia pictures everly brothers hermits turkey trots locomotion grand funk railroad girl groups ronettes american bandstand neil sedaka tony orlando minogue shirelles one fine day natural woman kirshner bobby vee passing time brill building goffin king curtis bobby rydell gerry goffin aldon this is my story gene pitney joe tex flairs little eva leon huff jesse stone don kirshner gene chandler morris levy sedaka paint it dee dee sharp will you love me tomorrow in paradise bell records jack keller tilt araiza

Love + Grit Episode 18

Love + Grit

Play Episode Listen Later Sep 1, 2020 23:59

Kenny Gambleis a true Philadelphia treasure. The “Sound of Philadelphia” he created with his partner Leon Huff has put Philly on the music map. Almost 50 years and tons of gold and platinum albums later, Gamble continues his legacy by reinvesting in the South Philly community where he grew up. We'll hear how he has evolved his “Message in the Music” motto into a video podcast. Rob Wassrman proudly helms Rouge, Rittenhouse Square’s see-and-be-seen restaurant for more than 20years now, along with other neighborhood favorites Audrey Claire and Twenty Manning. With priorities of fine dining shifting as a result of COVID-19, Wasserman has been focused on supporting families in need of a healthy meal. We'll hear why the "We Are Philly” campaign is delivering for Philadelphians and so many others.

