Podcast appearances and mentions of Levi Stubbs

National Donut day. National Drive-in theatre night.  Entertainment from 2011.  D-Day launched, YMCA formed, Snow fell in New England.  Todays birthdays - Nathan Hale, Levi Stubbs, Gary US Bonds, Joe Stampley, Robert Englund, Colin Quinn, Paul Giamatti, Uncle Kracker.  Patrick Henry died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/I love donuts - The Hungry Food BandThe last Drive-in - Chris LeDouxRolling in the deep - AdeleOld Alabama - Brad Paisley  AlabamaYMCA - Village PeopleBirthdays - In da club - 50 Cent    http://50cent.com/I can't help myself - Four TopsNew Orleans - Gary US BondsRoll on big mama - Joe StampleyExit - Blue Collar Swaller - Brandon Bing   https://www.brandonbingmusic.com/countryundergroundradio.comcooolmedia.com 

Forrest, Kristina Oakes, Conan Neutron BACK FROM JAPAN, and Lauren Chouinard talk about Frank Oz's 1986 Little Shop of Horrors!! Based on Roger Corman's 1960 film Little Shop of Horrors filmed in 2 days on sets that were about to be destroyed leftover from his last film about a man eating plant named Audrey Jr., the musical adaptation of Little Shop of Horrors opened off broadway in 1982. One of the longest running off broadway musicals four years later, Frank Oz directed and rewrote the screenplay starring Rick Moranis as Seymour, Ellen Greene as Audrey, Vincent Gardenia, Levi Stubbs of the Four Tops as Audrey II With Steve Martin, Bill Murray, John Candy, Christopher Guest, Jim Belushi, Mariam Margoyles it quickly became a smash hit cult film!!! #littleshopofhorrors #seymour #rickmoranis #stevemartin #billmurray #ellengreene #musicals #plants #gardening #frankoz #garden #moviepodcast #filmpodcast #blood #johncandyJoin our discord: https://discord.gg/ZHU8W55pnh The Movie Night Extravaganza Patreon helps us keep the show going.. become a Patron and support the show!! https://patreon.com/MovieNightExtra

Le podcast Jams Of The Year consacre à l'année 1967Janvier : Lowell Fulson – TrampLe vétéran du west coast blues revient avec ce classique aux accents proto-funk, qui inspirera Otis & Carla et bien d'autres.Février : The Four Tops – BernadetteUn sommet de soul dramatique signé Holland-Dozier-Holland, porté par la voix déchirante de Levi Stubbs.Mars : James & Bobby Purify – Shake A Tail FeatherReprise survitaminée de doo-wop funk, emblématique de la soul sudiste et de l'énergie des années 60.Avril : The Parliaments – (I Wanna) TestifyPremier vrai succès pour George Clinton, annonçant la révolution funk à venir avec Parliament-Funkadelic.Mai : Linda Jones – HypnotizedBallade bouleversante magnifiée par une des plus belles voix féminines de la soul, disparue trop tôt.Juin : James Brown & The Famous Flames – Cold SweatActe fondateur du funk moderne, entre pulsation rythmique brute et minimalisme harmonique.Juillet : Wilson Pickett – Funky BroadwayReprise musclée du groove de Dyke & The Blazers, enregistrée à Muscle Shoals, qui devient le hit de référence.Août : Jackie Wilson – (Your Love Keeps Lifting Me) Higher and HigherDernier grand succès de Mr. Excitement, porté par l'énergie de la soul de Chicago et la production de Carl Davis.Septembre : Otis Redding & Carla Thomas – Knock On WoodDuo iconique sur une reprise d'Eddie Floyd, extrait du dernier album studio d'Otis avant sa disparition.Octobre : Joe Tex – Skinny Legs And AllSoul rurale et prêche humoristique sur fond de groove sudiste : du Joe Tex pur jus.Novembre : Sly & The Family Stone – Dance To The MusicExplosion de couleurs sonores, manifeste de la psychedelic soul et tremplin vers la liberté artistique.Décembre : The Impressions – We're A WinnerCurtis Mayfield donne le ton de la soul militante avec cet hymne à la fierté noire et à l'émancipation.1967 est une année charnière, où le groove devient plus libre, les paroles plus politisées, et les expérimentations sonores plus audacieuses. Les tensions raciales, la guerre du Vietnam, le mouvement pour les droits civiques influencent les textes, pendant que le rythme s'affirme comme langage universel de résistance.À propos de Jams Of The YearCréé par Raphael Melki et Belkacem Meziane, Jams Of The Year est un podcast dédié aux amateurs de musique funk, soul, rap et r&b. Chaque épisode met en lumière une année spécifique, avec une sélection soignée de 12 morceaux qui illustrent l'évolution des genres. Aidez nous, en soutenant gratuitement ce podcast !Comment ? C'est très simple :1)

This week on Myopia Movies, it's suddenly Seymour—and Rick Moranis, Steve Martin, Frank Oz, and one giant, man-eating plant. We dove into Little Shop of Horrors, the cult musical that made us fear dentists, question florists, and hum along while the world burns. Somebody feed me... Seymour! Make sure to like and subscribe wherever you are getting this! Please leave us a review and follow us everywhere! How will Little Shop of Horrors (1986) hold up? Host: Nic Panel: Nur, Alex, Keiko, Charlie   Directed by: Frank Oz Starring: Rick Moranis, Ellen Greene, Steve Martin, Vincent Gardenia, Levi Stubbs, James Belushi

This week on Myopia Movies, it's suddenly Seymour—and Rick Moranis, Steve Martin, Frank Oz, and one giant, man-eating plant. We dove into Little Shop of Horrors, the cult musical that made us fear dentists, question florists, and hum along while the world burns. Somebody feed me... Seymour! Make sure to like and subscribe wherever you are getting this! Please leave us a review and follow us everywhere! How will Little Shop of Horrors (1986) hold up? Host: Nic Panel: Nur, Alex, Keiko, Charlie   Directed by: Frank Oz Starring: Rick Moranis, Ellen Greene, Steve Martin, Vincent Gardenia, Levi Stubbs, James Belushi

Audrey II was more than just a mean green mother from outer space. Back in 1984, and voiced by Levi Stubbs, he was the main attraction of the movie musical, Little Shop of Horrors. Based on an off-Broadway show, which itself was based on a 1960 horror comedy of the same name, the Frank Oz directed flick achieved cult classic status on VHS and Beta. But now, decades later, are we still singing its praises? Are abusive boyfriends, exploitive bosses, and blood-thirsty plants the stuff of sing-a-longs? Or is this Rick Moranis' finest hour? The Old Roommates head down Skid Row and give it all a revisit through their middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on social media @OldRoommates for bonus content and please give us a rating or review!#LittleShopofHorrors #FrankOz #HowardAshman #AlanMenken #RogerCorman #RickMoranis #EllenGreene #SteveMartin

(S4-Ep13) The Four Tops - Reach Out (Motown)Released July 1967 and Recorded between 1966-1967Reach Out is the Four Tops' best-selling studio album and a landmark Motown release. The album features their signature hit, “Reach Out I'll Be There,” It showcases Levi Stubbs' passionate vocals, dramatic orchestration, and the Funk Brothers' impeccable musicianship. Other standout tracks include “Standing in the Shadows of Love,” “Bernadette,” and “7-Rooms of Gloom,” all highlighting the group's dynamic intensity and James Jamerson's masterful bass playing. This was the last album the Four Tops recorded with the legendary Holland–Dozier–Holland team before they departed from Motown, marking the end of an era. To broaden the group's crossover appeal, Motown's Berry Gordy had them cover several contemporary pop hits, including The Left Banke's “Walk Away Renée,” Tim Hardin's “If I Were a Carpenter,” and two Monkees songs, “I'm a Believer” and “Last Train to Clarksville.” Though some of these covers felt somewhat forced, the album remains a defining moment in their career. Reach Out was a commercial success, reaching #11 on the Billboard Top LPs chart and #4 in the UK. Its legacy endures, earning a spot on Rolling Stone's 500 Greatest Albums of All Time and solidifying the Four Tops' place in Motown history.Signature Tracks: "Reach Out I'll Be There,"  "Standing In The Shadows Of Love,""Bernadette"Full Album: YouTube  Spotify Playlists: YouTube  Spotify

It's suppertime! Yes, after our review of 2024 Pop Screen is back to its old tricks with a look back at 1986's Little Shop of Horrors, the horror-comedy-musical powered by an unforgettable voice performance from none other than The Four Tops's Levi Stubbs. As the "mean green. mother from outer space" Audrey II, Stubbs made Academy Awards history - but you'll have to listen to find out how... Join Graham and Mike in their weird world as they discuss the songs and set-pieces both added to and taken from the stage musical, as well as the film's relationship with the Roger Corman film it's inspired by. We also unearth Little Shop of Horrors's unexpected connection to Kurt Vonnegut, its successfully unreal soundstage aesthetic, its cameos for everyone from John Candy to Miriam Margolyes... and THAT original ending. If you want to keep us from being bought out by World Botanical Enterprises, you can join our Patreon where we're just about to drop an exclusive bonus episode about Better Man - yes, the Robbie Williams monkey film. You'll also find an end-of-month round-up podcast called Last Night..., Mike's Twilight Zone reviews, Graham's X-Files reviews, more written pieces about Red Dwarf and classic Asian genre cinema, and more. Follow us on Twitter, Facebook and Instagram for more.

We're kicking off Alright Scary with Frank Oz's under-sung movie musical “Little Shop of Horrors”! While not the spookiest pick on the list this month, it's certainly got the best balance of bonkers and beautiful. Plus all those homoerotic overtones in the dentist's office, Levi Stubbs' vocals, the perfection of Ellen Greene, and a Greek chorus by way of Crystal, Chiffon and Ronette. Become a Matreon at the Sister Mary level to get full access to Drag Race UK this season, plus Global All Stars, movie reviews and past seasons of US Drag Race, UK, Canada, Down Under, Philippines and more.Join us at our OnlyMary's level for EVEN MORE movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodJohnny: @johnnyalso (Instagram)Colin: @colindrucker_ (Instagram)Web: www.alrightmary.com 

On this week's show, we... Bid adieu to the late Duke Fakir of The Four Tops Pour one out for the late Martin Phillipps of The Chills Spend qualtiy time with superlative new records from Jack White, Parlor Greens & Johnny Blue Skies All this & much, much less! Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

The podcast welcomes Kelsey Hontz to discuss this cinematic adaptation of the off-Broadway musical about a plant that eats people! Join these mean green mothers from outer space and hear about all the musical numbers, special effects, and shockingly horny moments from Little Shop of Horrors this week on The Greatest Movie Ever Made! Little Shop of Horrors (1986) is directed by Frank Oz and stars Rick Moranis, Ellen Greene, Vincent Gardenia, Levi Stubbs and Steve Martin. Music: “Fractals” by Kyle Casey and White Bat Audio

This week, DJ Pete covers new and recent releases from Emma Noble, TC & The Groove Family, The Harlem Gospel Travelers and 2 from the brand new album from Wonder 45. There are great tracks from Kelly Finnegan, Jamie & The Numbers and from Hannah Williams, with birthday celebrations for Leroy Hutson, Levi Stubbs and for Dee C Lee. For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Fridays from 10 AM - 12 PM EST / 3 - 5 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

National Drive-in theatre night.  Entertainment from 2009.  D-Day launched, YMCA formed, Snow fell in New England.  Todays birthdays - Nathan Hale, Levi Stubbs, Gary US Bonds, Joe Stampley, Robert Englund, Colin Quinn, Paul Giamatti, Uncle Kracker.  Patrick Henry died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/The last Drive-in - Chris LeDouxBoom boom pow - Blacke Eyed PeasThen - Brad PaisleyYMCA - Village PeopleBirthdays - In da club - 50 Cent    http://50cent.com/I can't help myself - Four TopsNew Orleans - Gary US BondsRoll on big mama - Joe StampleyFollow me - Unckle KrackerExit - Its not love - Dokken    http://dokken.net/Follow Jeff Stampka on Facebook and cooolmedia.com

Respected as one of Australia's iconic musicians, Ian Moss (5x time Aria winner & original member / guitarist of Australian super group 'Cold Chisel' drops by to discuss his current live tour and Rivers Run Dry' Deluxe Album Release. Brad explores the history of the term ‘album' and have a good ol' ramble about the changing view of full length records in the modern music business. Watch video of this episodeFollow the RC Music PlaylistListen to RIVERS RUN DRY by IAN MOSSListen to Bradley McCaw's musicFollow Brad everywhere @bradleymccawofficialBrought to by True Arts Podcast NetworkCreated, produced, hosted & engineered by Bradley McCaw.Original sound design by Matt Erskine at Crosspoint SolutionsOriginal Video designed by Adam Shaw at Axis Productions Theme composed by James RyanAbout IAN MOSS:Respected as one of Australia's iconic musicians, Ian Moss delivers an unforgettable sound – not only as a telling soloist on guitar but especially with his silken voice, ringing with clarity and resonating with pure soul. While primarily recognised as an axeman of unusual tenacity and sweet melodic sensibility, Ian's distinctive vocal is the essential signature of his soulful, bluesy muse – as it has been since his first tentative foray into music during the early 1970s.Born and raised in Alice Springs, Ian started playing guitar in local teenage bands but moved to Adelaide after failing one of his high school years, planning to repeat in the big city. Fate intervened when he answered an advertisement for a guitarist in a shop window in 1973, joining the band that was to become a legend in Australia – Cold Chisel. After Moss joined organist and principal songwriter Don Walker and drummer Steve Prestwich, the group took shape with singer Jimmy Barnes and eventually bass player Phil Small, starting the hard grind of playing gigs on the back of flatbed trucks and in suburban hotels. Barnes remembered young Mossy as “a boy from the bush who didn't wear shoes but played fantastic”. They hit the road and paid their dues, playing countless one-night stands across the country. The reputation and status of Cold Chisel steadily grew, mainly on the strength of blistering live shows, and in time their well-crafted recordings became staples of radio airplay.By 1980, with the release of the seminal East album, Cold Chisel was the biggest band in the country. Moreover, they defined a national sound – hard-driving rock chased by a shot of blues, lyrics depicting the Australian experience and resonating powerfully with young working class fans. Moss's voice began to shine through such seminal Cold Chisel songs as Never Before, Bow River (written by Moss) and a gorgeous rendition of Ray Charles' Georgia. However, efforts to translate overwhelming Australian success to Europe and the United States failed to gain traction, serving to demoralise, frustrate and eventually dissolve the band at the height of its creative powers. While the band's Last Stand tour in December 1983 closed an important chapter in Ian Moss's musical career, Cold Chisel remains one of Australia's favourite bands long after its demise.Enjoying the status of Australia's best guitarist, Moss carefully evolved into a solo artist of the same calibre and commanding the same respect as Cold Chisel. After five years of patient nurturing, Moss released his debut single Tucker's Daughter in January 1989, and caused an immediate sensation. The anthemic song – which Moss wrote in collaboration with Don Walker – sat in the Top 10 for 11 weeks and hit No 1 for two weeks, achieving gold sales status after 15 weeks and selling more than 73,000 copies. Moss's second solo single, Telephone Booth, was released in June that year, hit the Top 10 and remained in the Top 20 for 10 weeks.This bold renaissance of his solo career amplified Moss's willingness to embrace new ideas and influences. “It took a bit of nerve for me to unplug and play acoustic, but it injected this freshness into my playing,” he says. “It was a significant new path for me.” Heartened by success for that album, a second chapter of Moss's acoustic recordings – his sixth solo album Let's All Get Together, released in 2007 – saw the input of guests including James Morrison and Margaret Urlich adding colour to striking new interpretations of familiar songs, including Flame Trees and Choir Girl. To support the album release, Moss undertook an extensive tour with former Noiseworks and INXS singer Jon Stevens, and further touring in early 2008 showed Moss to be an especially dextrous musical stylist; not just a rock player, not just an acoustic strummer, but a truly seasoned and rounded musical talent.In 2008, Moss was on the Australian television series It Takes Two, singing duets with celebrities and showing a side of his musical character that surprised many listeners. “When I put aside the guitar and sang a few soul ballads on that show, people were suddenly listening to me differently. They'd say ‘Yeah, we knew you sang, but we didn't know you could really sing'. It was both flattering and frustrating. I kept wondering what they thought I'd been doing for past 30 years. It showed that there was a different side of my music that hadn't really been heard by enough people before.” Mossy is now allowing his guitar work to take a back seat while he concentrates on singing – which is the focus of his new album Soul on West 53rd that features fresh takes on classic soul songs from the likes of Sam Cooke, Al Green, Otis Redding and Levi Stubbs.This product of New York recording sessions with producer Danny Kortchmar and an all-star band of soul session musicians, including drummer Steve Jordan, Leon Pendarvis on keyboards, Neil Jason on bass and Hugh McCracken on guitar, is another bold venture from Moss that will certainly turn heads. When audiences hear the power and excitement on Soul on West 53rd, it will reinforce what Ian Moss has to offer as a vocalist of repute. The album release will also give him the impetus to reconnect with his supportive legion of European audiences – and maybe even reach America. “It's nice to fantasise about that, taking my soul songs to America. I'd love to give it a try, but I know it won't be easy.”Significantly, as Moss prepares to introduce material from his new album to live audiences, the influence of his New York soul sessions has inspired a new burst of song writing for him. “Working with such classic songs has brought a lot of ideas for original material as well. For the next album, featuring my own songs, I'd expect it to follow the same style. There's something really great going on here.”The setting had been established for Moss to emerge as an important solo artist. His debut album Matchbook, released in August 1989, entered the charts at No 1 and remained there for three consecutive weeks. It stayed in the Top 10 for 14 weeks and has sold more than 185,000 copies.When he went back out on the road, Moss's live shows drew a hoard of Chisel faithful and a league of new fans. In 1989, Moss toured for 25 weeks, playing dynamic and energetic performances five or six nights every week to virtually full houses across Australia. Crowds were left hungry for more.Moss closed off a triumphant year by winning five Australian Record Industry Association Awards in 1989: Best Australian Debut Single for Tucker's Daughter and Best Australian Debut Album for Matchbook, Australian Song of the Year for Tucker's Daughter, Best Australian Album for Matchbook and Best Australian Male Artist.In 1990, Mossy took his music to the world, touring and gaining airplay across Scandinavia and northern Europe. At home, as a live video recorded on the Matchbook Concert Tour went Gold on the day of release, Moss returned to the studio to start recording his second album, Worlds Away. Released in Australia in October 1991, the album was then issued in Germany, Austria, Switzerland and Scandinavia the following year. In 1993, Moss consolidated his growing European fan base with tours in April and May through Germany, Austria, and Switzerland, earning high praise in fantastic reviews.Moss took stock of his musical output in 1995, changing direction to embrace the blues in bolder fashion, and in the studio this translated to recording a much tougher album than his previous releases suggested. Petrolhead, his third solo offering that was released in 1996, had Moss playing bluesy rock with none of the heavily produced, big budget sheen that had been applied his late-1980s and early-1990s recordings. With lan Rilen (from Rose Tattoo and X) on bass, Paul Demarco (Rose Tattoo, Catfish) on drums and Don Walker on occasional keyboards and song writing, the sound was recorded almost live, stripped back and honest without ever losing its innate power. “It was a conscious decision to get back to something I was always happy doing,” says Moss. “The result is tough, ballsy blues meets rock… plenty of heart, alive and kicking.”A Cold Chisel reunion during 1998 – both in the studio for the recording of new material and subsequent touring to promote the resulting Last Wave of Summer album – put Ian back in the national spotlight as a showman and musician of dazzling ability. It reminded the Australian public of Moss's alluring talent and diversity as a performer, as did another Cold Chisel reunion tour in 2003 and his input to Jimmy Barnes' Double Happiness album of duets in 2005.However, during 2005, Moss's musical output took another exciting fresh turn. He was invited to record an album of acoustic songs for Liberation Music and the Six Strings album – part of the Liberation Blue label's engaging acoustic series – was the result.2018 will bring a new chapter in Ian's career as he releases the new self-titled studio album, his sixth, and heads to the road for what will be his biggest national tour in decades. In 2007 he told the Sydney Morning Herald, “I haven't made my definitive album yet.” Ten years later with his the self-titled “Ian Moss”, he might have just done that.Mossy's sublime playing – on his Fender electric and Maton acoustic – is as expressive as ever. “Sometimes the words are useless for what it is I'm trying to get across,” he confides in ‘Hold On (To What We Got)'.Of course, that underplays Mossy's vocal – a superb instrument in its own right – as well as the powerful personal stories on this record. But Mossy's finest work is all about feel. And it's that feel that tells you everything you need to know.It's no accident that the album is self-titled. This is the pure stuff. Classic Mossy.In August of 2018 Ian was invited to take part in the Jimmy Webb and Friends concerts along side David Campbell, Kate Ceberano, Ed Kuepper, Cold Chisel bandmate Jimmy Barnes and of course the master songwriter Jimmy Webb and blew the room away.In October 2018 he performed the Cold Chisel classic ‘Flame Trees' to a global audience of millions at the opening ceremony of the Invictus Games on the Steps of the iconic Sydney Opera House.2019 saw the 30th Anniversary of the iconic and landmark album Matchbook and a national tour with a killer band that received rave reviews. The album was released on August 1, 1989 and peaked at #1 on the ARIA Albums Chart. It remained in the Top 10 for an amazing 14 weeks, shipping more than 200,000 copies in the first 12 months alone. The album went on to win Album of the Year, Best Male Artist and Breakthrough Artist – Album, Breakthrough Artist – Single and Song of the Year (shared with Don Walker) for ‘Tucker's Daughter' at the ARIA Music Awards in 1990.As Cold Chisel's biographer Anthony O'Grady observed, “When Moss goes into guitar dream world he pulls out chords and notes and sounds that do not fit the plot as such, but which create new dimensions – astounding stuff that can never be reached through intellectual process, only through a quantum leap of intuition and imagination.”

For over 30 years Levi has held corporate leadership roles and been a strong supporter of numerous charitable organizations and worthy causes throughout the Metro Detroit area. As Vice President and Community Impact Officer for Systems Technology Group (headquartered in Troy, Michigan), Levi leads the company's sales, new business, and diversity efforts. He also serves on numerous boards including the Motown Museum, Teen Street Skills, and Metro Detroit Youth Clubs. Mentoring young people is one of Levi's passions. Levi's father was the standout lead singer for the iconic Four Tops. In addition to his dad's influence, the artists and songs that comprised the Motown music experience were life-shaping. Host/Executive Producer; Brad Rieger, Audio Engineer/Production Coordinator; Kerry Schwable, Social Coordinator; Tim McCarthy, Graphic Designers: Stephen Shankster/Jeremy Thomas. Content made possible by Cooper-Smith Advertising LLC 2023

Actor/writer extraordinaire Richie Pepio returns to Missing Frames to introduce Shawn to the abundant wonders of Frank Oz's 1986 adaptation of Little Shop of Horrors, starring Rick Moranis, Ellen Greene, Steve Martin, and Levi Stubbs as Audrey II. While some musicals can collapse during the transition from stage to silver screen, Richie and Shawn discuss why Oz's confident direction and a great cast make this cinematic musical one of the best.HOSTSShawn EastridgeRichie Pepio

One of the groups that defined the Motown sound was the Detroit Quartet known as The Four Tops.  The group originally called themselves the Four Aims, but changed the name to avoid confusion with the Ames Brothers.  The group was composed of Abdul "Duke" Fakir, Renaldo "Obie" Benson, Lawrence Payton, and lead singer Levi Stubbs, four boys who met at Pershing High School and would remain in the same lineup as the Four Tops from 1953 through 1997.The quartet signed to Chess Records in 1956, but did not experience success with that label.  In fact they would not find significant success with multiple records including Red Top, Riverside Records, and Columbia Records for the next seven years.  What they would gain is a lot of opportunities to polish their act and stage presence with extensive touring.  Berry Gordy Jr. convinced them to move to Motown in 1963, initially to record jazz standards and sing backup.  At Motown they experienced success in their own right.Reach Out is their fourth studio album, and their biggest selling album.  The Four Tops had multiple hits, primarily through the writing of the Motown team known as Holland-Dozier-Holland.  Reach Out would be their last album with that songwriting team, as Holland-Dozier-Holland left Motown shortly after this album was recorded.  It went to number 11 on the Billboard Top LP's chart.The Four Tops were inducted into the Rock and Roll Hall of Fame in 1990, and still perform today, with Duke Fakir as the sole original member.Bruce presents this soulful album in this week's podcast. BernadetteThis song was released in February of 1967 and reached number 4 on the Billboard Hot 100.  It would be the final top 10 hit for the Four Tops in the 1960's.  The song is a plea from the boy to Bernadette to stick with him.  Standing In the Shadows of LoveThis single is a heartbreak song about sleepless nights and soul searching for what went wrong.  It hit number 2 on the soul charts and number 6 on the Billboard Hot 100 in 1967.  It is a bit of a reworked song, as the Supremes had a B-side in 1963 called "Standing at the Crossroads of Love."Last Train to ClarksvilleReach Out was a mixture of original songs and covers, and this song made famous by the Monkees is one of the covers.  They also included "If I Were a Carpenter," "Walk Away Renee," and "I'm A Believer" on this album. Reach Out I'll Be ThereHere is the signature song of the Four Tops.  It was released in 1966 and spent two weeks at the top of the Billboard Hot 100.  It alternates between a minor and major key, giving it a Russian feel in the verse and a gospel feel in the chorus according to Lamont Dozier.  The writers intentionally put Levi Stubbs at the top of his vocal range to make sure there was a hunger and wailing in his voice.  ENTERTAINMENT TRACK:Light My Fire by The DoorsThe Doors appearance on The Ed Sullivan Show was their first and last when they promised to change the lyrics "girl we couldn't get much higher," only to leave them unedited in the live performance. STAFF PICKS:Brown Eyed Girl by Van MorrisonLynch launches the staff picks with this hit single off Morrison's debut album, which peaked at number 10 on the Billboard Hot 100.  The nostalgic lyrics which seem tame today were considered too suggestive for the time and were banned by some radio stations.  However, it remains popular today, and as of 2015 was the most downloaded and played song of the entire 60's decade.The Letter  by The Box TopsRob features a short song with a blue-eyed soul feel.  The Box Tops took this song to number 1 on the charts, making it The Box Tops best seller.  Joe Coker would cover this in 1970, and take it to number 7 on the charts.  The producer overdubbed the song with an airplane sound he located at a local library.Testify by ParliamentWayne brings us an early hit from George Clinton and Parliament before their Funkadelic days.  Actually, George Clinton is the only member of Parliament who is recorded on this song.  The group was based in New Jersey and the other members were not able to travel to Detroit for the recording.  As a result, Clinton is joined by local session musicians and singers to complete the song.Funky Broadway by Wilson PickettBruce closes out the staff picks with a song that Pickett picked up from Arlester “Dyke” Christian.  Dyke Christian was living in Phoenix and playing with a group called Dyke & the Blazers.  Unfortunatley in 1971 Dyke Christian was shot to death at the age of 27.  This is the first charting single with the word "funk" in the title. INSTRUMENTAL TRACK:Groovin' by Booker T. & the M.G.'sWe finish off with an instrumental cover of the ballad made famous by The Rascals. Thanks for listening to “What the Riff?!?” Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Piden sinceridad en las respuestas, pero cuando éstas no les gustan las ponen en duda. Y si el protagonista tiene la osadía de ser socarrón, entonces es que se ha mosqueado cuando, en realidad, el que se cabreó fue el ciudadano periodista. En cualquier caso, como no tienen respuesta inmediata, como nadie les contradice, pueden salir victoriosos de todas las películas y batallitas que se montan en sus cabezas. Min. 01 Seg. 46 - Intro Min. 08 Seg. 04 - Oh sorpresa, falta un delantero Min. 12 Seg. 38 - poco físico y algunas dudas Min. 18 Seg. 29 - Las líneas siempre salen cruz Min. 23 Seg. 16 - Todavía no, pero puede haber caso Min. 31 Seg. 42 - Un debate inocuo y otras boberías Min. 36 Seg. 51 - ¿Quién se picó de verdad? Min. 44 Seg. 46 - La respuesta, el próximo domingo Min. 50 Seg. 03 - Los penaltitos no se pitan... a veces Min. 54 Seg. 14 - Despedida Nick Cave - A Rainy Night In Soho (Nenagh 08/12/2023) Imelda May, Declan O'Rourke & Liam Ó Maonlai - You're The One (Nenagh 08/12/2023) Mundy & Camille O'Sulivan - Haunted (Nenagh 08/12/2023) Billy Bragg & Kirsty MacColl (Londres 31/12/1991) Body Of Water Walking Down Madison Sexuality Waiting For The Great Leap Forwards The Warmest Room The Few Must I Paint You A Picture? Levi Stubbs' Tears Glen Hansard & Lisa O'Neill - Fairytale Of New York (Nenagh 08/12/2023)

Just in time for Halloween, it's a spooky little supercut from Ep. 15 "Please Don't Eat My Mother" all about one of our favorite films - Frank Oz's 1986 musical adaptation of "Little Shop of Horrors". How much do we LOVE this film? You'll have to listen to the episode to find out!Follow Vibe TalkinIG: instagram.com/vibetalkinTwitter: twitter.com/vibetalkinTikTok: @goodvibecinemaThreads: https://www.threads.net/@vibetalkinYouTube: https://www.youtube.com/channel/UCJIrLJPap8jyywZShlvGa5AHosts: Vic Terry, Manny Velazquezcontact: vibetalkin@gmail.comIntro: "Prologue (Little Shop of Horrors)" by Alan MenkenOutro: "Mean Green Mother From Outerspace" by Levi Stubbs, Alan MenkenPhotos: Michael D. Simpson, Vic Terry, Manny Velazquez2023 A Good Vibe Cinema Production

Kyle, Joe and Rick kick off Spook-tober by watching Little Shop of Horrors. Directed by Frank Oz, starring Rick Moranis, Ellen Greene, Steve Martin and Levi Stubbs as the voice of Audrey II. We ranked 12 of the songs featured in the film that appeared on the soundtrack. We went on to pick our favorite lines, scenes, characters and performers. And we called an audible on what we'll be watching for this weeks rewatch, but you got to listen to find out. Enjoy!

Welcome to the Horror Project Podcast. Join hosts Phil and Laura as they review Little Shop of Horrors (1986).For the first time on the podcast we tackle a Musical! We discuss our opinions on the world of Musical theatre, from broadway to amateur dramatics!Seymour's ambition to leave Skid-Row behind with his beloved Audrey. The many weird and wonderful character's we are introduced to, from a sadistic dentist's to a certain Extraterrestrial plant. We also chat about the vast differences between the theatrical and original ending.Plus we shall be finding a place on the leaderboard for the movie during our Ranking.We hope you enjoy the show, thanks for listening!Email - Horrorprojectpodcast@hotmail.com  Twitter - @TheHorrorProje1Instagram - horrorprojectpodcastTikTok - @horrorprojectpodcast

Join us for a lively and funny show discussing, All the different coffees we have received, Costa Rican dark roast coffee, Bubba's 33 and their coffee, Beans vs. Grounds, Waffle House coffee, the instant coffee process, Ron's coffee routine, Jordan's success, 21/2 hours of lessons in a row, Fantasy football, mock drafts, engaging via fantasy footbal, Ron has the bragging rights - can you de-throne him, best advice for fantasy football, Cleveland Browns Talent, The Chubb Quandry, The Great Kaye Debate, Stefanski's "Plan", Stoking the Fire, Rogers and Brady fisseled last season, Join the R.K.M.I. league, Baker's Back, Music and the loss of Tony Bennett, best work after sixty, Tony's duets, Lady GaGa, alzheimers, breath control, Sammy Davis Jr., Michael Buble, Bruse Springsteen, Barry Manilow, Levi Stubbs, Michael Jackson,

GGACP marks the 50th anniversary of the Four Tops hits, "Ain't No Woman (Like the One I've Got)" and "Are You Man Enough?" (from "Shaft In Africa") with this ENCORE of a 2019 interview with Grammy-nominated songwriter Dennis Lambert ("One Tin Soldier," "Nightshift," "Don't Pull Your Love"). In this episode, Dennis discusses working the Catskills as a boy singer, shopping songs in the Brill Building era, producing hit records for the Righteous Brothers and co-creating the oft-maligned Starship hit, "We Built This City." Also, Neil Diamond hawks holiday tunes, Carole King demos "One Fine Day," Gilbert "covers" Glen Campbell (!) and Dennis becomes a superstar in the Philippines. PLUS: Freddie and the Dreamers! The artistry of Levi Stubbs! The versatility of Steve Lawrence! "Billy Jack" gets a message from God! And Dennis breaks down the construction of a Top 10 hit! Learn more about your ad choices. Visit megaphone.fm/adchoices

Before his solo work, before Blind Faith, before Traffic, a 14-year old known then as Stevie Winwood joined The Spencer Davis Group as a guitarist and lead singer.  This blues-oriented British band released their first LP, conveniently called Their First LP in June of 1965 to British and European audiences.  We are covering it in August 1965, but the album itself was not released in the United States at the time.  Most of the songs would make it to the US market in compilation albums released years later.The Spencer Davis Group was Spencer Davis on vocals, guitar, and harmonica; Steve Winwood on lead vocals, harmonica, guitar, and piano; Muff Winwood (Steve's older brother) on vocals and bass; and Pete York on drums.  Additional personnel included Kenny Salmon on organ for a couple of tracks, and one track found Peter Asher on piano and Millie Small on vocals.The album didn't enter the UK albums chart until January 1966, but it would reach number 6 on that chart after a single entitled "Keep On Running" from their second album entered the UK singles charts.  "Their First LP" is blues driven, and much of the album consists of covers from blues artists.  However, there are also some original pieces composed by Spencer Davis and by Steve Winwood.  Spencer Davis went on to solo and collaborative work after The Spencer Davis Group, eventually becoming an executive for Island Records.  Steve Winwood would of course move on to a storied career as a rock musician.Bruce brings this blues-laced proto-rock album to the podcast. My BabeThis track leads off the album.  While the Spencer Davis Group did not release this as a single, it reached number 75 on the Billboard Hot 100 in October 1963 when it was originally released by its writers, Bobby Hatfield and Bill Medley.  Hatfield and Medley are better known as The Righteous Brothers.DimplesThis cover was the first single released from the album, preceding the album by almost a year.  The original was written and recorded by blues artist John Lee Hooker in 1956 as an ensemble piece.  It was the first Hooker record to appear on the British record charts, though it would take until 1964 to reach the charts.  While the Hooker single charted, the Spencer Davis Group cover did not chart.Sittin' and Thinkin'Here is an original song amongst an album dominated by covers.  Spencer Davis wrote this song.  It was released as a single, the fourth from the album, but only in the Netherlands.It Hurts Me SoThe closing track to the album was written by Steve Winwood.  It was not released as a single, but it is an example of Winwood's early blues-influenced work.  ENTERTAINMENT TRACK:The Night Before by the Beatles (from the motion picture "Help!" )This film showcased the Beatles in a comedy adventure as the group tries to protect Ringo from an eastern cult. STAFF PICKS:Agent Double-O-Soul by Edwin StarrJames Bond is the obvious inspiration for Wayne's staff pick.  Edwin Starr was singing with The Bill Dogett Combo when he went to the cinema to watch the Bond feature, "Thunderball."  He wound up watching it 3 times before going back to his hotel room to write this song.  Bill Dogett rejected his pitch to sing solo on this tune, so Starr left the group to become a solo act.I Want Candy by The StrangelovesRob brings us a tune by songwriters Bob Feldman, Jerry Goldstein, and Richard Gottehrer.  They took on the persona of Australian sheep farmer brothers turned band members Giles, Miles, and Niles Strangelove for this group.  This song with a Bo Diddley beat was inspired by dancer Candy Johnson who was seen at the 1964 Worlds Fair.  Bow Wow Wow would have a hit with a cover of this song in the 80's.Since I Lost My Baby by The Temptations Lynch's staff pick comes from Motown in the form of a lover's lament written by Smokey Robinson and Warren Moore.  It hit number 17 on the US charts.  The Temptations would be a huge hitmaker in the 60's both with David Ruffin and Dennis Edwards on lead vocals.Same Old Song by The Four TopsBruce's staff pick features an American vocal quartet from Detroit who helped to define the Motown sound.  This Holland-Dozier-Holland song hit number 5 on the Billboard Hot 100, and number 2 on the Billboard R&B chart.  Lead singer Levi Stubbs was joined by Duke Fakir, Obie Benson, and Lawrence Payton to form the quartet, and they would remain together from 1953 until 1997 without a change in personnel. INSTRUMENTAL TRACK:The "In" Crowd by The Ramsey Lewis TrioThis jazz single hit number 2 on the R&B chart and number 5 on the Billboard Hot 100.  The Ramsey Lewis Trio would receive a Grammy Award for the album of the same name in 1966.

Don't feed the plants.Little Shop of Horrors is a 1986 American horror comedy musical film directed by Frank Oz. It is an adaptation of the 1982 off-Broadway musical of the same name by composer Alan Menken and writer Howard Ashman, which is itself an adaptation of the 1960 film The Little Shop of Horrors by director Roger Corman.The film stars Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, and the voice of Levi Stubbs. The film also features special appearances by Jim Belushi, John Candy, Christopher Guest and Bill Murray. A nerdy florist finds his chance for success and romance with the help of a giant man-eating plant who demands to be fed.00:00 Intro09:34 Horror News 23:10 What We've Been Watching39:08 Film Review1:51:12 Name Game1:59:48 Film Rating2:02:05 OutroPodcast - https://podlink.to/horrorhangout​​​Patreon - https://www.patreon.com/horrorhangoutFacebook - https://www.facebook.com/horrorhangoutpodcastTwitter - https://twitter.com/horror_hangout_TikTok - https://www.tiktok.com/@horrorhangoutpodcastInstagram - https://www.instagram.com/horrorhangoutpodcast/Website - http://www.hawkandcleaver.com​​​Ben - https://twitter.com/ben_errington​​​Andy - https://twitter.com/AndyCTWritesStu - https://twitter.com/StooToobAudio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. Hosted on Acast. See acast.com/privacy for more information.