Episode 96: “The Loco-Motion” by Little Eva

crust doughboys western swing leon huff

Play Episode Listen Later Sep 1, 2020

Episode ninety-six of A History of Rock Music in Five Hundred Songs looks at “The Loco-Motion” by Little Eva, and how a demo by Carole King’s babysitter became one of the biggest hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Duke of Earl” by Gene Chandler. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no biographies of Little Eva, so I’ve used a variety of sources, including the articles on Little Eva and The Cookies at This Is My Story. The following books were also of some use: A Natural Woman is Carole King’s autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the whole scene. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both Little Eva and The Cookies. There are no decent CDs of Eva’s material readily available, but I can recommend two overlapping compilations. This compilation contains Little Eva’s only sixties album in full, along with some tracks by Carole King, the Cookies, and the Ronettes, while Dimension Dolls is a compilation from 1963 that overlaps substantially with that album but contains several tracks not on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before this begins — there is some mention of domestic violence in this episode. If that’s something that might upset you, please check the transcript of the episode at 500songs.com if reading it might be easier than listening. A couple of months back, we talked about Goffin and King, and the early days of the Brill Building sound. Today we’re going to take another look at them, and at a singer who recorded some of their best material, both solo and in a group, but who would always be overshadowed by the first single they wrote for her, when she was still working as their childminder. Today, we’re going to look at Little Eva and “The Loco-Motion”, and the short history of Dimension Records: [Excerpt: Little Eva, “The Loco-Motion”] The story of Little Eva is intertwined with the story of the Cookies, one of the earliest of the girl groups, and so we should probably start with them. We’ve mentioned the Cookies earlier, in the episode on “What’d I Say”, but we didn’t look at them in any great detail. The group started out in the mid-fifties, as a group of schoolgirls singing together in New York — Dorothy Jones, her cousin Beulah Robertson, and a friend, Darlene McRae, who had all been in the choir at their local Baptist Church. They formed a group and made their first appearance at the famous Harlem Apollo talent contests, where they came third, to Joe Tex and a vocal group called the Flairs (not, I think, any of the Flairs groups we’ve looked at). They were seen at that contest by Jesse Stone, who gave them the name “The Cookies”. He signed them to Aladdin Records, and produced and co-wrote their first single, “All-Night Mambo”. That wasn’t commercially successful, but Stone liked them enough that he then got them signed to Atlantic, where he again wrote their first single for the label. That first single was relatively unsuccessful, but their second single on Atlantic, “In Paradise”, did chart, making number nine on the R&B chart: [Excerpt: The Cookies, “In Paradise”] But the B-side to that record would end up being more important to their career in the long run. “Passing Time” was the very first song by Neil Sedaka and Howie Greenfield to get recorded, even before Sedaka’s recordings with the Tokens or his own successful solo records: [Excerpt: The Cookies, “Passing Time”] But then two things happened. Firstly, one of the girls, Beulah Robertson, fell out with Jesse Stone, who sacked her from the group. Stone got in a new vocalist, Margie Hendrix, to replace her, and after one more single the group stopped making singles for Atlantic. But they continued recording for smaller labels, and they also had regular gigs as backing vocalists for Atlantic, on records like “Lipstick, Powder, and Paint” by Big Joe Turner: [Excerpt: Big Joe Turner, “Lipstick, Powder and Paint”] “It’s Too Late” by Chuck Willis: [Excerpt: Chuck Willis, “It’s Too Late”] And “Lonely Avenue” by Ray Charles: [Excerpt: Ray Charles, “Lonely Avenue”] It was working with Ray Charles that led to the breakup of the original lineup of the Cookies — Charles was putting together his own group, and wanted the Cookies as his backing vocalists, but Dorothy was pregnant, and decided she’d rather stay behind and continue working as a session singer than go out on the road. Darlene and Margie went off to become the core of Charles’ new backing group, the Raelettes, and they would play a major part in the sound of Charles’ records for the next few years. It’s Margie, for example, who can be heard duetting with Charles on “The Right Time”: [Excerpt: Ray Charles, “The Right Time”] Dorothy stayed behind and put together a new lineup of Cookies. To make sure the group sounded the same, she got Darlene’s sister Earl-Jean into the group — Darlene and Earl-Jean looked and sounded so similar that many histories of the group say they’re the same person — and got another of her cousins, Margaret Ross, to take over the spot that had previously been Beulah’s before Margie had taken her place. This new version of the Cookies didn’t really start doing much for a couple of years, while Dorothy was raising her newborn and Earl-Jean and Margaret were finishing high school. But in 1961 they started again in earnest, when Neil Sedaka remembered the Cookies and called Dorothy up, saying he knew someone who needed a vocal group. Gerry Goffin and Carole King had become hot songwriters, and they’d also become increasingly interested in record production after Carole had been involved in the making of “Will You Love Me Tomorrow?” Carole was recording her own demos of the songs she and Goffin were writing, and was increasingly making them fully-produced recordings in their own right. The first record the new Cookies sang on was one that seems to have started out as one of these demos. “Halfway to Paradise” by Tony Orlando sounds exactly like a Drifters record, and Orlando was, at the time, a sixteen-year-old demo singer. My guess, and it is only a guess, is that this was a demo intended for the Drifters, that it was turned down, and so the demo was released as a record itself: [Excerpt: Tony Orlando, “Halfway to Paradise”] That made the lower reaches of the Hot One Hundred, while a British cover version by Billy Fury made number three in the UK. From this point on, the new lineup of the Cookies were once again the premier session singers. They added extra backing vocals to a lot of the Drifters’ records at this time, and would provide backing vocals for most of Atlantic’s artists, as the earlier lineup had. They were also effectively the in-house backing singers for Aldon Music — as well as singing on every Goffin and King demo, they were also singing with Neil Sedaka: [Excerpt: Neil Sedaka, “Breaking Up is Hard to Do”] But it was Goffin and King who spent the most time working with the Cookies, and who pushed them as recording artists in their own right. They started with a solo record for Dorothy, “Taking That Long Walk Home”, a song that was very much “Will You Love Me Tomorrow?” part two: [Excerpt: Dorothy Jones, “Taking That Long Walk Home”] The Cookies were doing huge amounts of session work, working twelve hours a day, seven days a week. Dorothy Jones described being in the studio working on a King Curtis session until literally fifteen minutes before giving birth. They weren’t the only ones working hard, though. Goffin and King were writing from their Aldon offices every single day, writing songs for the Drifters, the Shirelles, Bobby Rydell, Bobby Vee, Gene Pitney, the Crickets, the Everly Brothers, and more. And on top of that they had a child and Carole King was pregnant with a second one. And, this being the very early 1960s, it never occurred to either Goffin or King that just because Carole King was working the exact same number of hours as Goffin, that might mean she shouldn’t also be doing the housework and looking after the children with no help from Goffin. There was only one way they could continue their level of productivity, and that was to get someone in to help out Carole. She mentioned to the Cookies that she was looking for someone to help her with the children, and Earl-Jean mentioned that a nineteen-year-old acquaintance — her friend’s husband’s sister — had just moved to New York from North Carolina to try to become a singer and was looking for any work she could get while she was trying to make it. Eva Narcissus Boyd, Earl-Jean’s acquaintance, moved in with Goffin and King and became their live-in childminder for $35 a week plus room and board. Goffin and King had known that Eva was a singer before they hired her, and they discovered that her voice was rather good. Not only that, but she blended well with the Cookies, and was friends with them. She became an unofficial “fourth Cookie”, and was soon in the studio on a regular basis too — and when she was, that meant that Eva’s sister was looking after the kids, as a subcontracted babysitter. During this time, Don Kirshner’s attitude was still that he was determined to get the next hit for every artist that had a hit. But that wasn’t always possible. Cameo-Parkway had, after the success they’d had with “The Twist”, fully jumped on the dance-craze bandwagon, and they’d hit on another dance that might be the next Twist. The Mashed Potato was a dance that James Brown had been doing on stage for a few years, and in the wake of “The Twist”, Brown had had a hit with a song about it “(Do the) Mashed Potatoes”, which was credited to Nat Kendrick & the Swans rather than to Brown for contractual reasons: [Excerpt: Nat Kendrick and the Swans, “(Do the) Mashed Potatoes”] Cameo-Parkway had picked up on that dance, and had done just what Kirshner always did and created a soundalike of a recent hit — and in fact they’d mashed up, if you’ll pardon the expression, two recent hits. In this case, they’d taken the sound of “Please Mr. Postman”, slightly reworked the lyrics to be about Brown’s dance, and given it to session singer Dee Dee Sharp: [Excerpt: Dee Dee Sharp, “Mashed Potato Time”] That had gone to number two on the pop charts and number one on the R&B charts, and even inspired its own rip-offs, like “The Monster Mash” by Bobby “Boris” Pickett: [Excerpt: Bobby “Boris” Pickett and the Crypt-Kickers, “The Monster Mash”] So Kirshner just assumed that Sharp would be looking for another dance hit, one that sounded just like “Mashed Potato Time”, and got Goffin and King to write one to submit