This week, Pete brings you some great new music from Devra, Stone Foundation, Sababa 5, Say She She and from Calibro 35. There are some great summer type vibes to check out plus birthday celebrations for Jackie Wilson, Levi Stubbs, Leroy Hutson and for the main man, Curtis Mayfield. Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

National drive-in movie day. Entertainment from 1987. D-Day, Snow in New England, YMCA formed, Electric iron invented. Todays birthdays - Nathan Hale, Levi Stubbs, Gary U.S. Bonds, Joe Stampley, Robert Englund, Colin Quinn, Paul Giamotti, Uncle Kracker. Patrick Henry died.Intro - Def Leppard - Pour som Sugar on me http://defleppard.com/The last drive in - Chris LedouxYou keep me hangin on - Kim WildeI will be there - Dan SealsGoing to the chapel - The Dixie CupsBirthday lead in- In da club - 50Cent http://50cent.com/Can't help myself - The Four TopsQuarter till three - Gary U.S. BondsRoll on big mama - Joe StampleyFollow me - Uncle KrackerEnd - It's not love - Dokken http://dokken.net/

What do, a mystery involving the identity of one girls Father, set to the music of ABBA, and a love story about 2 misfits from Skid Row and a carnivorous plant, have in common? This week on THE MOVIE CONNECTION: Jacob Watched: "MAMMA MIA!" (6:15) (Directed by, Phyllida Lloyd. Starring, Amanda Seyfried, Meryl Streep, Pierce Brosnan...) KC Watched: "LITTLE SHOP OF HORRORS" (44:15) (Directed by, Frank Oz. Starring, Rick Moranis, Ellen Greene, Levi Stubbs...) Talking points include: Mother/Daughter movies The British version of "When Harry Met Sally..." Are aliens out there...? and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz

I'll edit this later idk Cabin in the Woods. Suspiria. The Burbs. Scooby Doo: Monster in Mexico. The Fog. Freaky Friday. The Fly. Annihilation. Transylvania 6-5000. Guillotine by Death Grips. La Bruja by Jenny and the Mexicats. Nightmare on My Street by DJ Jazzy Jeff. After Dark by Tito and Tarantula. The Killing Moon by Echo and the Bunnymen. Abducted by Cults. Tear You Apart by She Wants Revenge. Mean Green Mother From Outer Space by Levi Stubbs. Gasoline by The Weeknd. Riboflavin Flavored, Non Carbonated, Polyunsaturated Blood. Trick r Treat. Night of the Comet. The Craft. Scary Stories To Tell In The Dark. The Dead Don't Die. I'm Dead by Duckwrth. Red Right Hand by Nick Cave. Light As A Feather by The Chromatics. Don't Fear The Reaper by Blue Oyster Cult. Graveyards Full by The Growlers. Twitter: @HorrorNightsCat Instagram: @Piki.JPG Etsy: https://www.etsy.com/shop/PikiBootique?ref=simple-shop-header-name&listing_id=1261764769

When I first started this podcast, I created a wish-list of potential guests. You would too right?. It's fair to say that Billy Bragg was one of those early entries in my notebook. A musician, author, broadcaster and left-wing activist who fronted the 1980s Red Wedge movement with, among others, Paul Weller. He'a also pretty active as a gigging musician, touring the world, and so tying him down to a recording was always going to be pretty tricky. Here's the other thing that I should mention... On the release of this podcast, Billy is actually the only guest to come on who I have actually interviewed in my former life as a radio presenter. It was one of my absolute career highlights when working at the BBC in the late nineties. He's a hugely talented singer and songwriter. To Have and To Have Not, The Milkman of Human Kindness, Levi Stubbs' Tears, Sexuality, A New England, You Woke Up My Neighbourhood, Between The Wars, We Laughed... I could go on... Billy continues to surprise and delight with his music, to my ears he never seems to repeat himself and much like Paul, is looking to try new things and push himself into new ways of working and creating music. We kick off our chat with his love of The Jam and the influence the band and Paul's lyrics had him as a young man. You'll hear about supporting The Style Council on an early Council Meeting tour to the Red Wedge project where you'll hear there is nothing but warmth and gratitude for Paul's input and collaboration throughout. We'll also chat about connections from the solo years from Go Discs label mates in the nineties to Jools Holland Later TV around A Kind Revolution for Paul and Billy's book Roots, Radicals and Rockers: How Skiffle Changed the World. Most of all throughout our hour-long conversation, you'll hear a man who respects Paul - as a fellow singer / songwriter - as an innovator and as a huge musical talent with an incredible work ethic, vision and back catalogue. Find out more in the show notes for this podcast at Paulwellerfanpodcast.com/episode-114-billy-bragg If you enjoy this episode of the podcast - please share on your social media channels - and leave a review and if you want to support the podcast financially, you can buy me a virtual coffee at paulwellerfanpodcast.com/store  

Mean green mothers from outerspace Sonia Mansfield and Margo D. dork out about 1986's LITTLE SHOP OF HORRORS, starring Rick Moranis, Ellen Greene, Steve Martin, Bill Murray, and Levi Stubbs as the voice of Audrey II. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshow

The last Motown record to be crafted by the legendary trio of Holland, Dozier & Holland before they hit it and quit, Reach Out was a crossover smash racially by blending Levi Stubbs' terse soulful howl with white pop covers like If I Were A Carpenter and I'm A Believer. With titanic slabs of perfect emo anguish like Standing In The Shadow Of Love, Bernadette and the title track - as well as the absolutely class haunted house proto-goth nonsense of 7-Rooms Of Gloom - the Four Tops proved they were the perfect soundtrack to any true heartbreak. It's also the 429th Greatest Album Of All Time according to Rolling Stone magazine, so this week Christopher and Liam listened to it and now they're going to talk about it. Featuring digressions and embellishments on everything from Billy Bragg to the 2011 Bannerman High School version of the musical Little Shop Of Horrors. All that plus Secret Posho and YouTube Comment of the Week. Enjoy An Album! Enjoy.

Welcome to the Instant Trivia podcast episode 506, where we ask the best trivia on the Internet. Round 1. Category: Places In The News 1: In October 2000 a bomb damaged the U.S.S. Cole in this Mideastern country. Yemen. 2: He wasn't an alien visitor, but Felix Baumgartner did come from 24 miles up when he landed in this Southwest state in 2012. New Mexico. 3: In May 2013 hearts rejoiced when 3 women missing for nearly a decade escaped to freedom in this city. Cleveland. 4: In August 2013 ex-president Pervez Musharraf of this country was charged with the murder of Benazir Bhutto. Pakistan. 5: In August 2013 ex-president Pervez Musharraf of this country was charged with the murder of Benazir Bhutto. Pakistan. Round 2. Category: Motown 1: Beginning with "Where Did Our Love Go", this group has 12 No. 1 hits, more than any act on the Motown label. the Supremes. 2: "You Are the Sunshine of My Life" was the first of his 19 Grammys, a record for rock performers. Stevie Wonder. 3: This lead singer of the Miracles wrote "My Guy" for Mary Wells and "My Girl" for the Temptations. Smokey Robinson. 4: On one of his early albums, released in 1963, he was billed as a "12 year old genius". Stevie Wonder. 5: Renaldo Benson, Abdul Fakir, Levi Stubbs and Lawrence Payton performed under this name, starting in 1956. the Four Tops. Round 3. Category: Word To The Chef 1: Roe is fish eggs; roebuck is this meat. Deer/venison. 2: Tybo and Tilsit are types of these. Cheeses. 3: To make small squares of food is to dice; to make them a little larger is to do this, the shape of dice. Cube. 4: This French term refers to food that has been strained and blended to a smooth consistency. Puree. 5: 5-letter word for a male chicken that's been "fixed". Capon. Round 4. Category: Texas 1: David G. Burnet, Mirabeau B. Lamar, Anson Jones and Sam Houston were the only ones to hold this office. president of the Republic of Texas. 2: In 1972 adman Harve Chapman coined the term "Metroplex" for the area shared by these 2 cities. Dallas and Fort Worth. 3: It was said they "can ride like a Mexican, trail like an Indian... and fight like a very devil". the Texas Rangers. 4: This island off Corpus Christi is the largest in Texas, Dad. Padre Island. 5: Now a Republican, he began his career as an aide to freshman Congressman Lyndon B. Johnson. John Connolly. Round 5. Category: (5,5) 1: Very, very, very, very dark, like tar. Pitch black. 2: Mine are vibrating even as I speak. Vocal cords. 3: The best thing to win; it's blue ribbon level. First place. 4: Term for a periodical published by a business for its employees. House organ. 5: A person's temperature and pulse and respiration rates. Vital signs. Thanks for listening! Come back tomorrow for more exciting trivia!

With special guest Sonia Gumuchian, Anna and Derek discuss when you should or shouldn't listen to screening audience opinions, the perfect casting that is Levi Stubbs and so much more during their chat of the movie adapted into a musical adapted back into a movie Little Shop of Horrors (1986). Connect with '80s Movie Montage on Facebook, Twitter or Instagram! It's the same handle for all three... @80smontagepod.Facebook: https://www.facebook.com/80sMontagePodTwitter: https://twitter.com/80sMontagePodInstagram: https://www.instagram.com/80smontagepod/Anna Keizer and Derek Dehanke are the co-hosts of ‘80s Movie Montage. The idea for the podcast came when they realized just how much they talk – a lot – when watching films from their favorite cinematic era. Their wedding theme was “a light nod to the ‘80s,” so there's that, too. Both hail from the Midwest but have called Los Angeles home for several years now. Anna is a writer who received her B.A. in Film/Video from Columbia College Chicago and M.A. in Film Studies from Chapman University. Her dark comedy short She Had It Coming was an Official Selection of 25 film festivals with several awards won for it among them. Derek is an attorney who also likes movies. It is a point of pride that most of their podcast episodes are longer than the movies they cover.  Sonia Gumuchian is an independent writer and filmmaker based in Vancouver, Canada. She is a graduate of the USC School of Cinematic Arts and has worked at ABC Studios, HBO, FOX Broadcasting, and the Hallmark Channel. Her last short film premiered at the Austin Film Festival and screened at the Portland Comedy Film Festival among others. As an entertainment journalist, Sonia has covered red carpets and world premieres, including the Oscars and The Hunger Games, for various magazines. Repped by Ignite Artists Talent Agency, Sonia is currently developing scripted and unscripted content as a Digital Media & Development Content Creator at Anaid Productions in Vancouver. Find her on Instagram at @zeegum.

The latest episode of the podcast which asks; Singleton Noakes Purvis and Judd, or Baxter Woollard and Rodd – who was the better Prog band?Santa has come once more to Chart Music, Pop-Crazed Youngsters – but this year he's decided not to curl one off into our stocking, and has dropped off what is indisputably the greatest episode of the Pops we've chanced upon thus far in our five-year odyssey, plucked from the very dawning of the Golden Age. No, it's not a Xmas Day one – that year's episode, featuring Jinglenonce OBE introducing Clair by Gilbert O'Sullivan, has been plunged into the memory hole – but as always it's an opportunity for the show ponies of Our Brand New Favourite Year For Pop to have a trot-about, egged on by Tony Blackburn and his foul nemesis Edmonds.Musicwise, GASP: a combination of old chancers and young upstarts team up to drag Pop away from the foul mung of the Sixventies, the Heads are chased off by unkempt youths in spangles, and the result is a glorious year for singles – and this episode of TOTP is a non-stop barrage of banger after banger after banger after banger. Mike Leander invents the DNA of Glam. Donny Osmond demonstrates why eleven year-old girls turn up at his hotel with sledgehammers. After some KID'S LIB INNIT, Hilda Woodward casts an eerie spell and enchants the Kids into the worst occurrence of Granny Claps ever seen on Top Of The Pops. Roberta Flack takes over on piano. THE PEOPLE'S BAND shake a silvery top hat. Benny Hill delivers last year's Xmas #1. Chicory Tip whip the silver and gold-booted hooligans of Sheffield into a frenzy. Cherry Gillespie's three-day ordeal in wrapping paper bondage mercifully comes to an end. Mary Whitehouse's masturbatory nightmares are relived once more, with the assistance of Rolf Harris. Then it's the three-punch knockout of Utah Valhalla, the Jackson 5 and the Blessed Marc before Ringo pitches up at the end. Neil Kulkarni and Taylor Parkes join Al Needham for a celebration of Top Of The Pops at its most godlike, gleefully veering off on such tangents as famous pianos we have played on, schoolkids in London being forced to watch The Third Ear Band, Saddam Hussein's choice of Christmas chocolate, why Americans are so rubbish when it comes to Christmas #1's, Levi Stubbs fails to get a good night's sleep, and a brief chat about some film that the Beatles are in. TUCK IN, POP-CRAZED YOUNGSTERS – and treat yourself to some lovely festive swearing… Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki | Patreon See acast.com/privacy for privacy and opt-out information.

Paul & Amy feed 1986's creature feature musical Little Shop of Horrors! They credit director Frank Oz for getting Audrey II's physicality just right, dive into the career of Four Tops singer Levi Stubbs, and debate whether the heightened tone of the film feels more theatrical or more cinematic. Plus: A young Jack Nicholson's astonishing cameo in the original Little Shop. Next week Unspooled shakes out its first holiday stocking stuffer, Love Actually! You can join the conversation for this series on the Unspooled Facebook Group at https://www.facebook.com/groups/unspooledpodcast, and on Paul's Discord at https://discord.gg/ZwtygZGTa6. Learn more about the show at unspooledpod.com, follow us on Twitter @unspooled and Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Stitcher and Spotify. You can also listen to our Stitcher Premium game show Screen Test right now at https://www.stitcher.com/show/unspooled-screen-test, and apply to be a contestant at unspooledpod@gmail.com!

Welcome to the Instant Trivia podcast episode 265, where we ask the best trivia on the Internet. Round 1. Category: Subway Stops 1: Stops on this city's Line 1 include Carioca, Flamengo and Botafogo. Rio de Janeiro. 2: Kyobashi and Toranomon are stops on the Ginza Line cutting through this city. Tokyo. 3: You'll have to switch lines in this city to go from Chapultepec to Politecnico. Mexico City. 4: You can ride one line in this world capital from Kifissia to Pireas. Athens. 5: Going from Govan to Cowcaddens on this city's subway, you'll cross the Clyde and Kelvin Rivers. Glasgow. Round 2. Category: My Own Private Idaho 1: Calling itself the birthplace of television, Rigby, Idaho was the boyhood home of this technology pioneer. Philo Farnsworth. 2: Idaho's license plates logically carry the slogan "Famous" these. Potatoes. 3: In the 1860s this precious metal was discovered at Owyhee, and today Idaho leads the U.S. in its production. silver. 4: The Idaho section of U.S. Highway 12 bears the name of these 2 men who passed through the area in the early 1800s. Lewis and Clark. 5: Idaho's Kamiah Valley is rich in the heritage and legends of this "nosy" Native American tribe. Nez Perce. Round 3. Category: Motown 1: Beginning with "Where Did Our Love Go", this group has 12 No. 1 hits, more than any act on the Motown label. the Supremes. 2: "You Are the Sunshine of My Life" was the first of his 19 Grammys, a record for rock performers. Stevie Wonder. 3: This lead singer of the Miracles wrote "My Guy" for Mary Wells and "My Girl" for the Temptations. Smokey Robinson. 4: Renaldo Benson, Abdul Fakir, Levi Stubbs and Lawrence Payton performed under this name, starting in 1956. the Four Tops. 5: The Supremes had the most No. 1 hits of any U.S. group, beginning with this song in 1964: "Baby, baby...". "Where Did Our Love Go". Round 4. Category: Lotto Fever 1: An illegal lottery, or the fourth book of the Old Testament. Numbers. 2: One of the USA's 500 largest businesses by revenue is this state's lottery, based in Schenectady. New York. 3: In 1980 Congress forbade the use of this for distribution of lottery materials. the mails. 4: 13 workers at one of this coffee chain's stores in California became stars when they won big bucks in 2000...$87 million. Starbucks. 5: 2000 saw a fight in England over running the lottery, with this Virgin king at the forefeont. Richard Branson. Round 5. Category: Irs Stuff 1: The IRS now allows some deductions for treatments, not including the over-the-counter patch, to quit this. Smoking. 2: To deduct these, your new job must be over 50 miles farther from your former home than your old job was. Moving expenses. 3: If you've been selected for one of these, the IRS cheerfully informs you that many of them result in refunds. Audit. 4: Filing jointly, families with 2 or more kids and making under $34,178 a year may receive the EITC, this credit. Earned Income Tax Credit. 5: About 9% of the individual returns for 2000 checked the box to donate this much to the Presidential Election Fund. $3. Thanks for listening! Come back tomorrow for more exciting trivia!

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we're talking about Frank Oz's horror musical, Little Shop of Horrors. The film is about a man finding a mysterious new plant which he calls Audrey II. The plant seems to have a craving for blood and soon begins to sing for his supper. It stars Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, and Levi Stubbs.   Next Week's Movies: The Vanishing and Dune (2021) YouTube: http://www.youtube.com/c/WrinkledRabbitProductions Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrabbit/

Episode 134 of A History of Rock Music in Five Hundred Songs looks at “In the Midnight Hour", the links between Stax, Atlantic, and Detroit, and the career of Wilson Pickett. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Mercy Mercy" by Don Covay. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say “After Arthur Alexander had moved on to Monument Records” – I meant to say “Dot Records” here, the label that Alexander moved to *before* Monument. I also misspeak at one point and say "keyboard player Chips Moman", when I mean to say "keyboard player Spooner Oldham". This is correct in the transcript/script, I just misread it. Resources No Mixcloud this week, as there are too many songs by Pickett. The main resource I used for the biographical details of Wilson Pickett was In the Midnight Hour: The Life and Soul of Wilson Pickett. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. The episodes of Cocaine and Rhinestones I reference are the ones on Owen Bradley and the Nashville A-Team. And information on the Falcons comes from Marv Goldberg. Pickett's complete Atlantic albums can be found in this excellent ten-CD set. For those who just want the hits, this single-CD compilation is significantly cheaper. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start, just to say that this episode contains some discussion of domestic abuse, drug use, and abuse of employees by their employer, and one mention of an eating disorder. Also, this episode is much longer than normal, because we've got a lot to fit in. Today we're going to move away from Motown, and have a look at a record recorded in the studios of their great rival Stax records, though not released on that label. But the record we're going to look at is from an artist who was a bridge between the Detroit soul of Motown and the southern soul of Stax, an artist who had a foot in both camps, and whose music helped to define soul while also being closer than that of any other soul man to the music made by the white rock musicians of the period. We're going to look at Stax, and Muscle Shoals, and Atlantic Records, and at Wilson Pickett and "In the Midnight Hour" [Excerpt: Wilson Pickett: "In the Midnight Hour"] Wilson Pickett never really had a chance. His father, Wilson senior, was known in Alabama for making moonshine whisky, and spent time in prison for doing just that -- and his young son was the only person he told the location of his still. Eventually, Wilson senior moved to Detroit to start earning more money, leaving his family at home at first. Wilson junior and his mother moved up to Detroit to be with his father, but they had to leave his older siblings in Alabama, and his mother would shuttle between Michigan and Alabama, trying vainly to look after all her children. Eventually, Wilson's mother got pregnant while she was down in Alabama, which broke up his parents' marriage, and Wilson moved back down to Alabama permanently, to live on a farm with his mother. But he never got on with his mother, who was physically abusive to him -- as he himself would later be to his children, and to his partners, and to his bandmates. The one thing that Wilson did enjoy about his life in Alabama was the gospel music, and he became particularly enamoured of two gospel singers, Archie Brownlee of the Five Blind Boys of Mississippi: [Excerpt: The Mississippi Blind Boys, "Will My Jesus Be Waiting?"] And Julius Cheeks of the Sensational Nightingales: [Excerpt: The Sensational Nightingales, "God's World Will Never Pass Away"] Wilson determined to become a gospel singer himself, but he couldn't stand living with his mother in rural Alabama, and decided to move up to be with his father and his father's new girlfriend in Detroit.  Once he moved to Detroit, he started attending Northwestern High School, which at the time was also being attended by Norman Whitfield, Florence Ballard, and Melvin Franklin. Pickett also became friendly with Aretha Franklin, though she didn't attend the same school -- she went to school at Northern, with Smokey Robinson -- and he started attending services at New Bethel Church, the church where her father preached. This was partly because Rev. Franklin was one of the most dynamic preachers around, but also because New Bethel Church would regularly feature performances by the most important gospel performers of the time -- Pickett saw the Soul Stirrers perform there, with Sam Cooke singing lead, and of course also saw Aretha singing there. He joined a few gospel groups, first joining one called the Sons of Zion, but he was soon poached by a more successful group, the Violinaires. It was with the Violinaires that he made what is almost certainly his first recording -- a track that was released as a promo single, but never got a wide release at the time: [Excerpt: The Violinaires, "Sign of the Judgement"] The Violinaires were only moderately successful on the gospel circuit, but Pickett was already sure he was destined for bigger things. He had a rivalry with David Ruffin, in particular, constantly mocking Ruffin and saying that he would never amount to anything, while Wilson Pickett was the greatest. But after a while, he realised that gospel wasn't where he was going to make his mark. Partly his change in direction was motivated by financial concern -- he'd physically attacked his father and been kicked out of his home, and he was also married while still a teenager, and had a kid who needed feeding. But also, he was aware of a certain level of hypocrisy among his more religious acquaintances. Aretha Franklin had two kids, aged only sixteen, and her father, the Reverend Franklin, had fathered a child with a twelve-year-old, was having an affair with the gospel singer Clara Ward, and was hanging around blues clubs all the time. Most importantly, he realised that the audiences he was singing to in church on Sunday morning were mostly still drunk from Saturday night. As he later put it "I might as well be singing rock 'n' roll as singing to a drunken audience. I might as well make me some money." And this is where the Falcons came in. The Falcons were a doo-wop group that had been formed by a Black singer, Eddie Floyd, and a white singer, Bob Manardo. They'd both recruited friends, including bass singer Willie Schofield, and after performing locally they'd decided to travel to Chicago to audition for Mercury Records. When they got there, they found that you couldn't audition for Mercury in Chicago, you had to go to New York, but they somehow persuaded the label to sign them anyway -- in part because an integrated group was an unusual thing. They recorded one single for Mercury, produced by Willie Dixon who was moonlighting from Chess: [Excerpt: The Falcons, "Baby That's It"] But then Manardo was drafted, and the group's other white member, Tom Shetler, decided to join up along with him. The group went through some other lineup changes, and ended up as Eddie Floyd, Willie Schofield, Mack Rice, guitarist Lance Finnie, and lead singer Joe Stubbs, brother of Levi. The group released several singles on small labels owned by their manager, before having a big hit with "You're So Fine", the record we heard about them recording last episode: [Excerpt: The Falcons, "You're So Fine"] That made number two on the R&B charts and number seventeen on the pop charts. They recorded several follow-ups, including "Just For Your Love", which made number 26 on the R&B charts: [Excerpt: The Falcons, "Just For Your Love"] To give you some idea of just how interrelated all the different small R&B labels were at this point, that was originally recorded and released on Chess records. But as Roquel Davis was at that point working for Chess, he managed to get the rights to reissue it on Anna Records, the label he co-owned with the Gordy sisters -- and the re-released record was distributed by Gone Records, one of George Goldner's labels. The group also started to tour supporting Marv Johnson. But Willie Schofield was becoming dissatisfied. He'd written "You're So Fine", but he'd only made $500 from what he was told was a million-selling record. He realised that in the music business, the real money was on the business side, not the music side, so while staying in the Falcons he decided he was going to go into management too. He found the artist he was going to manage while he was walking to his car, and heard somebody in one of the buildings he passed singing Elmore James' then-current blues hit "The Sky is Crying": [Excerpt: Elmore James, "The Sky is Crying"] The person he heard singing that song, and accompanying himself on acoustic guitar, was of course Wilson Pickett, and Schofield signed him up to a management contract -- and Pickett was eager to sign, knowing that Schofield was a successful performer himself. The intention was at first that Schofield would manage Pickett as a solo performer, but then Joe Stubbs got ideas above his station, and started insisting that the group be called "Joe Stubbs and the Falcons", which put the others' backs up, and soon Stubbs was out of the group. This experience may have been something that his brother later had in mind -- in the late sixties, when Motown started trying to promote groups as Lead Singer and The Group, Levi Stubbs always refused to allow his name to go in front of the Four Tops. So the Falcons were without a lead singer. They tried a few other singers in their circle, including Marvin Gaye, but were turned down. So in desperation, they turned to Pickett. This wasn't a great fit -- the group, other than Schofield, thought that Pickett was "too Black", both in that he had too much gospel in his voice, and literally in that he was darker-skinned than the rest of the group (something that Schofield, as someone who was darker than the rest of the group but less dark than Pickett, took offence at). Pickett, in turn, thought that the Falcons were too poppy, and not really the kind of thing he was at all interested in doing. But they were stuck with each other, and had to make the most of it, even though Pickett's early performances were by all accounts fairly dreadful. He apparently came in in the wrong key on at least one occasion, and another time froze up altogether and couldn't sing. Even when he did sing, and in tune, he had no stage presence, and he later said “I would trip up, fall on the stage and the group would rehearse me in the dressing room after every show. I would get mad, ‘cos I wanted to go out and look at the girls as well! They said, ‘No, you got to rehearse, Oscar.' They called me Oscar. I don't know why they called me Oscar, I didn't like that very much.” Soon, Joe Stubbs was back in the group, and there was talk of the group getting rid of Pickett altogether. But then they went into the studio to record a song that Sam Cooke had written for the group, "Pow! You're in Love". The song had been written for Stubbs to sing, but at the last minute they decided to give Pickett the lead instead: [Excerpt: The Falcons, "Pow! You're in Love"] Pickett was now secure as the group's lead singer, but the group weren't having any success with records. They were, though, becoming a phenomenal live act -- so much so that on one tour, where James Brown was the headliner, Brown tried to have the group kicked off the bill, because he felt that Pickett was stealing his thunder. Eventually, the group's manager set up his own record label, Lu Pine Records, which would become best known as the label that released the first record by the Primettes, who later became the Supremes.  Lu Pine released the Falcons' single "I Found a Love",   after the group's management had first shopped it round to other labels to try to get them to put it out: [Excerpt: The Falcons, "I Found a Love"] That song, based on the old Pentecostal hymn "Yes Lord", was written by Pickett and Schofield, but the group's manager, Robert West, also managed to get his name on the credits. The backing group, the Ohio Untouchables, would later go on to become better known as The Ohio Players. One of the labels that had turned that record down was Atlantic Records, because Jerry Wexler hadn't heard any hit potential in the song. But then the record started to become successful locally, and Wexler realised his mistake. He got Lu Pine to do a distribution deal with Atlantic, giving Atlantic full rights to the record, and it became a top ten R&B hit. But by this point, Pickett was sick of working with the Falcons, and he'd decided to start trying for a solo career. His first solo single was on the small label Correc-Tone, and was co-produced by Robert Bateman, and featured the Funk Brothers as instrumental backing, and the Primettes on vocals. I've seen some claims that the Andantes are on there too, but I can't make them out -- but I can certainly make out the future Supremes: [Excerpt: Wilson Pickett, "Let Me Be Your Boy"] That didn't do anything, and Pickett kept recording with the Falcons for a while, as well as putting out his solo records. But then Willie Schofield got drafted, and the group split up. Their manager hired another group, The Fabulous Playboys, to be a new Falcons group, but in 1964 he got shot in a dispute over the management of Mary Wells, and had to give up working in the music industry. Pickett's next single, which he co-wrote with Robert Bateman and Sonny Schofield, was to be the record that changed his career forever. "If You Need Me" once again featured the Funk Brothers and the Andantes, and was recorded for Correc-Tone: [Excerpt: Wilson Pickett, "If You Need Me"] Jerry Wexler was again given the opportunity to put the record out on Atlantic, and once again decided against it. Instead, he offered to buy the song's publishing, and he got Solomon Burke to record it, in a version produced by Bert Berns: [Excerpt: Solomon Burke, "If You Need Me"] Burke wasn't fully aware, when he cut that version, that Wilson Pickett, who was his friend, had recorded his own version. He became aware, though, when Double-L Records, a label co-owned by Lloyd Price, bought the Correc-Tone master and released Pickett's version nationally, at the same time as Burke's version came out. The two men were annoyed that they'd been put into unwitting competition, and so started an unofficial nonaggression pact -- every time Burke was brought into a radio station to promote his record, he'd tell the listeners that he was there to promote Wilson Pickett's new single. Meanwhile, when Pickett went to radio stations, he'd take the opportunity to promote the new record he'd written for his good friend Solomon Burke, which the listeners should definitely check out. The result was that both records became hits -- Pickett's scraped the lower reaches of the R&B top thirty, while Burke, as he was the bigger star, made number two on the R&B chart and got into the pop top forty. Pickett followed it up with a soundalike, "It's Too Late", which managed to make the R&B top ten as there was no competition from Burke. At this point, Jerry Wexler realised that he'd twice had the opportunity to release a record with Wilson Pickett singing, twice he'd turned the chance down, and twice the record had become a hit. He realised that it was probably a good idea to sign Pickett directly to Atlantic and avoid missing out. He did check with Pickett if Pickett was annoyed about the Solomon Burke record -- Pickett's response was "I need the bread", and Wilson Pickett was now an Atlantic artist. This was at the point when Atlantic was in something of a commercial slump -- other than the records Bert Berns was producing for the Drifters and Solomon Burke, they were having no hits, and they were regarded as somewhat old-fashioned, rooted in a version of R&B that still showed its roots in jazz, rather than the new sounds that were taking over the industry in the early sixties. But they were still a bigger label than anything else Pickett had recorded for, and he seized the opportunity to move into the big time. To start with, Atlantic teamed Pickett up with someone who seemed like the perfect collaborator -- Don Covay, a soul singer and songwriter who had his roots in hard R&B and gospel music but had written hits for people like Chubby Checker.  The two got together and recorded a song they wrote together, "I'm Gonna Cry (Cry Baby)": [Excerpt: Wilson Pickett, "I'm Gonna Cry (Cry Baby)"] That did nothing commercially -- and gallingly for Pickett, on the same day, Atlantic released a single Covay had written for himself, "Mercy Mercy", and that ended up going to number one on the R&B chart and making the pop top forty. As "I'm Gonna Cry" didn't work out, Atlantic decided to try to change tack, and paired Pickett with their established hitmaker Bert Berns, and a duet partner, Tami Lyn, for what Pickett would later describe as "one of the weirdest sessions on me I ever heard in my life", a duet on a Mann and Weil song, "Come Home Baby": [Excerpt: Wilson Pickett and Tami Lyn, "Come Home Baby"] Pickett later said of that track, "it didn't sell two records", but while it wasn't a hit, it was very popular among musicians -- a few months later Mick Jagger would produce a cover version of it on Immediate Records, with Ronnie Wood, Keith Richards, and the Georgie Fame brass section backing a couple of unknown singers: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] Sadly for Rod Stewart and P.P. Arnold, that didn't get past being issued as a promotional record, and never made it to the shops. Meanwhile, Pickett went out on tour again, substituting on a package tour for Clyde McPhatter, who had to drop out when his sister died. Also on the tour was Pickett's old bandmate from the Falcons, Mack Rice, now performing as Sir Mack Rice, who was promoting a single he'd just released on a small label, which had been produced by Andre Williams. The song had originally been called "Mustang Mama", but Aretha Franklin had suggested he call it "Mustang Sally" instead: [Excerpt: Sir Mack Rice, "Mustang Sally"] Pickett took note of the song, though he didn't record it just yet -- and in the meantime, the song was picked up by the white rock group The Young Rascals, who released their version as the B-side of their number one hit, "Good Lovin'": [Excerpt: The Young Rascals, "Mustang Sally"] Atlantic's problems with having hits weren't only problems with records they made themselves -- they were also having trouble getting any big hits with Stax records. As we discussed in the episode on "Green Onions", Stax were being distributed by Atlantic, and in 1963 they'd had a minor hit with "These Arms of Mine" by Otis Redding: [Excerpt: Otis Redding, "These Arms of Mine"] But throughout 1964, while the label had some R&B success with its established stars, it had no real major breakout hits, and it seemed to be floundering a bit -- it wasn't doing as badly as Atlantic itself, but it wasn't doing wonderfully. It wasn't until the end of the year when the label hit on what would become its defining sound, when for the first time Redding collaborated with Stax studio guitarist and producer Steve Cropper on a song: [Excerpt: Otis Redding, "Mr. Pitiful"] That record would point the way towards Redding's great artistic triumphs of the next couple of years, which we'll look at in a future episode. But it also pointed the way towards a possible future sound for Atlantic. Atlantic had signed a soul duo, Sam & Dave, who were wonderful live performers but who had so far not managed to translate those live performances to record. Jerry Wexler thought that perhaps Steve Cropper could help them do that, and made a suggestion to Jim Stewart at Stax -- Atlantic would loan out Sam & Dave to the label. They'd remain signed to Atlantic, but make their records at Stax studios, and they'd be released as Stax records. Their first single for Stax, "A Place Nobody Can Find", was produced by Cropper, and was written by Stax songwriter Dave Porter: [Excerpt: Sam and Dave, "A Place Nobody Can Find"] That wasn't a hit, but soon Porter would start collaborating with another songwriter, Isaac Hayes, and would write a string of hits for the duo. But in order to formalise the loan-out of Sam and Dave, Atlantic also wanted to formalise their arrangement with Stax. Previously they'd operated on a handshake basis -- Wexler and Stewart had a mutual respect, and they simply agreed that Stax would give Atlantic the option to distribute their stuff. But now they entered into a formal, long-term contract, and for a nominal sum of one dollar, Jim Stewart gave Atlantic the distribution rights to all past Stax records and to all future records they released for the next few years. Or at least, Stewart *thought* that the agreement he was making was formalising the distribution agreement. What the contract actually said -- and Stewart never bothered to have this checked over by an entertainment lawyer, because he trusted Wexler -- was that Stax would, for the sum of one dollar, give Atlantic *permanent ownership* of all their records, in return. The precise wording was "You hereby sell, assign and transfer to us, our successors or assigns, absolutely and forever and without any limitations or restrictions whatever, not specifically set forth herein, the entire right, title and interest in and to each of such masters and to each of the performances embodied thereon." Jerry Wexler would later insist that he had no idea that particular clause was in the contract, and that it had been slipped in there by the lawyers. Jim Stewart still thought of himself as the owner of an independent record label, but without realising it he'd effectively become an employee of Atlantic. Atlantic started to take advantage of this new arrangement by sending other artists down to Memphis to record with the Stax musicians. Unlike Sam and Dave, these would still be released as Atlantic records rather than Stax ones, and Jerry Wexler and Atlantic's engineer Tom Dowd would be involved  in the production, but the records would be made by the Stax team. The first artist to benefit from this new arrangement was Wilson Pickett, who had been wanting to work at Stax for a while, being a big fan of Otis Redding in particular. Pickett was teamed up with Steve Cropper, and together they wrote the song that would define Pickett's career. The seeds of "In the Midnight Hour" come from two earlier recordings. One is a line from his record with the Falcons, "I Found a Love": [Excerpt: The Falcons, "I Found a Love"] The other is a line from a record that Clyde McPhatter had made with Billy Ward and the Dominoes back in 1951: [Excerpt: Billy Ward and the Dominoes, "Do Something For Me"] Those lines about a "midnight hour" and "love come tumbling down" were turned into the song that would make Pickett's name, but exactly who did what has been the cause of some disagreement. The official story is that Steve Cropper took those lines and worked with Pickett to write the song, as a straight collaboration. Most of the time, though, Pickett would claim that he'd written the song entirely by himself, and that Cropper had stolen the credit for that and their other credited collaborations. But other times he would admit "He worked with me quite a bit on that one". Floyd Newman, a regular horn player at Stax, would back up Pickett, saying "Every artist that came in here, they'd have their songs all together, but when they leave they had to give up a piece of it, to a certain person. But this person, you couldn't be mad at him, because he didn't own Stax, Jim Stewart owned Stax. And this guy was doing what Jim Stewart told him to do, so you can't be mad at him." But on the other hand, Willie Schofield, who collaborated with Pickett on "I Found a Love", said of writing that "Pickett didn't have any chord pattern. He had a couple of lyrics. I'm working with him, giving him the chord change, the feel of it. Then we're going in the studio and I've gotta show the band how to play it because we didn't have arrangers. That's part of the songwriting. But he didn't understand. He felt he wrote the lyrics so that's it." Given that Cropper didn't take the writing credit on several other records he participated in, that he did have a consistent pattern of making classic hit records, that "In the Midnight Hour" is stylistically utterly different from Pickett's earlier work but very similar to songs like "Mr. Pitiful" cowritten by Cropper, and Pickett's longstanding habit of being dismissive of anyone else's contributions to his success, I think the most likely version of events is that Cropper did have a lot to do with how the song came together, and probably deserves his credit, but we'll never know for sure exactly what went on in their collaboration. Whoever wrote it, "In the Midnight Hour" became one of the all-time classics of soul: [Excerpt: Wilson Pickett, "In the Midnight Hour"] But another factor in making the record a success -- and in helping reinvent the Stax sound -- was actually Jerry Wexler. Wexler had started attending sessions at the Stax studios, and was astonished by how different the recording process was in the South. And Wexler had his own input into the session that produced "In the Midnight Hour". His main suggestion was that rather than play the complicated part that Cropper had come