to her. Unfortunately for him, he’d assumed wrong. Cameo-Parkway was owned by a group of successful songwriters, and they didn’t need outside writers bringing them hits when they could write their own. Dee Dee Sharp wasn’t going to be recording Goffin and King’s song. When he listened to the demo, Don Kirshner was astonished that they hadn’t taken the song. It had “hit” written all over it. He decided that he was going to start his own record label, Dimension Records, and he was just going to release that demo as the single. The Cookies went into the studio to overdub another layer of backing vocals, but otherwise the record that was released was the demo Eva — now renamed “Little Eva” — had sung: [Excerpt: Little Eva, “The Loco-Motion”] The record went to number one, and made Little Eva a star. It also made Gerry Goffin a successful producer, because even though Goffin and King had coproduced it, Goffin got sole production credit on this, and on other records the two produced together. According to King, Goffin was the one in the control room for their productions, while she would be on the studio floor, and she didn’t really question whether what she was doing counted as production too until much later — and anyway, getting the sole credit was apparently important to Gerry. “The Loco-Motion” was such a big hit that it inspired its own knockoffs, including one song cheekily called “Little Eva” by a group called “The Locomotions” — so the record label would say “Little Eva, The Locomotions”, and people might buy it by mistake. You’ll be shocked to learn that that one was on a Morris Levy label: [Excerpt: The Locomotions, “Little Eva”] That group featured Leon Huff, who would later go on to make a lot of much better records. Meanwhile, as Little Eva was now a star, Carole King once again had to look for a childminder. This time she insisted that anyone she hired be unable to sing, so she wouldn’t keep having to do this. Dimension Records was soon churning out singles, all of them involving the Cookies, and Eva, and Goffin and King. They put out “Everybody’s Got a Dance But Me” by Big Dee Irwin, a song that excerpted “The Loco-Motion”, “Wah Watusi”, “Hully Gully” and “Twist and Shout” among many others, with the Cookies on backing vocals, and with Goffin as the credited producer: [Excerpt: Big Dee Irwin, “Everybody’s Got a Dance But Me”] That wasn’t a hit, but Dimension soon released two more big hits. One was a solo single by Carole King, “It Might as Well Rain Until September”, which went to number twenty even though its only national exposure was a disastrous appearance by King on American Bandstand which left her feeling humiliated: [Excerpt: Carole King, “It Might as Well Rain Until September”] Her solo performing career wouldn’t properly take off for a few more years, but that was a step towards it. The Cookies also had a hit on Dimension around this point. Goffin and King had written a song called “Chains” for the Everly Brothers, who had recorded it but not released it: [Excerpt: The Everly Brothers, “Chains”] So they gave the song to the Cookies instead, with Little Eva on additional vocals, and it made the pop top twenty, and the R&B top ten: [Excerpt: The Cookies, “Chains”] Several people have pointed out that that lyric can be read as having an element of BDSM to it, and it’s not the only Goffin and King song from this period that does — there’s a 1964 B-side they wrote for Eva called “Please Hurt Me”, which is fairly blatant: [Excerpt: Little Eva, “Please Hurt Me”] But the BDSM comparison has also been made — wrongly, in my opinion — about one of the most utterly misguided songs that Goffin and King ever wrote — a song inspired by Little Eva telling them that her boyfriend beat her up. They’d asked her why she put up with it, and she said that he only hit her because he loved her. They were inspired by that to write “He Hit Me (And It Felt Like A Kiss)”, an utterly grotesque song which, in a version produced by Phil Spector for the Crystals, was issued as a single but soon withdrawn due to general horror. I won’t be excerpting that one here, though it’s easy enough to find if you want to. (Having said that, I should also say that while people have said that Goffin & King’s material at this point flirts with BDSM, my understanding of BDSM, as it has been explained to me by friends who indulge in such activities, is that consent is paramount, so I don’t think that “He Hit Me” should be talked about in those terms. I don’t want anything I’ve said here to contribute to the blurring of distinctions between consensual kink and abuse, which are too often conflated). Originally, Eva’s follow-up to “The Loco-Motion” was going to be “One Fine Day”, another Goffin and King song, but no matter how much Goffin and King worked on the track, they couldn’t come up with an arrangement, and eventually they passed the song over to the Tokens, who solved the arrangement problems (though they kept King’s piano part) and produced a version of it for the Chiffons, for whom it became a hit: [Excerpt: The Chiffons, “One Fine Day”] Instead, Goffin and King gave Eva “Keep Your Hands Off My Baby”. This is, in my opinion, the best thing that Eva ever did, and it made the top twenty, though it wasn’t as big a hit as “The Loco-Motion”: [Excerpt: Little Eva, “Keep Your Hands Off My Baby”] And Eva also appeared on another Cookies record, “Don’t Say Nothing Bad About My Baby”, which made the top ten: [Excerpt: The Cookies, “Don’t Say Nothing Bad About My Baby”] The Cookies, Eva, and Goffin and King were such a package deal that Dimension released an album called Dimension Dolls featuring the first few hits of each act and padded out with demos they’d made for other artists. This hit-making machine was so successful for a brief period in 1962 and 63 that even Eva’s sister Idalia got in on the act, releasing a song by Goffin, King, and Jack Keller, “Hula Hoppin'”: [Excerpt: Idalia Boyd, “Hula Hoppin'”] For Eva’s third single, Gerry Goffin and Jack Keller wrote a song called “Let’s Turkey Trot”, which also made the top twenty. But that would be the last time that Eva would have a hit of her own. At first, the fact that she had a couple of flop singles wasn’t a problem — no artists at this time were consistent hit-makers, and it was normal for someone to have a few top ten hits, then a couple at number 120 or something, before going back to the top. And she was touring with Dick Clark’s Caravan of Stars, and still in high demand as a live performer. She also, in 1963, recorded a version of “Swinging on a Star” with Big Dee Irwin, though she wasn’t credited on the label, and that made the top forty (and made number seven in the UK): [Excerpt: Big Dee Irwin, “Swinging on a Star”] But everything changed for Little Eva, and for the whole world of Brill Building pop, in 1964. In part, this was because the Beatles became successful and changed the pop landscape, but by itself that shouldn’t have destroyed the careers of Eva or the Cookies, who the Beatles admired — they recorded a cover of “Chains”, and they used to play “Keep Your Hands Off My Baby” in their live sets. But Don Kirshner decided to sell Aldon Music and Dimension Records to Columbia Pictures, and to start concentrating on the West Coast rather than New York. The idea was that they could come up with songs that would be used in films and TV, and make more money that way, and that worked out for many people, including Kirshner himself. But even when artists like Eva and the Cookies got hit material, the British Invasion made it hard for them to get a footing. For example, Goffin and King wrote a song for Earl-Jean from the Cookies to record as a solo track just after Dimension was taken over by Columbia. That record did make the top forty: [Excerpt: Earl-Jean, “I’m Into Something Good”] But then Herman’s Hermits released their version, which became a much bigger hit. That sort of thing kept happening. The Cookies ended up splitting up by 1967. Little Eva did end up doing some TV work — most famously, she sang a dance song in an episode of the Hanna-Barbera cartoon Magilla Gorilla: [Excerpt: Little Eva “Makin’ With the Magilla”] But Dimension Records was not a priority for anyone — Columbia already owned their own labels, and didn’t need another one — and the label was being wound down. And then Al Nevins, Don Kirshner’s partner in Aldon, died. He’d always been friendly with Eva, and without him to advocate for her, the label sold her contract off to Bell Records. From that point on, she could no longer rely on Goffin and King, and she hopped between a number of different labels, none of them with any great success. After spending seven years going from label to label, and having split up with her husband, she quit the music business in 1971 and moved back to North Carolina. She was sick of the music industry, and particularly sick of the lack of money — she had signed a lot of bad contracts, and was making no royalties from sales of her records. She worked menial day jobs, survived on welfare for a while, became active in her local church, and depending on which reports you read either ran a soul-food restaurant or merely worked there as a waitress. Meanwhile, “The Loco-Motion” was a perennial hit. Her version re-charted in the UK in the early seventies, and Todd Rundgren produced a version for the heavy metal band Grand Funk Railroad which went to number one in the US in 1974: [Excerpt: Grand Funk Railroad, “The Loco-Motion”] And then in 1988 an Australian soap star, Kylie Minogue, recorded her own version, which went top five worldwide and started Minogue’s own successful pop career: [Excerpt: Kylie Minogue, “The Loco-Motion”] That record becoming a hit got a series of “where are they now?” articles written about Eva, and she was persuaded to come out of retirement and start performing again — though having been so badly hurt by the industry, she was very dubious at first, and she also had scruples because of her strong religious faith. She later said that she’d left the contracts on her table for eight months before signing them — but when she finally did, she found that her audience was still there for her. For the rest of her life, she was a popular performer on the oldies circuit, performing on package tours with people like Bobby Vee and Brian Hyland, playing state fairs and touring Europe. She continued performing until shortly before her death, even after she was diagnosed with the cancer that eventually killed her, as she once again connected with the audiences who had loved her music back when she was still a teenager. She died, aged fifty-nine, in 2003.