up with, the guitarist should simplify, and just play chords along with Al Jackson's snare drum. Wexler was enthusing about a new dance craze called the Jerk, which had recently been the subject of a hit record by a group called the Larks: [Excerpt: The Larks, "The Jerk"] The Jerk, as Wexler demonstrated it to the bemused musicians, involved accenting the second and fourth beats of the bar, and delaying them very slightly. And this happened to fit very well with the Stax studio sound. The Stax studio was a large room, with quite a lot of reverb, and the musicians played together without using headphones, listening to the room sound. Because of this, to stay in time, Steve Cropper had started taking his cue not just from the sound, but from watching Al Jackson's left hand going to the snare drum. This had led to him playing when he saw Jackson's hand go down on the two and four, rather than when the sound of the snare drum reached his ears -- a tiny, fraction-of-a-second, anticipation of the beat, before everyone would get back in sync on the one of the next bar, as Jackson hit the kick drum. This had in turn evolved into the whole group playing the backbeat with a fractional delay, hitting it a tiny bit late -- as if you're listening to the echo of those beats rather than to the beat itself. If anyone other than utterly exceptional musicians had tried this, it would have ended up as a car crash, but Jackson was one of the best timekeepers in the business, and many musicians would say that at this point in time Steve Cropper was *the* best rhythm guitarist in the world, so instead it gave the performances just enough sense of looseness to make them exciting. This slight delayed backbeat was something the musicians had naturally fallen into doing, but it fit so well with Wexler's conception of the Jerk that they started deliberately exaggerating it -- still only delaying the backbeat minutely, but enough to give the record a very different sound from anything that was out there: [Excerpt: Wilson Pickett, "In the Midnight Hour"] That delayed backbeat sound would become the signature sound of Stax for the next several years, and you will hear it on the run of classic singles they would put out for the next few years by Otis Redding, Sam & Dave, Carla Thomas, Booker T. and the MGs, Eddie Floyd and others. The sound of that beat is given extra emphasis by the utter simplicity of Al Jackson's playing. Jackson had a minimalist drum kit, but played it even more minimally -- other than the occasional fill, he never hit his tom at all, just using the kick drum, snare, and hi-hat -- and the hi-hat was not even miced, with any hi-hat on the actual records just being the result of leakage from the other mics. But that simplicity gave the Stax records a power that almost no other records from the period had: [Excerpt: Wilson Pickett, "In the Midnight Hour"] "In the Midnight Hour" made number one on the R&B charts, and made number twenty-one on the pop charts, instantly turning Pickett from an also-ran into one of the major stars of soul music. The follow-up, a soundalike called "Don't Fight It", also made the top five on the R&B charts. At his next session, Pickett was reunited with his old bandmate Eddie Floyd. Floyd would soon go on to have his own hits at Stax, most notably with "Knock on Wood", but at this point he was working as a staff songwriter at Stax, coming up with songs like "Comfort Me" for Carla Thomas: [Excerpt: Carla Thomas, "Comfort Me"] Floyd had teamed up with Steve Cropper, and they'd been... shall we say, "inspired"... by a hit for the Marvelettes, "Beechwood 45789", written by Marvin Gaye, Gwen Gordy and Mickey Stevenson: [Excerpt: The Marvelettes, "Beechwood 45789"] Cropper and Floyd had come up with their own song, "634-5789", which Pickett recorded, and which became an even bigger hit than "In the Midnight Hour", making number thirteen on the pop charts as well as being Pickett's second R&B number one: [Excerpt: Wilson Pickett, "634-5789"] At the same session, they cut another single. This one was inspired by an old gospel song, "Ninety-Nine and One Half Won't Do", recorded by Sister Rosetta Tharpe among others: [Excerpt: Sister Rosetta Tharpe, "Ninety-Nine and One Half Won't Do"] The song was rewritten by Floyd, Cropper, and Pickett, and was also a moderate R&B hit, though nowhere as big as "634-5789": [Excerpt: Wilson Pickett, "Ninety-Nine and One Half Won't Do"] That would be the last single that Pickett recorded at Stax, though -- though the reasoning has never been quite clear. Pickett was, to put it as mildly as possible, a difficult man to work with, and he seems to have had some kind of falling out with Jim Stewart -- though Stewart always said that the problem was actually that Pickett didn't get on with the musicians. But the musicians disagree, saying they had a good working relationship -- Pickett was often an awful person, but only when drunk, and he was always sober in the studio. It seems likely, actually, that Pickett's move away from the Stax studios was more to do with someone else -- Pickett's friend Don Covay was another Atlantic artist recording at Stax, and Pickett had travelled down with him when Covay had recorded "See Saw" there: [Excerpt: Don Covay, "See Saw"] Everyone involved agreed that Covay was an eccentric personality, and that he rubbed Jim Stewart up the wrong way. There is also a feeling among some that Stewart started to resent the way Stax's sound was being used for Atlantic artists, like he was "giving away" hits, even though Stax's company got the publishing on the songs Cropper was co-writing, and he was being paid for the studio time. Either way, after that session, Atlantic didn't send any of its artists down to Stax, other than Sam & Dave, who Stax regarded as their own artists. Pickett would never again record at Stax, and possibly coincidentally once he stopped writing songs with Steve Cropper he would also never again have a major hit record with a self-penned song. But Jerry Wexler still wanted to keep working in Southern studios, and with Southern musicians, and so he took Pickett to FAME studios, in Muscle Shoals, Alabama. We looked, back in the episode on Arthur Alexander, at the start of FAME studios, but after Arthur Alexander had moved on to Monument Records, Rick Hall had turned FAME into a home for R&B singers looking for crossover success. While Stax employed both Black and white musicians, FAME studios had an all-white rhythm section, with a background in country music, but that had turned out to be absolutely perfect for performers like the soul singer Joe Tex, who had himself started out in country before switching to soul, and who recorded classics like "Hold What You Got" at the studio: [Excerpt: Joe Tex, "Hold What You Got"] That had been released on FAME's record label, and Jerry Wexler had been impressed and had told Rick Hall to call him the next time he thought he had a hit. When Hall did call Wexler, Wexler was annoyed -- Hall phoned him in the middle of a party. But Hall was insistent. "You said to call you next time I've got a hit, and this is a number one". Wexler relented and listened to the record down the phone. This is what he heard: [Excerpt: Percy Sledge, "When a Man Loves a Woman"] Atlantic snapped up "When a Man Loves a Woman" by Percy Sledge, and it went to number one on the pop charts -- the first record from any of the Southern soul studios to do so. In Wexler's eyes, FAME was now the new Stax. Wexler had a bit of culture shock when working at FAME, as it was totally unlike anything he'd experienced before. The records he'd been involved with in New York had been mostly recorded by slumming jazz musicians, very technical players who would read the music from charts, and Stax had had Steve Cropper as de facto musical director, leading the musicians and working out their parts with them. By contrast, the process used at FAME, and at most of the other studios in what Charles Hughes describes as the "country-soul triangle" of Memphis, Muscle Shoals, and Nashville, was the process that had been developed by Owen Bradley and the Nashville A-Team in Nashville (and for a fuller description of this, see the excellent episodes on Bradley and the A-Team in the great country music podcast Cocaine and Rhinestones). The musicians would hear a play through of the song by its writer, or a demo, would note down the chord sequences using the Nashville number system rather than a more detailed score, do a single run-through to get the balance right, and then record. Very few songs required a second take. For Pickett's first session at FAME, and most subsequent ones, the FAME rhythm section of keyboard player Spooner Oldham, guitarist Jimmy Johnson, bass player Junior Lowe and drummer Roger Hawkins was augmented with a few other players -- Memphis guitarists Chips Moman and Tommy Cogbill, and the horn section who'd played on Pickett's Stax records, moonlighting. And for the first track they recorded there, Wexler wanted them to do something that would become a signature trick for Pickett over the next couple of years -- record a soul cover version of a rock cover version of a soul record. Wexler's thinking was that the best way for Pickett to cross over to a white audience was to do songs that were familiar to them from white pop cover versions, but songs that had originated in Pickett's soul style. At the time, as well, the hard backbeat sound on Pickett's hits was one that was more associated with white rock music than with soul, as was the emphasis on rhythm guitar. To modern ears, Pickett's records are almost the definition of soul music, but at the time they were absolutely considered crossover records. And so in the coming months Pickett would record cover versions of Don Covay's "Mercy Mercy", Solomon Burke's "Everybody Needs Somebody to Love", and Irma Thomas' "Time is on My Side", all of which had been previously covered by the Rolling Stones -- and two of which had their publishing owned by Atlantic's publishing subsidiary. For this single, though, he was recording a song which had started out as a gospel-inspired dance song by the R&B singer Chris Kenner: [Excerpt: Chris Kenner, "Land of a Thousand Dances"] That had been a minor hit towards the bottom end of the Hot One Hundred, but it had been taken up by a lot of other musicians, and become one of those songs everyone did as album filler -- Rufus Thomas had done a version at Stax, for example. But then a Chicano garage band called Cannibal and the Headhunters started performing it live, and their singer forgot the lyrics and just started singing "na na na na", giving the song a chorus it hadn't had in its original version. Their version, a fake-live studio recording, made the top thirty: [Excerpt: Cannibal and the Headhunters, "Land of a Thousand Dances"] Pickett's version was drastically rearranged, and included a guitar riff that Chips Moman had come up with, some new lyrics that Pickett introduced, and a bass intro that Jerry Wexler came up with, a run of semiquavers that Junior Lowe found very difficult to play. The musicians spent so long working on that intro that Pickett got annoyed and decided to take charge. He yelled "Come on! One-two-three!" and the horn players, with the kind of intuition that comes from working together for years, hit a chord in unison. He yelled "One-two-three!" again, and they hit another chord, and Lowe went into the bass part. They'd found their intro. They ran through that opening one more time, then recorded a take: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] At this time, FAME was still recording live onto a single-track tape, and so all the mistakes were caught on tape with no opportunity to fix anything, like when all but one of the horn players forget to come in on the first line of one verse: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] But that kind of mistake only added to the feel of the track, which became Pickett's biggest hit yet -- his third number one on the R&B chart, and his first pop top ten. As the formula of recording a soul cover version of a rock cover version of a soul song had clearly worked, the next single Pickett recorded was "Mustang Sally", which as we saw had originally been an R&B record by Pickett's friend Mack Rice, before being covered by the Young Rascals. Pickett's version, though, became the definitive version: [Excerpt: Wilson Pickett, "Mustang Sally"] But it very nearly wasn't. That was recorded in a single take, and the musicians went into the control room to listen to it -- and the metal capstan on the tape machine flew off while it was rewinding. The tape was cut into dozens of tiny fragments, which the machine threw all over the room in all directions. Everyone was horrified, and Pickett, who was already known for his horrific temper, looked as if he might actually kill someone. Tom Dowd, Atlantic's genius engineer who had been a physicist on the Manhattan Project while still a teenager, wasn't going to let something as minor as that stop him. He told everyone to take a break for half an hour, gathered up all the randomly-thrown bits of tape, and spliced them back together. The completed recording apparently has forty splices in it, which would mean an average of a splice every four seconds. Have a listen to this thirty-second segment and see if you can hear any at all: [Excerpt: Wilson Pickett, "Mustang Sally"] That segment has the one part where I *think* I can hear one splice in the whole track, a place where the rhythm hiccups very slightly -- and that might well just be the drummer trying a fill that didn't quite come off. "Mustang Sally" was another pop top thirty hit, and Wexler's crossover strategy seemed to have been proved right -- so much so that Pickett was now playing pretty much all-white bills. He played, for example, at Murray the K's last ever revue at the Brooklyn Paramount, where the other artists on the bill were Mitch Ryder and the Detroit Wheels, the Young Rascals, Al Kooper's Blues Project, Cream, and the Who. Pickett found the Who extremely unprofessional, with their use of smoke bombs and smashing their instruments, but they eventually became friendly. Pickett's next single was his version of "Everybody Needs Somebody to Love", the Solomon Burke song that the Rolling Stones had also covered, and that was a minor hit, but his next few records after that didn't do particularly well. He did though have a big hit with his cover version of a song by a group called Dyke and the Blazers. Pickett's version of "Funky Broadway" took him to the pop top ten: [Excerpt: Wilson Pickett, "Funky Broadway"] It did something else, as well. You may have noticed that two of the bands on that Paramount bill were groups that get called "blue-eyed soul". "Soul" had originally been a term used for music made by Black people, but increasingly the term was being used by white people for their music, just as rock and roll and rhythm and blues before it had been picked up on by white musicians. And so as in those cases, Black musicians were moving away from the term -- though it would never be abandoned completely -- and towards a new slang term, "funk". And Pickett was the first person to get a song with "funk" in the title onto the pop charts. But that would be the last recording Pickett would do at FAME for a couple of years. As with Stax, Pickett was moved away by Atlantic because of problems with another artist, this time to do with a session with Aretha Franklin that went horribly wrong, which we'll look at in a future episode. From this point on, Pickett would record at American Sound Studios in Memphis, a studio owned and run by Chips Moman, who had played on many of Pickett's records. Again, Pickett was playing with an all-white house band, but brought in a couple of Black musicians -- the saxophone player King Curtis, and Pickett's new touring guitarist, Bobby Womack, who had had a rough few years, being largely ostracised from the music community because of his relationship with Sam Cooke's widow. Womack wrote what might be Pickett's finest song, a song called "I'm in Love" which is a masterpiece of metrical simplicity disguised as complexity -- you could write it all down as being in straight four-four, but the pulse shifts and implies alternating bars of five and three at points: [Excerpt: Wilson Pickett, "I'm In Love"] Womack's playing on those sessions had two effects, one on music history and one on Pickett. The effect on music history was that he developed a strong working relationship with Reggie Young, the guitarist in the American Sound studio band, and Young and Womack learned each other's styles. Young would later go on to be one of the top country session guitarists, playing on records by Merle Haggard, Willie Nelson, Dolly Parton, Kenny Rogers, Waylon Jennings and more, and he was using Womack's style of playing -- he said later "I didn't change a thing. I was playing that Womack style on country records, instead of the hillbilly stuff—it changed the whole bed of country music." The other effect, though, was a much more damaging one. Womack introduced Pickett to cocaine, and Pickett -- who was already an aggressive, violent, abusive, man, became much more so. "I'm in Love" went to number four on the R&B charts, but didn't make the pop top forty. The follow-up, a remake of "Stagger Lee", did decently on the pop charts but less well on the R&B charts. Pickett's audiences were diverging, and he was finding it more difficult to make the two come together. But he would still manage it, sporadically, throughout the sixties. One time when he did was in 1968, when he returned to Muscle Shoals and to FAME studios. In a session there, the guitarist was very insistent that Pickett should cut a version of the Beatles' most recent hit. Now obviously, this is a record that's ahead in our timeline, and which will be covered in a future episode, but I imagine that most of you won't find it too much of a spoiler when I tell you that "Hey Jude" by the Beatles was quite a big hit: [Excerpt: The Beatles, "Hey Jude"] What that guitarist had realised was that the tag of the song gave the perfect opportunity for ad-libbing. You all know the tag: [Excerpt: The Beatles, "Hey Jude"] And so on. That would be perfect for a guitar solo, and for Pickett to do some good soul shouting over. Neither Pickett nor Rick Hall were at all keen -- the Beatles record had only just dropped off number one, and it seemed like a ridiculous idea to both of them. But the guitarist kept pressing to do it, and by the time the other musicians returned from their lunch break, he'd convinced Pickett and Hall. The record starts out fairly straightforward: [Excerpt: Wilson Pickett, "Hey Jude"] But it's on the tag when it comes to life. Pickett later described recording that part -- “He stood right in front of me, as though he was playing every note I was singing. And he was watching me as I sang, and as I screamed, he was screaming with his guitar.”: [Excerpt: Wilson Pickett, "Hey Jude"] That was not Pickett's biggest hit, but it was one of the most influential. It made the career of the guitarist, Duane Allman, who Jerry Wexler insisted on signing to his own contract after that, and as Jimmy Johnson, the rhythm guitarist on the session said, "We realised then that Duane had created southern rock, in that vamp." It was big enough that Wexler pushed Pickett to record a whole series of cover versions of rock songs -- he put out versions of "Hey Joe", "Born to be Wild" and "You Keep Me Hangin' On" -- the latter going back to his old technique of covering a white cover version of a Black record, as his version copied the Vanilla Fudge's arrangement rather than the Supremes' original. But these only had very minor successes -- the most successful of them was his version of "Sugar Sugar" by the Archies. As the sixties turned into the seventies, Pickett continued having some success, but it was more erratic and less consistent. The worlds of Black and white music were drifting apart, and Pickett, who more than most had straddled both worlds, now found himself having success in neither. It didn't help that his cocaine dependency had made him into an egomaniac. At one point in the early seventies, Pickett got a residency in Las Vegas, and was making what by most standards was a great income from it. But he would complain bitterly that he was only playing the small room, not the big one in the same hotel, and that the artist playing the big room was getting better billing than him on the posters. Of course, the artist playing the big room was Elvis Presley, but that didn't matter to Pickett -- he thought he deserved to be at least that big. He was also having regular fights with his record label. Ahmet Ertegun used to tell a story -- and I'm going to repeat it here with one expletive cut out in order to get past Apple's ratings system. In Ertegun's words “Jerry Wexler never liked Crosby, Stills & Nash because they wanted so much freaking artistic autonomy. While we were arguing about this, Wilson Pickett walks in the room and comes up to Jerry and says, ‘Jerry,' and he goes, ‘Wham!' And he puts a pistol on the table. He says, ‘If that [Expletive] Tom Dowd walks into where I'm recording, I'm going to shoot him. And if you walk in, I'm going to shoot you. ‘Oh,' Jerry said. ‘That's okay, Wilson.' Then he walked out. So I said, ‘You want to argue about artistic autonomy?' ” As you can imagine, Atlantic were quite glad to get rid of Pickett when he decided he wanted to move to RCA records, who were finally trying to break into the R&B market. Unfortunately for Pickett, the executive who'd made the decision to sign him soon left the company, and as so often happens when an executive leaves, his pet project becomes the one that everyone's desperate to get rid of.  RCA didn't know how to market records to Black audiences, and didn't really try, and Pickett's voice was becoming damaged from all the cocaine use. He spent the seventies, and eighties going from label to label, trying things like going disco, with no success. He also went from woman to woman, beating them up, and went through band members more and more quickly as he attacked them, too. The guitarist Marc Ribot was in Pickett's band for a short time and said, (and here again I'm cutting out an expletive) " You can write about all the extenuating circumstances, and maybe it needs to be put in historical context, but … You know why guys beat women? Because they can. And it's abuse. That's why employers beat employees, when they can. I've worked with black bandleaders and white bandleaders who are respectful, courteous and generous human beings—and then I've worked with Wilson Pickett." He was becoming more and more paranoid. He didn't turn up for his induction in the rock and roll hall of fame, where he was scheduled to perform -- instead he hid in his house, scared to leave. Pickett was repeatedly arrested throughout this time, and into the nineties, spending some time in prison, and then eventually going into rehab in 1997 after being arrested for beating up his latest partner. She dropped the charges, but the police found the cocaine in his possession and charged him with that. After getting out, he apparently mellowed out somewhat and became much easier to get along with -- still often unpleasant, especially after he'd had a drink, which he never gave up, but far less violent and more easy-going than he had been. He also had something of a comeback, sparked by an appearance in the flop film Blues Brothers 2000. He recorded a blues album, It's Harder Now, and also guested on Adlib, the comeback duets album by his old friend Don Covay, singing with him and cowriting on several songs, including "Nine Times a Man": [Excerpt: Don Covay and Wilson Pickett, "Nine Times a Man"] It's Harder Now was a solid blues-based album, in the vein of similar albums from around that time by people like Solomon Burke, and could have led to Pickett having the same kind of late-career resurgence as Johnny Cash. It was nominated for a Grammy, but lost in the category for which it was nominated to Barry White. Pickett was depressed by the loss and just decided to give up making new music, and just played the oldies circuit until 2004, at which point he became too ill to continue. The duet with Covay would be the last time he went into the studio. The story of Pickett's last year or so is a painful one, with squabbles between his partner and his children over his power of attorney while he spent long periods in hospital, suffering from kidney problems caused by his alcoholism, and also at this point from bulimia, diabetes, and more. He was ill enough that he tried to make amends with his children and his ex-wife, and succeeded as well as anyone can in that situation. On the eighteenth of January 2006, two months before his sixty-fifth birthday, his partner took him to get his hair cut and his moustache shaped, so he'd look the way he wanted to look, they ate together at his assisted living facility, and prayed together, and she left around eleven o'clock that night. Shortly thereafter, Pickett had a heart attack and died, alone, some time close to the midnight hour.

linktr.ee/CatchingUpOnCinema It's once again time for Catching Up On Cinema's 3rd annual, “Kyle's Killer October” event month! This week Kyle and Trevor continue their foray into the world of horror musicals with a review of Frank Oz's, Little Shop of Horrors (1986)! Originating as an ultra low budget Roger Corman film from 1960, Little Shop of Horrors would later be expanded and reconceptualized as an off-Broadway musical created by Howard Ashman and Alan Menken, which in turn serves as the foundation for the 1986 film adaptation. Featuring Rick Moranis, Ellen Greene (featured in the stage version), Steve Martin, the voice of Levi Stubbs, and a host of high profile cameos, the film is an absolute joy to watch, with winning performances and a insanely catchy track list. With skillful direction from Frank Oz, the film features some of the most impressive live puppetry in cinematic history, with Levi Stubbs' amazing voice and the work of no less than 60 puppeteers (working simultaneously!) successfully bringing to life the iconic character of Audrey II. While a critical and financial success, the film has long bore the reputation of having one of the more notorious alternative endings in mainstream cinematic history. Rest assured, the Director's Cut is covered in our exhaustive review of this awesome film. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema Like, share, subscribe, and we'll catch you next time!

On the 66th episode of the Slice By Slice podcast, Jesse and Josh prepare for a singalong with a couple of their favorite Horror Musicals. Little Shop of Horrors (1986) and Rocky Horror Picture Show (1975).Email: sbyspodcast@gmail.com  Twitter and Instagram: @sbyspodcastIntroNews and AnnouncementsCorrections and UpdatesWhat We WatchedFilm DiscussionsLittle Shop of Horrors  (1986)The Rocky Horror Picture Show (1975)Outro

Episode one hundred and thirty-three of A History of Rock Music in Five Hundred Songs looks at "My Girl" by the Temptations, and is part three of a three-episode look at Motown in 1965. 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 "Yeh Yeh" by Georgie Fame and the Blue Flames. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. This box set is the definitive collection of the Temptations' work, but is a bit pricey. For those on a budget, this two-CD set contains all the hits. As well as the general Motown information listed below, I've also referred to Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, and to Smokey Robinson's autobiography. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript For the last few weeks we've been looking at Motown in 1965, but now we're moving away from Holland, Dozier, and Holland, we're also going to move back in time a little, and look at a record that was released in December 1964. I normally try to keep this series in more or less chronological order, but to tell this story I had to first show the new status quo of the American music industry after the British Invasion, and some of what had to be covered there was covered in songs from early 1965. And the reason I wanted to show that status quo before doing this series of Motown records is that we're now entering into a new era of musical segregation, and really into the second phase of this story. In 1963, Billboard had actually stopped having an R&B chart -- Cashbox magazine still had one, but Billboard had got rid of theirs. The reasoning was simple -- by that point there was so much overlap between the R&B charts and the pop charts that it didn't seem necessary to have both. The stuff that was charting on the R&B charts was also charting pop -- people like Ray Charles or Chubby Checker or the Ronettes or Sam Cooke. The term "rock and roll" had originally been essentially a marketing campaign to get white people to listen to music made by Black people, and it had worked. There didn't seem to be a need for a separate category for music listened to by Black people, because that was now the music listened to by *everybody*. Or it had been, until the Beatles turned up. At that point, the American charts were flooded by groups with guitars, mostly British, mostly male, and mostly white. The story of rock and roll from 1954 through 1964 had been one of integration, of music made by Black people becoming the new mainstream of music in the USA. The story for the next decade or more would be one of segregation, of white people retaking the pop charts, and rebranding "rock and roll" so thoroughly that by the early 1970s nobody would think of the Supremes or the Shirelles or Sam Cooke as having been rock and roll performers at all. And so today we're going to look at the record that was number one the week that Billboard reinstated its R&B chart, and which remains one of the most beloved classics of the time period. We're going to look at the careers of two different groups at Motown, both of whom managed to continue having hits, and even become bigger, after the British Invasion, and at the songwriter and producer who was responsible for those hits -- and who was also an inspiration for the Beatles, who inadvertently caused that invasion. We're going to look at Smokey Robinson, and at "My Girl" by the Temptations: [Excerpt: The Temptations, "My Girl"] The story of the Temptations both starts and ends with Otis Williams. As I write this, Williams is the only living member of the classic Temptations lineup, and is the leader of the current group. And Williams also started the group that, after many lineup changes and mergers, became the Temptations, and was always the group's leader, even though he has never been its principal lead singer. The group that eventually became the Temptations started out when Williams formed a group with a friend, Al Bryant, in the late 1950s. They were inspired by a doo-wop group called the Turbans, who had had a hit in 1956 with a song called "When You Dance": [Excerpt: The Turbans, "When You Dance"] The Turbans, appropriately enough, used to wear turbans on their heads when they performed, and Williams and Bryant's new group wanted to use the same gimmick, so they decided to come up with a Middle-Eastern sounding group name that would justify them wearing Arabic style costumes. Unfortunately, they didn't have the greatest grasp of geography in the world, and so this turban-wearing group named themselves the Siberians. The Siberians recorded one single under that name -- a single that has been variously reported as being called "The Pecos Kid" and "Have Gun Will Travel", but which sold so poorly that now no copies are known to exist anywhere -- before being taken on by a manager called Milton Jenkins, who was as much a pimp as he was a manager, but who definitely had an eye for talent. Jenkins was the manager of two other groups -- the Primes, a trio from Alabama who he'd met in Cleveland when they'd travelled there to see if they could get discovered, and who had moved with him to Detroit, and a group he put together, called the Primettes, who later became the Supremes. The Primes consisted of three singers -- Eddie Kendricks, Paul Williams (no relation to Otis, or to the soft-pop singer and actor of the same name), and Kell Osborne, who sang lead. The Primes became known around Detroit as some of the best performers in the city -- no mean feat considering that Jackie Wilson, Aretha Franklin, the Miracles and the Four Tops, just for a start, were performing regularly on the same circuit. Jenkins had big plans for his groups, and he sent them all to dance school to learn to perform choreographed routines. But then Jenkins became ill and disappeared from the scene, and the Primes split up. Kendricks and Paul Williams went back to Alabama, while Osborne moved on to California, where he made several unsuccessful records, including "The Bells of St. Mary", produced by Lester Sill and Lee Hazelwood and arranged by Phil Spector: [Excerpt: Kell Osborne, "The Bells of St. Mary"] But while the Primes had split up, the Siberians hadn't. Instead, they decided to get new management, which came in the person of a woman named Johnnie Mae Matthews. Matthews was the lead singer of a group called the Five Dapps, who'd had a local hit with a track called "Do Whap A Do", one of the few Dapps songs she didn't sing lead on: [Excerpt: The Five Dapps, "Do Whap A Do"] After that had become successful, Matthews had started up her own label, Northern -- which was apparently named after a brand of toilet paper -- to put out records of her group, often backed by the same musicians who would later become the core of the Funk Brothers. Her group, renamed Johnnie Mae Matthews and the Dapps, put out two more singles on her label, with her singing lead: [Excerpt: Johnnie Mae Matthews and the Dapps, "Mr. Fine"] Matthews had become something of an entrepreneur, managing other local acts like Mary Wells and Popcorn Wylie, and she wanted to record the Siberians, but two of the group had dropped out after Jenkins had disappeared, and so they needed some new members. In particular they needed a bass singer -- and Otis Williams knew of a good one. Melvin Franklin had been singing with various groups around Detroit, but Williams was thinking in particular of Franklin's bass vocal on "Needed" by the Voice Masters. We've mentioned the Voice Masters before, but they were a group with a rotating membership that included David Ruffin and Lamont Dozier. Franklin hadn't been a member of the group, but he had been roped in to sing bass on "Needed", which was written and produced by Gwen Gordy and Roquel Davis, and was a clear attempt at sounding like Jackie Wilson: [Excerpt: The Voice Masters, "Needed"] Williams asked Franklin to join the group, and Franklin agreed, but felt bad about leaving his current group. However, the Siberians also needed a new lead singer, and so Franklin brought in Richard Street from his group. Matthews renamed the group the Distants and took them into the studio. They actually got there early, and got to see another group, the Falcons, record what would become a million-selling hit: [Excerpt: The Falcons, "You're So Fine"] The Falcons, whose lead vocalist Joe Stubbs was Levi Stubbs' brother, were an important group in their own right, and we'll be picking up on them next week, when we look at a single by Joe Stubbs' replacement in the group. The Distants' single wouldn't be quite as successful as the Falcons', but it featured several people who would go on to become important in Motown. As well as several of the Funk Brothers in the backing band, the record also featured additional vocals by the Andantes, and on tambourine a local pool-hall hustler the group knew named Norman Whitfield. The song itself was written by Williams, and was essentially a rewrite of "Shout!" by the Isley Brothers: [Excerpt: The Distants, "Come On"] The Distants recorded a second single for Northern, but then Williams made the mistake of asking Matthews if they might possibly receive any royalties for their records. Matthews said that the records had been made with her money, that she owned the Distants' name, and she was just going to get five new singers. Matthews did actually get several new singers to put out a single under the Distants name, with Richard Street still singing lead -- Street left the group when they split from Matthews, as did another member, leaving the group as a core of Otis Williams, Melvin Franklin, and Al Bryant. But before the split with Matthews, Berry Gordy had seen the group and suggested they come in to Motown for an audition. Otis, Melvin, and Al, now renamed the Elgins, wanted to do just that. But they needed a new lead singer. And happily, they had one. Eddie Kendricks phoned up Otis Williams and said that he and Paul Williams were back in town, and did Otis know of any gigs that were going? Otis did indeed know of such a gig, and Paul and Eddie joined the Elgins, Paul as lead singer and Eddie as falsetto singer. This new lineup of the group were auditioned by Mickey Stevenson, Motown's head of A&R, and he liked them enough that he signed them up. But he insisted that the name had to change -- there was another group already called the Elgins (though that group never had a hit, and Motown would soon sign up yet another group and change their name to the Elgins, leading to much confusion). The group decided on a new name -- The Temptations. Their first record was co-produced by Stevenson and Andre Williams. Williams, who was no relation to either Otis or Paul (and as a sidenote I do wish there weren't so many people with the surname Williams in this story, as it means I can't write it in my usual manner of referring to people by their surname) was a minor R&B star who co-wrote "Shake a Tail Feather", and who had had a solo hit with his record "Bacon Fat": [Excerpt: Andre Williams, "Bacon Fat"] Andre Williams, who at this point in time was signed to Motown though not having much success, was brought in because the perception at Motown was that the Temptations would be one of their harder-edged R&B groups, rather than going for the softer pop market, and he would be able to steer the recording in that direction. The song they chose to record was one that Otis Williams had written, though Mickey Stevenson gets a co-writing credit and may have helped polish it: [Excerpt: The Temptations, "Oh Mother of Mine"] The new group lineup became very close, and started thinking of each other like family and giving each other nicknames -- though they also definitely split into two camps. Otis Williams and Melvin Franklin were always a pair, and Eddie Kendricks and Paul Williams had come up together and thought of themselves as a team. Al Bryant, even though he had been with Otis from the beginning, was a bit of an outlier in this respect. He wasn't really part of either camp, and he was the only one who didn't get a nickname from the other band members. He was also the only one who kept his day job -- while the other four were all determined that they were going to make it as professional singers, he was hesitant and kept working at the dairy. As a result, whenever there were fights in the group -- and the fights would sometimes turn physical -- the fighting would tend to be between Eddie Kendricks and Melvin Franklin. Otis was the undisputed leader, and nobody wanted to challenge him, but from the beginning Kendricks and Paul Williams thought of Otis as a bit too much of a company man. They also thought of Melvin as Otis' sidekick and rubber stamp, so rather than challenge Otis they'd have a go at Melvin. But, for the most part, they were extremely close at this point. The Temptations' first single didn't have any great success, but Berry Gordy had faith in the group, and produced their next single himself, a song that he cowrote with Otis, Melvin, and Al, and which Brian Holland also chipped in some ideas for. That was also unsuccessful, but the next single, written by Gordy alone, was slightly more successful. For "(You're My) Dream Come True", Gordy decided to give the lead to Kendricks, the falsetto singer, and the track also featured a prominent instrumental line by Gordy's wife Raynoma -- what sounds like strings on the record is actually a primitive synthesiser called an ondioline: [Excerpt: The Temptations, "(You're My) Dream Come True"] That made number twenty-two on the R&B chart, and was the first sign of any commercial potential for the group -- and so Motown went in a totally different direction and put out a cover version, of a record by a group called the Diablos, whose lead singer was Barrett Strong's cousin Nolan. The Temptations' version of "Mind Over Matter" wasn't released as by the Temptations, but as by the Pirates: [Excerpt: The Pirates, "Mind Over Matter"] That was a flop, and at the same time as they released it, they also released another Gordy song under their own name, a song called "Paradise" which seems to have been an attempt at making a Four Seasons soundalike, which made number 122 on the pop charts and didn't even do that well on the R&B charts. Annoyingly, the Temptations had missed out on a much bigger hit. Gordy had written "Do You Love Me?" for the group, but had been hit with a burst of inspiration and wanted to do the record *NOW*. He'd tried phoning the various group members, but got no answer -- they were all in the audience at a gospel music show at the time, and had no idea he was trying to get in touch with them. So he'd pulled in another group, The Contours, and their version of the song went to number three on the pop charts: [Excerpt: The Contours, "Do You Love Me?"] According to the biography of the Temptations I'm using as a major source for this episode, that was even released on the same day as both "Paradise" and "Mind Over Matter", though  other sources I've consulted have it coming out a few months earlier. Despite "Paradise"'s lack of commercial success, though, it did introduce an element that would become crucial for the group's future -- the B-side was the first song for the group written by Smokey Robinson. We've mentioned Robinson briefly in previous episodes on Motown, but he's worth looking at in a lot more detail, because he is in some ways the most important figure in Motown's history, though also someone who has revealed much less of himself than many other Motown artists. Both of these facts stem from the same thing, which is that Robinson is the ultimate Motown company man. He was a vice president of the company, and he was Berry Gordy's best friend from before the company even started. While almost every other artist, writer, or producer signed to Motown has stories to tell of perceived injustices in the way that Motown treated them, Robinson has always positioned himself on the side of the company executives rather than as one of the other artists. He was the only person outside the Gordy family who had a place at the very centre of the organisation -- and he was also one of a very small number of people during Motown's golden age who would write, produce, *and* perform. Now, there were other people who worked both as artists and on the backroom side of things -- we've seen that Marvin Gaye and Stevie Wonder would sometimes write songs for other artists, and that Eddie Holland and Lamont Dozier had started out as performers before moving into songwriting. But these were mostly little dalliances -- in general, in Motown in the sixties, you were either a performer or you were a writer-producer. But Smokey Robinson was both -- and he was *good* at both, someone who was responsible for creating many of the signature hits of Motown. At this point in his career, Robinson had, as we've heard previously, been responsible for Motown's second big hit, after "Money", when he'd written "Shop Around" for his own group The Miracles: [Excerpt: The Miracles, "Shop Around"] The Miracles had continued to have hits, though none as big as "Shop Around", with records like "What's So Good About Goodbye?": [Excerpt: The Miracles, "What's So Good About Goodbye?"] But Robinson had also been writing regularly for other artists. He'd written some stuff that the Supremes had recorded, though like all the Supremes material at this point it had been unsuccessful, and he'd also started a collaboration with the label's biggest star at this point, Mary Wells, for whom he'd written top ten hits like "The One Who Really Loves You": [Excerpt: Mary Wells, "The One Who Really Loves You"] and "You Beat Me To The Punch", co-written with fellow Miracle Ronnie White, which as well as going top ten pop made number one on the R&B charts: [Excerpt: Mary Wells, "You Beat Me to The Punch"] Between 1962 and 1964, Robinson would consistently write huge hits for Wells, as well as continuing to have hits with the Miracles, and his writing was growing in leaps and bounds. He was regarded by almost everyone at Motown as the best writer the company had, both for his unique melodic sensibility and for the literacy of his lyrics. When he'd first met Berry Gordy, he'd been a writer with a lot of potential, but he hadn't understood how to structure a lyric -- he'd thrown in a lot of unrelated ideas. Gordy had taken him under his wing and shown him how to create a song with a beginning, a middle, and an end, and Robinson had immediately understood what he needed to do. His lyrics, with their clever conceits and internal rhymes, became the ones that everyone else studied -- when Eddie Holland decided to become a songwriter rather than a singer, he'd spent months just studying Robinson's lyrics to see how they worked. Robinson was even admired by the Beatles, especially John Lennon -- one can hear his melismatic phrases all over Lennon's songwriting in this period, most notably in songs like "Ask Me Why", and the Beatles covered one of Robinson's songs on their second album, With the Beatles: [Excerpt: The Beatles, "You Really Got a Hold On Me"] After writing the B-side to "Paradise", Robinson was given control of the Temptations' next single. His "I Want a Love I Can See" didn't do any better than "Paradise", and is in some ways more interesting for the B-side, "The Further You Look, The Less You See": [Excerpt: The Temptations, "The Further You Look, The Less You See"] That track's interesting because it's a collaboration between Robinson and Norman Whitfield, that pool-hall hustler who'd played tambourine on the Distants' first single. Whitfield had produced the records by the later Distants, led by Richard Street, and had then gone to work for a small label owned by Berry Gordy's ex-mother-in-law. Gordy had bought out that label, and with it Whitfield's contract, and at this point Whitfield was very much an apprentice to Robinson. Both men were huge admirers of the Temptations, and for the next few years both would want to be the group's main producer and songwriter, competing for the right to record their next single -- though for a good chunk of time this would not really be a competition, as Whitfield was minor league compared to Robinson. "I Want a Love I Can See" was a flop, and the Temptations' next single was another Berry Gordy song. When that flopped too, Gordy seriously started considering dropping the group altogether. While this was happening, though, Robinson was busily writing more great songs for his own group and for Mary Wells, songs like "What Love Has Joined Together", co-written with his bandmate Bobby Rogers: [Excerpt: Mary Wells, "What Love Has Joined Together"] And the Temptations were going through their own changes. Al was becoming more and more of an outsider in the group, while also thinking of himself as the real star. He thought this even though he was the weak link -- Paul and Eddie were the lead singers, Otis was the band's leader, Melvin had a hugely distinctive bass voice, and Al was... just "the other one". Things came to a head at a gig in October 1963, when a friend of the group showed up. David Ruffin was so friendly with Melvin Franklin that Franklin called him his cousin, and he was also a neighbour of Otis'. He had been a performer from an early age -- he'd been in a gospel group with his older brother Jimmy and their abusive father. Once he'd escaped his father, he'd gone on to perform in a duo with his brother, and then in a series of gospel groups, including stints in the Dixie Nightingales and the Soul Stirrers. Ruffin had been taken on by a manager called Eddie Bush, who adopted him -- whether legally or just in their minds is an open question -- and had released his first single as Little David Bush when he was seventeen, in 1958: [Excerpt: Little David Bush, "You and I"] Ruffin and Bush had eventually parted ways, and Ruffin had taken up with the Gordy family, helping Berry Gordy Sr out in his construction business -- he'd actually helped build the studio that Berry Jr owned and where most of the Motown hits were recorded -- and singing on records produced by Gwen Gordy. He'd been in the Voice Masters, who we heard earlier this episode, and had also recorded solo singles with the Voice Masters backing, like "I'm In Love": [Excerpt: David Ruffin, "I'm In Love"] When Gwen Gordy's labels had been absorbed into Motown, so had Ruffin, who had also got his brother Jimmy signed to the label. They'd planned to record as the Ruffin Brothers, but then Jimmy had been drafted, and Ruffin was at a loose end -- he technically had a Motown contract, but wasn't recording anything. But then in October 1963 he turned up to a Temptations gig. For the encore, the group always did the Isley Brothers song "Shout!", and Ruffin got up on stage with them and started joining in, dancing more frantically than the rest of the group. Al started trying to match him, feeling threatened by this interloper. They got wilder and wilder, and the audience loved it so much that the group were called back for another encore, and Ruffin joined them again. They did the same song again, and got an even better reaction. They came back for a third time, and did it again, and got an even better reaction. Ruffin then disappeared into the crowd. The group decided that enough was enough -- except for Al, who was convinced that they should do a fourth encore without Ruffin. The rest of the group were tired, and didn't want to do the same song for a fourth time, and thought they should leave the audience wanting more. Al, who had been drinking, got aggressive, and smashed a bottle in Paul Williams' face, hospitalising him. Indeed, it was only pure luck that kept Williams from losing his vision, and he was left with a scar but no worse damage. Otis, Eddie, and Melvin decided that they needed to sack Al, but Paul, who was the peacemaker in the group, insisted that they shouldn't, and also refused to press charges. Out of respect for Paul, the rest of the group agreed to give Al one more chance. But Otis in particular was getting sick of Al and thought that the group should just try to get David Ruffin in. Everyone agreed that if Al did anything to give Otis the slightest reason, he could be sacked. Two months later, he did just that. The group were on stage at the annual Motown Christmas show, which was viewed by all the acts as a competition, and Paul had worked out a particularly effective dance routine for the group, to try to get the crowd going. But while they were performing, Al came over to Otis and suggested that the two of them, as the "pretty boys" should let the other three do all the hard work while they just stood back and looked good for the women. Otis ignored him and carried on with the routine they'd rehearsed, and Al was out as soon as they came offstage. And David Ruffin was in. But for now, Ruffin was just the missing element in the harmony stack, not a lead vocalist in his own right. For the next single, both Smokey Robinson and Berry Gordy came up with songs for the new lineup of the group, and they argued about which song should be the A-side -- one of the rare occasions where the two disagreed on anything. They took the two tracks to Motown's quality control meeting, and after a vote it was agreed that the single should be the song that Robinson had written for Eddie Kendricks to sing, "The Way You Do the Things You Do": [Excerpt: The Temptations, "The Way You Do the Things You Do"] At first, the group hadn't liked that song, and it wasn't until they rehearsed it a few times that they realised that Robinson was being cleverer than they'd credited him for with the lyrics. Otis Williams would later talk about how lines like "You've got a smile so bright, you know you could have been a candle" had seemed ridiculous to them at first, but then they'd realised that the lyric was parodying the kinds of things that men say when they don't know what to say to a woman, and that it's only towards the end of the song that the singer stops trying bad lines and just starts speaking honestly -- "you really swept me off my feet, you make my life complete, you make my life so bright, you make me feel all right": [Excerpt: The Temptations, "The Way You Do the Things You Do"] That track was also the first one that the group cut to a prerecorded backing track, Motown having upgraded to a four-track system. That allowed the group to be more subtle with their backing vocal arrangements, and "The Way You Do the Things You Do" is the point at which the Temptations become fully themselves. But the group didn't realise that at first. They spent the few weeks after the record's release away from Detroit, playing at the Michigan state fair, and weren't aware that it was starting to do things. It was only when Otis and David popped in to the Motown offices and people started talking to them about them having a hit that they realised the record had made the pop charts. Both men had been trying for years to get a big hit, with no success, and they started crying in each other's arms, Ruffin saying ‘Otis, this is the first time in my life I feel like I've been accepted, that I've done something.'” The record eventually made number eleven on the pop charts, and number one on the Cashbox R&B chart -- Billboard, as we discussed earlier, having discontinued theirs, but Otis Williams still thinks that given the amount of airplay that the record was getting it should have charted higher, and that something fishy was going on with the chart compilation at that point. Perhaps, but given that the record reached the peak of its chart success in April 1964, the high point of Beatlemania, when the Beatles had five records in the top ten, it's also just possible that it was a victim of bad timing. But either way, number eleven on the pop charts was a significant hit. Shortly after that, though, Smokey Robinson came up with an even bigger hit. "My Guy", written for Mary Wells, had actually only been intended as a bit of album filler. Motown were putting together a Mary Wells album, and as with most albums at the time it was just a collection of tracks that had already been released as singles and stuff that hadn't been considered good enough to release. But they were a track short, and Smokey was asked to knock together something quickly. He recorded a backing track at the end of a day cutting tracks for a *Temptations* album -- The Temptations Sing Smokey -- and everyone was tired by the time they got round to recording it, but you'd never guess that from the track itself, which is as lively as anything Motown put out. "My Guy" was a collaborative creation, with an arrangement that was worked on by the band -- it was apparently the Funk Brothers who came up with the intro, which was lifted from a 1956 record, "Canadian Sunset" by Hugo Winterhalter. Compare that: [Excerpt: Hugo Winterhalter, "Canadian Sunset"] to “My Guy”: [Excerpt: Mary Wells, "My Guy"] The record became one of the biggest hits of the sixties -- Motown's third pop number one, and a million-seller. It made Mary Wells into a superstar, and the Beatles invited her to be their support act on their UK summer tour. So of course Wells immediately decided to get a better deal at another record label, and never had another hit again. Meanwhile, Smokey kept plugging away, both at his own records -- though the Miracles went through a bit of a dry patch at this point, as far as the charts go -- and at the Temptations. The group's follow-up, "I'll Be in Trouble", was very much a remake of "The Way You Do the Things You Do", and while it was good it didn't quite make the top thirty. This meant that Norman Whitfield got another go. He teamed up with Eddie Holland to write "Girl (Why You Wanna Make Me Blue)", which did only slightly better than "I'll Be in Trouble": [Excerpt: The Temptations, "Girl (Why You Wanna Make Me Blue)"] The competition between Robinson and Whitfield for who got to make the Temptations' records was heating up -- both men were capable of giving the group hits, but neither had given them the truly massive record that they were clearly capable of having. So Smokey did the obvious thing. He wrote a sequel to his biggest song ever, and he gave it to the new guy to sing. Up until this point, David Ruffin hadn't taken a lead vocal on a Temptations record -- Paul Williams was the group's official "lead singer", while all the hits had ended up having Eddie's falsetto as the most prominent vocal. But Smokey had seen David singing "Shout" with the group, and knew that he had lead singer potential. With his fellow Miracle Ronald White, Smokey crafted a song that was the perfect vehicle for Ruffin's vocal, an answer song to "My Guy", which replaced that song's bouncy exuberance with a laid-back carefree feeling: [Excerpt: The Temptations, "My Girl"] But it's not just Ruffin's record -- everyone talking about the track talks about Ruffin's vocal, or the steady pulse of James Jamerson's bass playing, and both those things are definitely worthy of praise, as of course are Robinson's production and Robinson and White's song, but this is a *Temptations* record, and the whole group are doing far more here than the casual listener might realise. It's only when you listen to the a capella version released on the group's Emperors of Soul box set that you notice all the subtleties of the backing vocal parts. On the first verse, the group don't come in until half way through the verse, with Melvin Franklin's great doo-wop bass introducing the backing vocalists, who sing just straight chords: [Excerpt: The Temptations, "My Girl (a capella)"] It's not until the chorus that the other group members stretch out a little, taking solo lines and singing actual words rather than just oohs: [Excerpt: The Temptations, "My Girl (a capella)"] They then drop back until the same point in the next verse, but this time rather than singing just the plain chords, they're embellishing a little, playing with the rhythm slightly, and Eddie Kendricks' falsetto is moving far more freely than at the same point in the first verse. [Excerpt: The Temptations, "My Girl (a capella)"] The backing vocals slowly increase in complexity until you get the complex parts on the tag. Note that on the first chorus they sang the words "My Girl" absolutely straight with no stresses, but by the end of the song they're all emphasising every word. They've gone from Jordanaires style precise straight harmony to a strong Black gospel feel in their voices, and you've not even noticed the transition: [Excerpt: The Temptations, "My Girl (a capella)"] The track went to number one on the pop charts, knocking off "This Diamond Ring" by Gary Lewis and the Playboys, before itself being knocked off by "Eight Days a Week" by the Beatles. But it also went to number one on the newly reestablished R&B charts, and stayed there for six weeks: [Excerpt: The Temptations, "My Girl"] Smokey Robinson was now firmly established as the Temptations' producer, and David Ruffin as the group's lead singer. In 1965 Robinson and Pete Moore of the Miracles would write three more top-twenty pop hits for the group, all with Ruffin on lead -- and also manage to get a B-side sung by Paul Williams, "Don't Look Back", to the top twenty on the R&B chart. Not only that, but the Miracles were also on a roll, producing two of the biggest hits of their career. Pete Moore and Marv Tarplin had been messing around with a variant of the melody for "The Banana Boat Song", and came up with an intro for a song: [Excerpt: The Miracles, "The Tracks of My Tears"] Robinson took that as a jumping-off point and turned it into the song that would define their career: [Excerpt: The Miracles, "The Tracks of My Tears"] And later that year they came up with yet another million-seller for the Miracles with "Going to a Go-Go": [Excerpt: The Miracles, "Going to a Go-Go"] Robinson and his collaborators were being rather overshadowed in the public perception at this point by the success of Holland-Dozier-Holland with the Supremes and the Four Tops, but by any standards the records the Temptations and the Miracles were putting out were massive successes, both commercially and artistically. But there were two things that were going to upset this balance. The first was David Ruffin. When he'd joined the group, he'd been the new boy and just eager to get any kind of success at all. Now he was the lead singer, and his ego was starting to get the better of him. The other thing that was going to change things was Norman Whitfield. Whitfield hadn't given up on the Temptations just because of Smokey's string of hits with them. Whitfield knew, of course, that Smokey was the group's producer while he was having hits with them, but he also knew that sooner or later everybody slips up. He kept saying, in every meeting, that he had the perfect next hit for the Temptations, and every time he was told "No, they're Smokey's group". He knew this would be the reaction, but he also knew that if he kept doing this he would make sure that he was the next in line -- that nobody else could jump the queue and get a shot at them if Smokey failed. He badgered Gordy, and wore him down, to the point that Gordy finally agreed that if Smokey's next single for the group didn't make the top twenty on the pop charts like his last four had, Whitfield would get his turn. The next single Smokey produced for the group had Eddie Kendricks on lead, and became the group's first R&B number one since "My Girl": [Excerpt: The Temptations, "Get Ready"] But the R&B and pop charts were diverging, as we saw at the start. While that was their biggest R&B hit in a year, "Get Ready" was a comparative failure on the pop charts, only reaching number twenty-nine -- still a hit, but not the top twenty that Gordy had bet on. So Norman Whitfield got a chance. His record featured David Ruffin on lead, as all the group's previous run of hits from "My Girl" on had, and was co-written with Eddie Holland. Whitfield decided to play up the Temptations' R&B edge, rather than continue in the softer pop style that had brought them success with Robinson, and came up with something that owed as much to the music coming out of Stax and Atlantic at the time as it did to Motown's pop sensibilities: [Excerpt: The Temptations, "Ain't Too Proud to Beg"] Whitfield's instinct to lean harder into the R&B sound paid off. "Ain't Too Proud to Beg" returned the group to the pop top twenty, as well as going to number one on the R&B charts. From this point on, the Temptations were no longer Smokey's group, they were Norman Whitfield's, and he would produce all their hits for the next eight years. And the group were also now definitively David Ruffin's group -- or so it seemed. When we pick up on the story of the Temptations, we'll discover how Ruffin's plans for solo stardom worked out, and what happened to the rest of the Temptations under Whitfield's guidance.