tv new york history europe uk british australian stars north carolina stone atlantic beatles paradise columbia west coast cookies twist paint sharp cds boris earl halfway bdsm chains dimension right time herman crystals james brown brilliance breaking up swinging caravan tilt ray charles makin powder tokens swans crickets kylie minogue lipstick pickett rock music postman monster mash carole king baptist church phil spector british invasion hanna barbera drifters mashed potatoes todd rundgren dick clark columbia pictures everly brothers hermits turkey trots locomotion grand funk railroad girl groups ronettes american bandstand neil sedaka tony orlando minogue shirelles one fine day natural woman kirshner bobby vee passing time brill building goffin king curtis bobby rydell gerry goffin aldon gene pitney this is my story joe tex little eva flairs leon huff jesse stone don kirshner gene chandler morris levy sedaka magilla dee dee sharp will you love me tomorrow in paradise bell records jack keller tilt araiza

Philly Dogs Revue 08/08/20

Phillydogs Revue

Play Episode Listen Later Aug 8, 2020 113:26

1 la ranita los destellos 02:45 sicodélicos 2 I'll Keep My Light In My Window New York Community Choir 02:41 Make Every Day Count (Expanded Edition) 3 The Warning Roy Tyler & New Directions 03:53 Three Way Calling 4 Get A Hold Of You Jr Thomas & The Volcanos 03:32 Beware 5 The Mighty Quinn Solomon Burke 03:03 Proud Mary -- The Bell Sessions 6 One Way Ticket to Nowhere Syl Johnson 02:30 The Complete Twinight Singles 7 Mr Fix It The Sisters Love 02:55 Give Me Your Love 8 Slow Motion, Part 1 Johnny Williams 02:58 Philly Sound 1: Kenny Gamble, Leon Huff & The Story Of Brotherly Love (1966-1976) 9 Camel Walk (Take 1) (Bonus) The Ikettes 02:35 Soul The Hits '65 10 What Goes Around Comes Around (Paula 386) Bobby Patterson 02:51 Then You'll Know (Discography 1966-83) 11 The Queen Of Starting Over Beverley Knight 03:48 Music City Soul 12 Singin' the Blues (Live) Ruthie Foster 03:44 Live at the Paramount 13 05 Blood Red Blues (Protest Song) The Devonns 04:25 The Devonns 14 All Power To The People Pt 1 Joe Savage & The Soul People 02:16 The World Needs Changing, Street Funk & Jazz Grooves 1967-1976 15 Cash In Your Face Stevie Wonder 04:00 Hotter Than July 16 I Am Somebody (Parts I & II) Johnnie Taylor 05:51 05 - One Step Beyond 17 Music Soothsayers 03:37 One More Reason 18 01_Creation (East LA) feat. Jimetta Rose Quantic Presents The Western Transient 06:11 Creation (East L.A.) feat. Jimetta Rose 19 Do It (This Time with Feeling) Cymande 04:49 Cymande A Simple Act of Faith 20 Time come Linton Kwesi Johnson 03:27 Forces of Victory 21 Voraz Newen Afrobeat 05:28 Curiche 22 Busy Dizzy And The Word Of Bird Jalal 07:33 On The One 23 Uhh (part 1 & 2) Dyke & the Blazers 06:06 Mortimer Compilation 24 We_Play_the_Funk_Feat_Bootsy_Collins_ Five_Alarm_Funk_ 04:03 advance single 25 Baby Baby Sonny Knight & The Lakers 03:11 I'm Still Here 26 Funked Up Gary Bartz 06:15 Can't Hide Love 27 Big Payback Martha High 06:37 Its High Time 28 Baltimore Jazmine Sullivan 05:04 Nina Revisited… A Tribute to Nina Simone

live dogs tribute los angeles lakers forces volcanos revue blazers nina simone new directions dyke linton kwesi johnson johnny williams leon huff philly sound kenny gamble joe savage bobby patterson

The LIght Crust Doughboys are on the air!

Jazz Focus

Play Episode Listen Later Jul 23, 2020 57:09

The Light Crust Doughboys are on the air . . .a tribute to a superb Western Swing band featuring excellent soloists - Kenneth Pitts, Marvin Montgomery, Leon Huff, Kermit Whalin, Zeke Campbell and especially Knocky Parker on piano! --- Support this podcast: https://anchor.fm/john-clark49/support