Episode one hundred and thirty-two of A History of Rock Music in Five Hundred Songs looks at “I Can't Help Myself” by the Four Tops, and is part two of a three-episode look at Motown in 1965. 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 "Colours" by Donovan. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as too many of the songs were by the Four Tops. Amazingly, there are no books on the Four Tops, so I've had to rely on the information in the general Motown sources I use, plus the liner notes for the Four Tops 50th Anniversary singles collection, a collection of the A and B sides of all their Motown singles. That collection is the best collection of the Four Tops' work available, but is pricey -- for a cheaper option this single-disc set is much better value. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This is the second part of a two-part look at the work of Holland, Dozier, and Holland, and part of a three-part look at Motown Records in the mid-sixties. If you've not listened to the last episode, on the Supremes, you might want to listen to that one before this. There's a clip of an old radio comedy show that always makes me irrationally irritated when I hear it, even though I like the programme it's from: [Excerpt of The Mark Steel Lectures, “Aristotle” episode. Transcript: "Which led him back to the problem, what is it that makes something what it is? Is an apple still an apple when it's decomposing? I went to see the Four Tops once and none of the original members were in the band, they were just session musicians. So have i seen the Four Tops or not? I don't know" ] That's the kind of joke that would work with many vocal groups -- you could make the joke about the Drifters or the Ink Spots, of course, and it would even work for, for example, the Temptations, though they do have one original member still touring with them. Everyone knows that that kind of group has a constantly rotating membership, and that people come and go from groups like that all the time. Except that that wasn't true for the Four Tops at the time Mark Steel made that joke, in the late 1990s. The current version of the Four Tops does only have one original member -- but that's because the other three all died. At the time Steel made the joke, his only opportunity to see the Four Tops would have been seeing all four original members -- the same four people who had been performing under that name since the 1950s. Other groups have had longer careers than that without changing members -- mostly duos, like Simon & Garfunkel or the Everly Brothers -- but I can't think of another one that lasted as long while performing together continuously, without taking a break at any point. So today, we're going to look at the career of a group who performed together for forty-four years without a lineup change, a group who were recording together before Motown even started, but who became indelibly associated with Motown and with Holland-Dozier-Holland. We're going to look at the Four Tops, and at "I Can't Help Myself": [Excerpt: The Four Tops, "I Can't Help Myself"] The Four Tops have turned up in the background in several episodes already, even though we're only now getting to their big hits. By the time they became huge, they had already been performing together for more than a decade, and had had a big influence on the burgeoning Detroit music scene even before Berry Gordy had got involved with the scene. The group had started out after Abdul "Duke" Fakir, a teenager in Detroit, had gone to see Lucky Millinder and his band perform, and had been surprised to see his friend Levi Stubbs turn up, get on stage, and start singing with the band in a guest spot. Fakir had never realised before that his friend sang at all, let alone that he had an astonishing baritone voice. Stubbs was, in fact, a regular on the Detroit amateur singing circuit, and had connections with several other performers on that circuit -- most notably his cousin Jackie Wilson, but also Hank Ballard and Little Willie John. Those few singers would make deals with each other about who would get to win at a particular show, and carved things up between them. Stubbs and Fakir quickly started singing together, and by 1953 they had teamed up with two other kids, Obie Benson and Lawrence Payton. The four of them sang together at a party, and decided that they sounded good enough together that they should become a group. They named themselves the Four Aims, and started playing local shows. They got a one-off record deal with a small label called Grady Records, and released their only single under the name "The Four Aims" in 1956: [Excerpt: The Four Aims, "She Gave Me Love"] After that single, they tried teaming up with Jackie Wilson, who had just quit Billy Ward and the Dominoes, but they found that Wilson and Stubbs' voices clashed -- Wilson's then-wife said their voices were too similar, though they sound very different to me. Wilson would, of course, go on to his own massive success, and that success would be in part thanks to Roquel Davis, who was Lawrence Payton's cousin. As we saw in the episode on "Reet Petite", Davis would co-write most of Wilson's hits with Berry Gordy, and he was also writing songs for the Four Aims -- who he renamed the Four Tops, because he thought the Four Aims sounded too much like the Ames Brothers, a white vocal quartet who were popular at the time.  They explained to Davis that they were called the Four Aims because they were *aiming* for the top, and Davis said that in that case they should be the Four Tops, and that was the name under which they would perform for the rest of their career. In the early fifties, before Wilson's success, Davis was the person in the group's circle with the most music industry connections, and he got them a deal with Chess Records. I already talked about this back in the episode on Jackie Wilson, but the group's first record on Chess, with Davis as the credited songwriter: [Excerpt: The Four Tops, "Kiss Me Baby"] Sounds more than a little like a Ray Charles record from a couple of years earlier, which Davis definitely didn't write: [Excerpt: Ray Charles, "Kissa Me Baby"] But that wasn't a success, and it would be another four years before they released their next single -- a one-off single on Columbia Records. It turned out that Chess had mostly signed the Four Tops not for the group, but to get Davis as a songwriter, and songs he'd originally written for the Tops ended up being recorded by other acts on Chess, like the Moonglows and the Flamingoes. The group's single on Columbia would also be a flop, they'd wait another two years before another one-off single on Riverside, and then yet another two years before they were signed by Motown. Their signing to Motown was largely the work of Mickey Stevenson, Motown's head of A&R. Of course, Stevenson was responsible, directly or otherwise, for every signing to the label at this point in time, but he had a special interest in the Four Tops. Stevenson had been in the Air Force in the 1950s, when he'd wandered into one of the Detroit amateur shows at which the Four Aims had been performing. He'd been so impressed with them that he immediately decided to quit the air force and go into music himself. He'd joined the Hamptones, the vocal group who toured with Lionel Hampton's band, and he'd also become a member of a doo-wop group called The Classics, who'd had a minor hit with "If Only the Sky Was a Mirror": [Excerpt: The Classics, "If Only the Sky Was a Mirror"] Stevenson had moved into a backroom position with Motown, but it was arguably the most important position in the company other than Gordy's. He was responsible for putting together the Funk Brothers, for signing many of the label's biggest acts, and for co-writing a number of the label's biggest hits, including "Stubborn Kind of Fellow" and "Dancing in the Street". Stevenson had wanted to sign the group from the start -- given that they were the group who were directly responsible for everything that had happened in his career, they were important to him. And Berry Gordy was also a fan of the group, and had known them since his time working with Jackie Wilson, but it had taken several years for everything to fall into place so that the group were able to sign to Motown. When they did, they naturally became a priority. When they were signed to the label, it was initially with the intention of recording them as a jazz group rather than doing the soul pop that Motown was best known for. Their first recordings for Motown were for their subsidiary Workshop Jazz. They recorded an entire album of old standards for the label, titled "Breaking Through": [Excerpt: The Four Tops, "This Can't be Love"] Unfortunately for the group, that album wouldn't be released for thirty-five years -- Workshop Jazz had been founded because Berry Gordy was still a jazz fanatic, but none of the records on it had been very successful (or, frankly, very good -- the Four Tops album was pretty good, but most of the music put out on the label was third rate at best), and so the label closed down before they released the Four Tops album. So the group were at a loose end, and for a while they were put to work as session vocalists on other people's records, adding backing to records by the Supremes: [Excerpt: The Supremes, "Run Run Run"] And even after they started having hits of their own they would appear on records by other people, like "My Baby Loves Me" by Martha and the Vandellas: [Excerpt: Martha and the Vandellas, "My Baby Loves Me"] You'll notice that both of these records were ones where the Four Tops were added to a female group -- and that would also be the case on their own records, once Holland, Dozier, and Holland took over producing them. The sound on the Four Tops' records is a distinctive one, and is actually made up of seven voices. Levi Stubbs, of course, took the lead on the singles, but the combination of backing vocalists was as important as the lead. Unlike several other vocal groups, the Four Tops were never replaced on their records -- Stubbs was always resistant to the idea that he was more important than the rest of his group. Instead, they were augmented -- Motown's normal session singers, the Andantes, joining in with Fakir, Payton, and Benson. The idea was to give the group a distinctive sound, and in particular to set them apart from the Temptations, whose recordings all featured only male vocals. The group's first hit single, "Baby I Need Your Loving", was a song that Holland, Dozier, and Holland had written but weren't too impressed with. Indeed, they'd cut the backing track two years earlier, but been too uninspired by it to do anything with the completed track. But then, two years after cutting the backing, Dozier was hit with inspiration -- the lines "Baby, I need your loving/Got to have all your loving" fit the backing track perfectly. Eddie Holland was particularly excited to work with the Four Tops. Even though he'd somehow managed never to hear the group, despite both moving in the same musical circles in the same town for several years, he'd been hearing for all that time that Levi Stubbs was as good as his rivals Little Willie John and Jackie Wilson -- and anyone that good must be worth working with. When they took the song into the studio, though, Levi Stubbs didn't want to sing it, insisting that the key was wrong for his voice, and that it should be Payton who sang the song. The producers, though, insisted that Stubbs had the perfect voice for the song, and that they wanted the strained tone that came from Stubbs' baritone going into a higher register than he was comfortable with. Eddie Holland, who always coached the lead vocalists while his brother and Lamont Dozier worked with the musicians, would later say that the problem was that Stubbs was unprepared and embarrassed -- they eventually persuaded Stubbs to take the song home and rehearse it over the weekend, and to come in to have a second go at the track the next Monday. On the Monday, Stubbs came in and sang the song perfectly, and Stubbs' baritone leads became the most distinctive sound to come out of Motown in this period: [Excerpt: The Four Tops, "Baby I Need Your Loving"] According to at least one source, Stubbs was still unhappy with his vocal, and wanted to come in again the next day and record it again. Holland, Dozier, and Holland humoured him, but that wasn't going to happen. "Baby I Need Your Loving" became a hit, making number eleven, and so of course the next record was a soundalike. "Without the One You Love (Life's Not Worthwhile)" even started with the line "Baby, I need your good loving". Unfortunately, this time Holland, Dozier, and Holland copied their previous hit a little *too* closely, and people weren't interested. Dozier has later said that they were simply so busy with the Supremes at the time that they didn't give the single the attention it deserved, and thought that cranking out a soundalike would be good enough. Because of this, they weren't given the group's next single -- the way Motown worked at the time, if you came up with a hit for an act, you automatically got the chance to do the follow-up, but if you didn't have a hit, someone else got a chance. Instead, Mickey Stevenson and Ivy Joe Hunter came up with a ballad called "Ask the Lonely", which became a minor hit -- not as big as "Baby I Need Your Loving", but enough that the group could continue to have a career. It would be the next single that would make the Four Tops into the other great Holland-Dozier-Holland act, the one on which their reputation rests as much as it does on the Supremes: [Excerpt: The Four Tops, "I Can't Help Myself"] "I Can't Help Myself" was inspired by Dozier's grandfather, who would catcall women as they passed him on the street -- "Hey, sugar pie! Hi there honey bunch!" Dozier married those words to a chord progression that's almost identical to the one from "Where Did Our Love Go?".  Both songs go C-G-Dm-F-G, with the same number of beats between changes: [demonstrates] There's only one tiny change in the progression -- in the last beat of the last bar, there's a passing chord in "I Can't Help Myself", a move to A minor, that isn't there in "Where Did Our Love Go?" Even the melody lines, the syllabics of the words, and their general meanings are very similar. "Where Did Our Love Go?" starts with "Baby baby", "I Can't Help Myself" starts with "Sugar pie, honey bunch". "Baby don't leave me" is syllabically similar to "You know that I love you". The two songs diverge lyrically and melodically after that, but what's astonishing is how a different vocalist and arrangement can utterly transform two such similar basic songs. Compare the opening of "Where Did Our Love Go?": [Excerpt: The Supremes, "Where Did Our Love Go?"] With the opening of "I Can't Help Myself": [Excerpt: The Four Tops, "I Can't Help Myself"] It's a perfect example of how Holland, Dozier, and Holland would reuse musical ideas, but would put a different spin on them and make the records sound very different. Of course, some of the credit for this should go to the Funk Brothers, the session musicians who played on every Motown hit in this period, but there's some question as to exactly how much credit they deserved. Depending on who you believe, either the musicians all came up with their own instrumental lines, and the arrangement was a group effort by the session musicians with minimal interference from the nominal producers, or it was all written by Brian Holland and Lamont Dozier, and the musicians just did what they were told with no creative input at all. The arguments about who did what tend to get quite vicious, with each side pointing out, accurately, that the other needed them. It's true that Holland, Dozier, and Holland didn't do anything like as well as writers and producers after they left Motown. It's also true that the Funk Brothers didn't write or produce any hits themselves, but were reliant on the Motown staff writers and producers for material. I suspect, and it is only a suspicion, that the truth lies between the two, and that it was a collaborative process where Holland and Dozier would go into the studio with a good idea of what they wanted, but that there was scope for interpretation and the musicians were able to make suggestions, which the producers might take up if they were good ones. If Brian Holland sketched out or hummed a rough bassline to James Jamerson, saying something like "play bum-bum-bum-bum", and then Jamerson embellished and improvised around that rough bassline, it would be easy to see how both men could come out of the session thinking they had written the bassline, and having good reason to think so. It's also easy to see how the balance could differ in different sessions -- how sometimes Holland or Dozier could come in with a fully worked out part, and other times they might come in saying "you know the kind of thing I want",  and how that could easily become remembered as "I came up with all the parts and the musicians did nothing" or "Us musicians came up with all the parts and the producers just trusted us". Luckily, there's more than enough credit to go around, and we can say that the Four Tops, Holland, Dozier, and Holland, the Funk Brothers, and the Andantes all played an important part in making these classic singles: [Excerpt: The Four Tops, "I Can't Help Myself"] "I Can't Help Myself" knocked the Supremes' "Back in My Arms Again" off the number one spot, but was itself knocked off the top by "Mr. Tambourine Man" -- but then a week later, "I Can't Help Myself" was at number one again, before being knocked off again by "(I Can't Get No) Satisfaction". The success of "I Can't Help Myself" meant that the group's singles on their old labels suddenly had some value. Columbia Records reissued "Ain't That Love", a single the group had originally released four years earlier, in the hope of having some success because of the group's new-found fame. As we saw last time when the Supremes rushed out "Come See About Me" to prevent someone else having the hit with it, there was nothing that Berry Gordy hated more than the idea that someone else could have a hit based on the success of a Motown act. The Four Tops needed a new single *now* to kill the record on Columbia, and it didn't matter that there were no recordings or even songs available to put out. Holland, Dozier, and Holland went into the studio to record a new backing track with the Funk Brothers, essentially just a remake of the backing from "I Can't Help Myself", only very slightly changed. By three o'clock in the afternoon on the day they found out that the Columbia record was being released, they were in the studio, Dozier fine-tuning the melody while Brian Holland rehearsed the musicians and Eddie Holland scribbled lyrics in another corner. By five PM the track had been recorded and mixed. By six PM the master stamper was being driven the ninety miles to the pressing plant so they could start pressing up copies. The next day, DJs started getting copies of the record, and it was in the shops a couple of days later. Of course, the record being made in such a rush meant that it was essentially a remake of their previous hit -- something that was acknowledged in the tongue-in-cheek title: [Excerpt: The Four Tops, "It's the Same Old Song"] "It's the Same Old Song" wasn't as big a hit as "I Can't Help Myself", but it made number five on the charts, a more than respectable follow-up, and quite astonishing given the pressure under which the record was made. The next few singles that Holland, Dozier, and Holland wrote for the group weren't quite as successful -- this was early 1966, and Holland, Dozier, and Holland were in a mini slump -- they'd had a number one with "I Hear a Symphony", as we heard in the last episode, but then they produced two singles for the Supremes that made the top ten, but not number one -- "My World is Empty Without You" and "Love is Like an Itching in My Heart".  And as the Four Tops weren't quite as big as the Supremes, so their next two singles, "Something About You" and "Shake Me, Wake Me (When It's Over)", only just scraped into the bottom of the top twenty. Still hits, but not up to Holland, Dozier, and Holland's 1965 standards. And so as was the common practice at Motown, someone else was given a chance to come up with a song for the group. "Loving You is Sweeter Than Ever" was written by Ivy Jo Hunter, a songwriter and producer whose biggest contribution to this point had been co-writing "Dancing in the Street", and Stevie Wonder, a child star who'd had a hit a couple of years earlier but never really followed up on it, and who also played drums on the track: [Excerpt: The Four Tops, "Loving You is Sweeter Than Ever"] Within a few months, Wonder would begin a run of hit singles that would continue for more than a decade, and would become arguably the most important artist on Motown. But that golden period hadn't quite started yet, and "Loving You is Sweeter Than Ever" didn't make the top forty. At this point, it would have been easy for the Four Tops to have been relegated to the same pile as artists like the Contours -- people who'd had a couple of hits on Motown, but had then failed to follow up with a decent career. Motown was becoming ever more willing to drop artists as dead weight, as Gordy was increasingly concentrating on a few huge stars -- Marvin Gaye, Smokey Robinson and especially the Supremes – to the exclusion of everyone else. But then Holland, Dozier, and Holland got back up on top. They came up with two more number ones for the Supremes in quick succession. "You Can't Hurry Love" was recorded around the same time that "Loving You is Sweeter Than Ever" was failing to chart, and quickly became one of the Supremes' biggest ever hits. They followed that with a song inspired by the sound of the breaking news alert on the radio, replicating that sound with the staccato guitars on what was their most inventive production to date: [Excerpt: The Supremes, "You Keep Me Hanging On"] Not only was that a number one record, it was soon followed by a top ten cover version by the heavy rock band Vanilla Fudge: [Excerpt: Vanilla Fudge, "You Keep Me Hanging On"] Holland, Dozier, and Holland were back on top, and they brought the Four Tops back to the top with them. The next single they recorded with the group, "Reach Out, I'll Be There", started with an instrumental introduction that Brian Holland was noodling with on the piano: [Excerpt: The Four Tops, "Reach Out I'll Be There"] Holland was playing that part, over and over, and then suddenly Lamont Dozier was hit with inspiration -- so much so that he literally pushed Holland to one side without saying anything and started playing what would become the verse: [Excerpt: The Four Tops, "Reach Out I'll Be There"] The interesting thing about that track is that it shows how the different genres that were charting at the time would have more influence on each other than it might appear from this distance, where we put them all into neat little boxes named "folk-rock" or "Motown". Because Lamont Dozier was very specifically being influenced by Bob Dylan and "Like a Rolling Stone", when it came to how the song was phrased. Now, this is not something that I would ever in a million years have thought of, but once you know it, the influence is absolutely plain -- the way the melody stresses and elongates the last syllable of each line is pure Dylan. To show this, I am afraid I'm going to have to do something that I hoped I'd never, ever, have to do, which is do a bad Bob Dylan impression. Everyone thinks they can impersonate Dylan, everyone's imitations of Dylan are cringeworthy, and mine is worse than most. This will sound awful, but it *will* show you how Dozier was thinking when he came up with that bit of melody: [demonstrates] Let us never speak of that again. I think we'd better hear how Levi Stubbs sang it again, hadn't we, to take that unpleasant sound away: [Excerpt: The Four Tops, "Reach Out I'll Be There"] That became the group's second and last number one single, and also their only UK number one. Unfortunately, Holland, Dozier, and Holland were so hot at this point that they ended up competing with themselves. Norman Whitfield, one of the other Motown songwriter-producers, had wanted for a while to produce the Temptations, whose records were at this point mostly written and produced by Smokey Robinson. He called on Eddie Holland to help him write the hit that let him take over from Robinson as the Temptations' producer, "Ain't Too Proud to Beg": [Excerpt: The Temptations, "Ain't Too Proud to Beg"] Dozier and Brian Holland were fine with Eddie working with another writer -- they all did that kind of thing on occasion -- until the date of the BMI Awards. The previous two years, the trio had been jointly given BMI's award for most successful songwriter of the year. But that year, Eddie Holland got the award on his own, for having written more hits than anyone else (he'd written eight, Dozier and Brian Holland had written six. According to a contemporary issue of Billboard, John Sebastian was next with five, then Lennon/McCartney and Jagger/Richards with four each.) Holland felt bad that he'd inadvertently prevented his collaborators from winning the award for a third year in a row, and from this point on he'd be much more careful about outside collaborations. Holland, Dozier, and Holland wrote two more classic singles for the Four Tops, "Standing in the Shadows of Love", and "Bernadette". That latter had been inspired by a coincidence that all three of Holland, Dozier, and Holland had at one time or another dated or felt unrequited love for different girls called Bernadette, but it proved extremely difficult to record. When the trio wrote together, Eddie Holland would always sing the songs, and the melodies were constructed around his tenor vocal range. Stubbs was a baritone, and sometimes couldn't hit some of the higher notes in the melodies, and he was having that problem with "Bernadette". Eddie Holland eventually solved the problem by inviting in a few fans who had been hanging around outside hoping for autographs. Stubbs being a performer wasn't going to make himself look bad in front of an audience, and sang it perfectly: [Excerpt: The Four Tops, "Bernadette"] "Bernadette" made the top five, and it was followed by a couple more top twenty hits with lesser Holland/Dozier/Holland songs, but then the writer-producers quit Motown, for reasons we'll look at in a few months when we take our last look at the Supremes. This left the Four Tops stranded -- they were so associated with their producers that nobody else could get hits with them. For a while, Motown turned to an interesting strategy with them. It had been normal Motown practice to fill albums up with cover versions of hits of the day, and so the label put out some of this album filler as singles, and surprisingly had some chart success with cover versions of the Left Banke's baroque pop hit "Walk Away Renee": [Excerpt: The Four Tops, "Walk Away Renee"] and of Tim Hardin's folk ballad "If I Were a Carpenter": [Excerpt: The Four Tops, "If I Were a Carpenter"] And so for a while many of the singles the group released, both in the US and elsewhere, were covers of songs that were very far from the normal Motown style -- the Jimmy Webb ballad "Do What You Gotta Do" made the UK top twenty, their cover of another Jimmy Webb song, "MacArthur Park", made the lower reaches of the US top forty, their version of the old standard "It's All in the Game" made number twenty-four, and they released a version of "River Deep, Mountain High", teaming up with the Supremes, that became more successful in the US than the original, though still only just made the top forty. But they were flailing. Motown had no idea what to do with them other than release cover versions, and any time any of Motown's writing and production teams tried to come up with something new for the group it failed catastrophically. In 1972 they signed to ABC/Dunhill, and there they had a few hits, including a couple that made the top ten, but soon the same pattern emerged -- no-one could reliably get hits with the group, and they spent much of the seventies chasing trends and failing to catch them. They had one more big US hit in 1981, with "When She Was My Girl", which made number eleven, and which went to number one on the R&B charts: [Excerpt: The Four Tops, "When She Was My Girl"] But from that point on they were essentially a nostalgia act, though they carried on releasing records through the eighties. The group's career nearly came to a premature end in 1988. They were in the UK to promote their single "Loco in Acapulco", co-written by Lamont Dozier and Phil Collins, from the soundtrack of Collins' film Buster: [Excerpt: The Four Tops, "Loco in Acapulco"] That was a UK top ten hit, but it nearly led to the group's death -- they were scheduled to fly out of the UK on Pan Am flight 103 to Detroit on the twenty-first of December 1988. But the group were tired after recording an appearance on Top of the Pops the night before, slept in, and missed the flight. The flight fell victim to a terrorist bombing -- the Lockerbie bombing -- and everyone on it died. The group carried on performing together after that, but their last new single was released in 1989, and they only recorded one more album, a Christmas album in 1995. They performed together, still in their original lineup, until 1997 when Lawrence Payton died from cancer. At first the group continued as a trio, retiring the Four Tops name and just performing as The Tops, but eventually they got in a replacement. By the turn of the century, Levi Stubbs had become too ill to perform as well -- he retired in 2000, though he came back for a one-off performance for the group's fiftieth anniversary in 2004, and he died in 2008. Obie Benson continued performing with the group until three months before his death in 2005. A version of the Four Tops continues to perform, led by Abdul Fakir, and also featuring Lawrence Payton's son Roquel, named after Roquel Davis, who performs under the name Lawrence Payton Jr. The Four Tops were one of those groups that never quite lived up to their commercial potential, thanks in large part to Holland, Dozier, and Holland leaving Motown at precisely the wrong moment, and one has to wonder how many more hits they could have had under other circumstances. But the hits they did have included some of the greatest records of the sixties, and they managed to continue working together, without any public animosity, until their deaths. Given the way the careers of more successful groups have tended to end, perhaps it's better this way.