For The Victims 06/05/20

Phillydogs Revue

Play Episode Listen Later Jun 6, 2020 119:43

1 Cryin' in the Street Parts 1 & 2 George Perkins 03:21 Louisiana-Texas Wailers 2 Black Myself Our Native Daughters 03:55 Songs of Our Native Daughters 3 Let My People Go Darondo 03:55 The Soul of the Black Panther Era Vol 1 4 Time Will Tell Bob Marley And The Wailers 03:29 Kaya (German Box Set) 5 Something In The Air/The Revolution Will Not Be Televised Labelle 05:59 Pressure Cookin' 6 The World (Is Going Up In Flames) Charles Bradley 03:23 No Time For Dreaming 7 Exactly Like Me Willie Walker & The Butanes 03:38 Memphisapolis 8 Midnight Rider Charlie Whitehead 02:32 Songs To Sing - Charlie Whitehead Anthology, 1970-76 9 Putting Up Resistance Beres Hammond 03:48 10 What If? Karen Gibson Roc 03:14 Touching The Soul 11 If All I Was Was Black Mavis Staples 03:56 If All I Was Was Black 12 The Klan Gil Scott-Heron 04:50 Real Eyes 13 Equal Rights Peter Tosh 05:58 Equal Rights 14 03. To Be Invisible Curtis Mayfield 04:08 Sweet Exorcist 15 I Can't Breathe Queen Ifrica 02:53 Climb 16 Am I Black Enough For You Billy Paul 05:18 Philly Sound 2: Kenny Gamble, Leon Huff & The Story Of Brotherly Love (1966-1976) 17 Law Of The Land (Alternate Mix) Temptations 04:56 The Alternate Album - Vol 2 18 Is It Because I'm Black slim moore and the mar-kays 05:22 Introducing 19 Stand Up and Fight Back Jimmy Cliff 03:17 Give Thankx 20 Bullets_In_The_Street_and_Blood_feat_Raphael_Saadiq_ Cody Chesnutt 04:00 21 Change the System Oghene Kologbo & Afrobeat Academy 04:21 Remember Fela Anikulapo Kuti 22 Winter In America M1, Brian Jackson, The New Midnight Band 03:53 Evolutionary Minded -Furthering The Legacy Of Gil Scott-Heron (Kentyah Presents) 23 Police the Police The Souljazz Orchestra 03:50 Chaos Theories 24 Fight Harder Bunny Wailer 04:38 Reincarnated Souls 25 Revolution (Parts 1 & 2) Nina Simone 05:06 Legendary Nina Simone (CD1) 26 Dem Militarize Democracy Femi Kuti 04:34 One People One World 27 I Can't Breathe [feat. Mocean Worker] Marcus Miller 05:10 Afrodeezia 28 God Bless America for What Swamp Dogg 05:31 Rat On

soul change blood police songs victims nina simone cryin brian jackson leon huff philly sound kenny gamble

Kenny Gamble

Questlove Supreme

Play Episode Listen Later Jun 3, 2020 119:53

This week on Questlove Supreme, a living legend joins the show. Kenny Gamble is considered one of the greatest composers, producers and music businessmen of all time. The cofounder of Black Music Month, he and his partner Leon Huff literally crafted The Sound Of Philadelphia. So get ready to join him along with Questlove and Team Supreme. Class is now in session! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

class questlove black music month leon huff kenny gamble questlove supreme

John Madara ~ GRAMMY® Hall of Fame Honoree, "Rock n Roll is Here to Stay!"

Play Episode Listen Later May 27, 2020 36:41

Happy Birthday to John Madara!! Iconic Hit Writer: "At The Hop", "Rockn Roll is Here to Stay", "You Don't Own Me" "1-2-3" & More John Madara was born & grew up in Philadelphia, PA at a time when the city was teeming with groups and artists such as The Spaniels, the Clovers, Harvey and the Moonglows, Billy Ward and the Dominos and the great Jackie Wilson. Rock and Roll was starting to take root and John Madara was destined to make rock and roll history. In 1957, John launched his solo career, with his first record, "Be My Girl," reaching the national charts. That same year, John co-wrote with Dave White a song called “Do The Bop." On the advice of Dick Clark, whose local show, American Bandstand, had just gone national, the title and lyrics were changed to “At The Hop." Danny and the Juniors, recorded it, and by Christmas of 1957, it had reached the top of the pop and R&B charts worldwide. “At The Hop” remained #1 for an astounding 7 weeks, the first record ever to reach that success, and it has remained a rock and roll classic to this day. Following “At The Hop," John produced and co-wrote with Dave such mega-hits as “The Fly” (Chubby Checker)“You Don’t Own Me” (Lesley Gore) among other smash hits. He also produced for Danny and The Juniors, “Rock and Roll Is Here To Stay." In 1965, John and Dave started their own publishing company, discovering and signing new songwriters. The company was very successful, and in 1984, it was sold to Michael Jackson. In the Mid ‘60s, John and Dave formed a group called “The Spokesmen” and released “The Dawn of Correction," an answer song to the enormous hit “Eve of Destruction” by Barry McGuire. At the same time, John was producing for other artists when he discovered a young man, Leon Huff, who later teamed up with Kenny Gamble and became one of the most prolific songwriting teams in the history of rock and roll, defining an entire category of Black popular music known as "The Sound of Philadelphia." He also discovered one of the most prolific duos of all time, Daryl Hall and John Oates. With them he produced two albums. John moved to L.A. in the ‘70s, where he found success writing and producing for movies and television. He produced the soundtrack for the James Caan/Marsha Mason movie, “Cinderella Liberty," and also produced the title song for the Cliff Robertson movie “Ace Eli and Roger of the Sky.” In the mid ‘70s, he was music supervisor for the hugely successful “Sid and Marty Kroft Comedy Hour." This was in conjunction with an ABC Comedy Hour and network special which launched the new ABC season. During that time, John wrote and produced the music for the show, and was hands on with the mixing and editing. In the late ‘70s, he also wrote the theme song for ABC Sports, which ran for two years. Through the years, John has produced albums and singles for companies such as CBS, Warner Bros., Polydor, Atlantic, Paramount, 20th Century, MGM and ABC Records. It would seem appropriate that John would spend two years of his life working in Las Vegas was also becoming a happening place for singers and performers. So it ng with one of the most successful performers of all time, Wayne Newton. He produced two of Wayne’s albums and also produced and wrote songs for a Christmas television special for Wayne on CBS. Madara/White songs have reached millions of people through radio, films and television. Worldwide sales of their songs and productions have reached over 2 hundred million records. Their songs have appeared on some of the biggest grossing soundtrack albums of all time, including “American Graffiti” and “Woodstock” (At The Hop), “Grease” (Rock and Roll is Here to Stay), “Hairspray” (The Fly and You Don’t Own Me), “Mr. Holland’s Opus” (1-2-3), and “Dirty Dancing” and “The First Wives Club” (You Don’t Own Me). It was the 1996 hit film, “The First Wives Club," that paid the contemporary power of their talent the ultimate compliment by not only featuring “You Don’t Own Me” but by making it the theme of the movie. John has continued to write and produce music, working with young, up-and-coming artists. He has always been a futurist, excited about working with new technology and incorporating it into his music and productions. His hands-on approach to every project he is involved in, whether it be as a writer, producer, music supervisor, editor, engineer or mixer, has enabled John to maintain the sound that is uniquely his own. In March of 2001, “At The Hop” was voted by the Recording Industry Association of America as one of the top 100 songs of the century. The soundtrack album, “Grease," was voted one of the top albums of the century. “Rock and Roll Is Here To Stay” is featured on that album. John recently finished producing an album with Tony Danza, following a hugely successful radio hit single that he also produced, “The House I Live In.” He is also working on a feature film, “At The Hop.” In 2016, his song with the late singer ,songwriter Dave White "You Don't Own Me" was made a #1 Hit all over again with 19 year old Austrailian singer " Grace" and features G-EAZY. It was Produced by Quincy Jones. ~ thatphillysound.com 2020 All Rights Reserved © 2020 BuildingAbundantSuccess!! Join me on iHeart Radio ~ https://tinyurl.com/BASiHeartRadio Spotify @ https://tinyurl.com/BASonSpotify "Follow Me" on Twitter ‎@SabrinaMarieW

To Placate The Pissed Off It’s Bad From Jesse James, Jammin’ From Leon Huff, Funk From Parliament and Wet by Prince

JJ&R

Play Episode Listen Later Mar 27, 2020

[audio mp3="https://jazzjoyandroy.com/wp-content/uploads/To-Placate-The-Pissed-Off-Its-Bad-From-Jesse-James-Jammin-From-Leon-Huff-Funk-From-Parliament-and-Wet-by-Prince.mp3"][/audio]...

funk parliament wet jesse james pissed off jammin leon huff

Soulbeat - Madara & White (16/03/20)

SoulBeat

Play Episode Listen Later Mar 16, 2020

John Madara conoció a Leon Huff en un club nocturno, cuando el pianista actuaba allí con los Lavenders. Madara le pidió que se acercara a la oficina que tenía con Dave White y firmarle un contrato de producción y composición. canalextremadura.es

soul musica extremadura madara dave white leon huff soulbeat

The Soul Suvivors ~ "Expressway to Your Heart", Philadelphia International's #1 Major Music Hit Breakthru

Play Episode Listen Later Oct 13, 2019 43:41

Rock & Soul Classic Update R.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017. Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legenday Philadelphia International Record Label. I am a Music Lover of All Styles, Generations. This Week I Flashback....... The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950’s. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group’s lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS. Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia’s City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969. During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys,Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard’s R&B Top 100 and become the group’s fourth charted outing. Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others. The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale. The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia. After Ritchie's passing in 2017, Charlie Ingui still tours in 2019-2020, go check him out! ~ thesoulsurvivors.com All Rights Reserved © 2019 BuildingAbundantSuccess! ! Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Join Me on Facebook @ Facebook.com/BuildingAbundantSuccess

Episode 08: Angie Stone, Pink Floyd, Gnarls Barkley and Patsy Cline

MashUpheaval

Play Episode Listen Later Sep 14, 2019 12:07

In the eighth episode of MashUpheaval - your all-request, live performance mashup podcast - Amelia Ray performs two mashups: one of Angie Stone’s “Wish I Didn’t Miss You” and Pink Floyd’s “Comfortably Numb,” and another of Gnarls Barkley’s “Crazy” and Patsy Cline’s “Crazy”.Episode video: https://youtu.be/MmnTql84a_MSong List:(1) “Miss You Numb” - a mashup of “Wish I Didn’t Miss You,” written by Andrea Martin and Ivan Matias; “Back Stabbers,” written by Leon Huff, Gene McFadden and John Whitehead; and “Comfortably Numb,” written by David Gilmour and Roger Waters(2) “Twice As Crazy” - a mashup of “Crazy,” written by Brian Burton, Thomas Callaway, Gian Franco Reverberi and Gian Piero Reverberi; and “Crazy,” written by Willie NelsonBackground music: “Papa Was a Bloody War Pig,” - a mashup of “War Pigs,” written by Tony Iommi, Ozzy Osbourne, Geezer Butler and Bill Ward; and “Papa Was a Rolling Stone,” written by Norman Whitfield and Barrett StrongIf you would like to request a mashup, send an email to: mashupheaval@ameliaray.netSupport this podcast: www.patreon.com/ameliaraywww.ameliaray.net

Groovin' Blue Show 19 - 08

WAGRadio

Play Episode Listen Later Aug 29, 2019 79:36

Prepared Listeners and nu fans . . . If you happen to communicate with DJZigZag in the next month or two - we ask you not to mention that in G.B. 19-08 he calls Harold Melvin and the Blue Notes - 'HAROLD MARVIN'. We've already given him more-than a ruff ride 'bout it ! WAGRadio Management 1. ( :32) WAGRadio GB 19-08 Intro 2. (3:38) "Love Galore" - UNWRAPPED, RICHARD PATTERSON [Hidden Beach Recordings Cd "Unwrapped Volume 8: The Chicago Sessions"] 3. (3:27) "Nights In Harlem (DJZigZag Womanly Needs Edit)" - LADIES ON MARS featuring BILL WITHERS [Freakin909 "Disco Rogue" Cd] * samples: "Harlem" - Bill Withers [Sussex 45rpm #SUX219] 1971 Prod. Booker T. Jones 4. (2:41) "Find Your Way Back" - BEYONCE [Sony] 5. ( :16) WAGRadio Rollin' Wit' It Id 6. (3:57) "Little Red Corvette" - LIZZO [Atlantic] 7. (2:23) "Fever" - PETE BENNETT & THE EMBERS [Cd Version - Sunset 45rpm #1002 - 1961] 8. ( :10) WAGRadio Laffin' Id 9. (2:45) "Ring Ring" - RICH THE KID ft. VORY [soundcloud] 10.(6:23) "The Love I Lost (zipDJ Digital Version)"- HAROLD MELVIN & THE BLUE NOTES * orig. ver. Phil. Int. Rec. 12" #AE7 1079] Prod. Kenneth Gamble, Leon Huff 11.( :06) WAGRadio Id 12.(4:50) "Afro Y Soul (Afro Mix)" - PEPPE CITARELLA [Union] 13.( :33) WAGRadio I Am Id 14.(3:17) "Voulez Vous" - MEIXDIE ft. PRESSA [Planet Rock] 15.(5:19) "Tonite (Vocal & Inst.)" - TWISTA [GMG Entertainment] 16.(4:14) "Let You Go" - K.O.G & THE ZONGO BRIGADE [soundcloud] 2017 17.( :13) WAGRadio Id 18.(5:27) "Somebody New Is Lovin' On You" - LOU COURTENAY [Epic/Rags Lp #KE 33011 "I'm In Need Of Love"] 1974 19.(4:02) "Jazz Hop Cafe" - SOULSHAKERS [Pure Funk Records] 20.(3:55) "That's All" - DONNY GERRARD [Frequency Records Cd #54391-2 "The Romantic"] 2000 21.(3:03) "I Want To Know" - SUGARPIE DeSANTO with PEE WEE KINGSLEY BAND [Veltone 45rpm #VL-103] 1960 22.( :19) WAGRadio Ruidoso Loco Id 23.(3:51) "Ye (Instrumental)" - BURNA BOY [Atlantic] 24.(3:39) "Georgia" - KEVIN ABSTRACT [RCA Cd "Arizona Baby" ] 25.(3:31) "1993" - DREAMVILLE ft. J. COLE, JID, COZZ, EARTHGANG, SMINO & BUDDY [Dreamville/Interscope] 26.( :16) WAGRadio Tellin' Yuh Id 27.(3:29) "You Move Me" - DIPHA BARUS & MONICA KARINA [Ultra Records] 28.( :04) DJZZ Id 29.(3:16) "RNP" - YBN CORDAE ft. ANDERSON .PAAK [Warner] 79:36

romantic rec int prod dreamville vl groovin jid earthgang harold melvin booker t jones vory cozz leon huff kenneth gamble

Ep. 55 - Songwriting Teams

The Music History Project

Play Episode Listen Later Jul 30, 2019 94:20

In this week's episode of the Music History Project, join Dan, Mike, and Michelle as they dive into the works of some of the most famous songwriting teams in history. Interviews include Jay Livingston and Ray Evans, Kenneth Gamble and Leon Huff, Jerry Leiber and Mike Stoller, and Alan and Marilyn Bergman.

interview songwriting mike stoller jerry leiber leon huff marilyn bergman ray evans jay livingston kenneth gamble

Episode 4 - JUTAUN

Dude Check This Out: A Music Podcast

Play Episode Listen Later Jan 16, 2019 108:55

DCTO Episode #4 featuring JUTAUN is LIVE. In Episode 4 we talk about Surviving R. Kelly, Freddie Jackson, America's Got Talent, their father bassist Jake Evans Jr., and more! An alluring fusion of classic soul, folk, 80's classic rock/pop, African and reggae. Based in South Jersey and Philadelphia area, JUTAUN has gained a lucrative following for their distinct quality of music. Their inherent love of music is personified throughout their songs and is not only a career for them but a way of life. JUTAUN has been mentored by the Great, Leon Huff of Philly International and has been featured in his music. They have radiated their talent by traveling all over the world to foster their sound. The trio of singers/songwriters/musicians, joined by their musical compatriots, say their album will reflect their diversity but the influence of the greats is apparent. Their songs can be found and heard on Pandora, Spotify, MTV, and VH1. The powerful sound of JUTAUN will resonate happiness of audiences for years to come. Episode Spotify Playlist: https://open.spotify.com/playlist/5nekhoNkMUjb26vhZWtlwk?fbclid=IwAR3SGMFD2PNuN9IzDw5GSSDHDmON1DygAvqhmMOgu4pBq-vFzgzb5qD632Q&si=uHaG9tp8QNmEsPDo4tI4kg To find out more about JUTAUN: https://www.jutaun.com/ Check out Hambone Relay's official website: https://www.hambonerelay.com/ https://www.hambonerelay.com/podcast

spotify live philadelphia african mtv vh1 surviving r kelly south jersey america's got talent freddie jackson leon huff jutaun

"Ida Red" by Bob Wills and his Texas Playboys

Play Episode Listen Later Oct 22, 2018 29:51

Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we're looking at Bob Wills and "Ida Red". ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here's a link to it. Bob Wills' music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it's a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum. Clarification In the episode I talk about two tracks as being "by Django Reinhardt", but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt's longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript "Rock and Roll? Why, man, that's the same kind of music we've been playin' since 1928! ... We didn't call it rock and roll back when we introduced it as our style back in 1928, and we don't call it rock and roll the way we play it now. But it's just basic rhythm and has gone by a lot of different names in my time. It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important." Bob Wills said that in 1957, and it brings up an interesting question. What's in a name? Genre names are a strange thing, aren't they? In particular, did you ever notice how many of them had the word "and" in them? Rock and roll, rhythm and blues, country and western? There's sort of a reason for that. Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren't originally meant to be descriptors of a single genre, but of collections of genres -- they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of "race" records, because that was thought a bit demeaning. It was for the chart of "music made by black people", basically, whatever music those black people were making, so they could be making "rhythm" records, or they could be making "blues" records. Only once you give a collection of things a name, the way people's minds work, they start thinking that because those things share a name they're the same kind of thing. And people start thinking about "rhythm and blues" records as being a particular kind of thing. And then they start making "rhythm and blues" records, and suddenly it is a thing. The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically -- people like the Carter Family, for example. [Excerpt of “Keep on the Sunny Side” by the Carter Family] We'll hear more about the Carter family in the future, but that's what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville. Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music -- violins and guitars and so on -- but it had different subject matter -- lots of songs about cowboys and outlaws and so on -- and at the time we're talking about, the thirties and forties, it was a little bit slicker than country music. This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on. Western music was big, big business -- and so was swing music. And so it's perhaps not surprising that there was a new genre that emerged around that time. Western swing. Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it's music that was made in the west -- largely in places like California --by the same kinds of people who in the east were making country music, and with a lot of the same influences. It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you'd get hot jazz style performances, but they'd be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you'd usually get included as well -- the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands -- and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain. They would also include other instruments that weren't normally included in country or Western music at the time, like the piano. Less often, you'd have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums. Again, as we saw in the episode about "Flying Home", where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though. Take Bob Wills, the musician whose drummer had to hide behind a curtain. Wills originally performed as a blackface comedian -- sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I'm not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer. In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown's brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys. [clip of the Light Crust Doughboys singing their theme] That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn't. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor -- Pappy O'Daniel. You may know that name, as the name of the governor of Mississippi in the film "O Brother, Where Art Thou?", and that was... not an *entirely* inaccurate portrayal, though the character in that film definitely wasn't the real man. The real Pappy O'Daniel didn't actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s. But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made "Light Crust Flour", and he started to sponsor the show. The band became immensely successful, but they were not particularly well paid -- in fact, O'Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory. Pappy O'Daniel at first didn't like this hillbilly music being played on the radio show he was paying for -- in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O'Daniel became the show's MC, as well as being the band's manager and the writer of their original material. O'Daniel even got his own theme song, "Pass the Biscuits, Pappy". [insert Hillbilly Boys playing "Pass the Biscuits, Pappy"] That's not the Light Crust Doughboys playing the song -- that's the Hillbilly Boys, another band Pappy O'Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour -- but that's the song that the Light Crust Doughboys used to play for O'Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea. In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys -- Pappy O'Daniel didn't approve of them doing anything which might take them out of his control, so they didn't use the same name. This is "Nancy" [insert clip of "Nancy"] Now the music the Light Crust Doughboys were playing wasn't yet what we'd call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music. To see this, we're going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example -- "Dinah". [insert section of Light Crust Doughboys playing "Dinah"] And this -- "Limehouse Blues". [insert section of Light Crust Doughboys playing "Limehouse Blues"] And now listen to this -- Django Reinhardt playing "Dinah" [insert section of Reinhardt playing "Dinah"] And Reinhardt playing "Limehouse Blues" [Reinhardt playing "Limehouse Blues"] Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being "a country band", while Grapelli and Reinhardt are absolutely in the jazz category. Now, I said that that's a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery's on those tracks you just heard, but Bob Wills and Milton Brown weren't. They both left, because Pappy O'Daniel was apparently not a very good person to work for. In particular, O'Daniel wouldn't let the Doughboys play any venues where alcohol was served, or play dances generally. O'Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies. The Musical Brownies are now largely forgotten, but they're considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn. For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936. Bob Wills stayed in the Doughboys for a while longer, as the band's leader, as O'Daniel gave him a raise to $38 a week. And he continued to make the kind of music he'd made when Brown was in the band -- both Brown and Wills clearly recognised that what they'd come up with together was something better and more interesting than just jazz or just Western. Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O'Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills' drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys' steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as "formerly the Light Crust Doughboys" -- although that wasn't entirely true, as they weren't the whole band, though they were the core of it -- and Pappy O'Daniel sued them, unsuccessfully. And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band. The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them. This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less -- when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there's a very, *very* strong connection between the polka beat and the backbeat. (I won't go into that too much more here -- I already talked about the backbeat quite a bit in episode two -- but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat -- someone's PhD thesis from twenty years ago, four hundred pages just on that topic, which I'll link on the webpage if you want a much more detailed explanation) Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars -- electric guitars only really became "a thing" in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman's band as we heard about in the first episode. Wills' band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars. We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he'd got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines. So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band. Now, Wills' band quickly became the most popular band in its genre, and he became widely known as "the king of Western Swing", but Wills' music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular. And, sadly, that would sometimes include plagiarism. Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people's music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence. There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing... all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful -- of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is -- but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn't the same tight association of performer and song that there is now -- you'd sometimes have five or six people in the charts with hit versions of the same song. You'd have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else's music, but because it was just accepted that everyone would record a hit song in their own style. And certainly, in the case of Bob Wills, he was admired by -- and admired -- musicians across racial boundaries. The white jazz guitarist Les Paul -- of whom we'll almost certainly be hearing more -- used to tell a story. Paul was so amazed by Bob Wills' music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills' band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band. And then, in an interval, a black man in the audience -- presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence -- came up and asked for Les Paul's autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?” And he did -- that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig. So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries. It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians' hits specifically to sell to people who wouldn't buy music by black people and act as a spoiler for their records. That's ethically very, very dodgy, plus Boone was a terrible musician. But what I think we can all agree on is that just outright stealing a black musician's song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills' band at least once. Now, Leon McAuliffe, the Texas Playboys' steel guitar player, is the credited composer of "Steel Guitar Rag", which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different. [insert a section of "Steel Guitar Rag" by Bob Wills] That's from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I've said before, there is never a first, but Weaver's recording is definitely important). That track is called "Guitar Rag" and... well... [insert "Guitar Rag" by Sylvester Weaver]. Leon McAuliffe always claimed he'd never heard Sylvester Weaver's song, and came up with Steel Guitar Rag independently. Do you believe him? So, the Texas Playboys were not averse to a bit of plagiarism. But the song we're going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously. "Ida Red" is an old folk song, first recorded in 1924. In fact, structurally it's a hokum song. As is often the case with this kind of song, it's part of a massive family tree of other songs -- there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song... many folk songs aren't so much songs in themselves as they are labels you can put on a whole family. There's no one song "Ida Red", there's a whole bunch of songs which are, to a greater or lesser extent, Ida Red. "Ida Red" is just a name you can slap on that family, something you can point to. Most versions of "Ida Red" had the same chorus -- "Ida Red, Ida Red, I'm plum fool about Ida Red" -- but different lyrics, often joking improvised ones. Here's the first version of "Ida Red" to be recorded -- oddly, this version doesn't even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin' Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924: [insert Fiddlin Powers version of "Ida Red"] Wills' version is very differently structured. It has totally different lyrics -- it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red -- "Light's in the parlour, fire's in the grate/Clock on the mantle says it's a'gettin' late/Curtains on the window, snowy white/The parlour's pleasant on Sunday night" [insert Bob Wills version of "Ida Red"] Those lyrics -- and all the other lyrics in Wills' version except the chorus, were taken from an 1878 parlour song called "Sunday Night" by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as "Jesus Loves the Little Children". They're cut down to fit into the fast-patter do-si-do style of the song, but they're still definitely the same lyrics as Root's. "Ida Red" was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band's success started to decline when Tommy Duncan quit in 1948 over Wills' drinking -- Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him. Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s -- one of them, indeed, was a sequel to Ida Red -- "Ida Red Likes The Boogie", a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. "Ida Red Likes The Boogie" was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940). [insert "Ida Red Likes The Boogie"] But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills' deteriorating health and the band's lack of success made them split up in 1965. But before they'd split, Wills' music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of "Ida Red" that he called "Ida May". Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune... and we will talk about "Maybellene" by Chuck Berry in a few weeks' time. Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

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“Ida Red” by Bob Wills and his Texas Playboys