Tom and Jenny discuss the beloved 1986 horror comedy musical directed by Frank Oz and based on the 1982 off-Broadway play (which was in turn based on the Roger Corman B-movie from 1960). It stars Rick Moranis, Ellen Greene, Steve Martin, and Levi Stubbs as the voice of killer plant Audrey II. Find this movie … Continue reading Movie Retrospective: Little Shop of Horrors (1986)

Hope you like whip its and botany. This week we explore the drunken origins and musical epilogue of Little Shop of Horrors.Music and sound effects provided by zapslat.com and bensound.com,  the music for our "confession" is Sadeness part 1 by Enigma and the theme song is "Graveyard Shift" by Kevin MacLeod. https://creativecommons.org/licenses/by/4.0

This month, Mick has Yosra and Jen watching one of her most-loved Christmas films: 1986 musical Little Shop of Horrors, directed by Muppet-master Frank Oz and starring everyone's favourite Ghostbusters nerd, Rick Moranis. But is it a Christmas film? Well, clearly not. But can Mick convince Jen and Yosra that the songs, the Levi Stubbs-voiced man-eating plant, the bright colours and the pantomime vibe put the ho ho ho into horror fun? Find out! Support this show http://supporter.acast.com/standardissuespodcast. See acast.com/privacy for privacy and opt-out information.

Welcome back to purgatory!!! Mike, Tron and Jeremy talk about Little Shop of Horrors from 1986 from Director Frank Oz! Staring Ellen Greene, Rick Moranis, Vincent Gardenia, Steve Martin, Levi Stubbs, Bill Murray, John Candy, Christopher Guest and James Belushi!!!   Thanks for checking us out!!! Outro song "Extraordinary Machine" By Fiona Apple.

Welcome to Behind The Screams This weeks episode sees us tackle a horror musical for the first time as we talk about the 1986 movie Little Shop Of Horrors starring Rick Moranis, Ellen Greene and Levi Stubbs. We hope you enjoy the show and don't forget to support us on our other platforms. Twitter - https://twitter.com/ScreamsBehind Twitch - https://www.twitch.tv/behindthescreamspodcast Anchor - https://anchor.fm/behindthescreams Facebook - https://www.facebook.com/groups/behindthescreamspodcast

I Cant Help Myself! I'm playing all my favorite 4 Tops Hits and bopping around dancing today with a smile on my face as I welcome Duke Fakir, the only living member of the original legendary Motown quartet The Four Tops. Duke Fakir is the ultimate ageless entertainer. Imagine 67 years on the road performing and still loving every minute? And he sees absolutely no reason to stop. In fact he's picking up speed!  Duke and The Four Tops produced million-selling hits that sound just as good today as they did back when.  “Reach Out I'll Be There,” “Ain't No Woman,” “I Can't Help Myself (Sugar Pie Honey Bunch)," Baby I Need your Lovin', all which now have millions of views on You Tube. Duke Fakir was a founding member of the group originally called the Four Aims, which included lead singer Levi Stubbs, Renaldo "Obie" Benson and Lawrence Payton. The four remained together for over four decades, performing from 1953 until 1997 without a change in personnel.  You'll love the story Duke tells of how it all started with those four young men. Girls! All four guys hustled to a High School Prom where they heard there were going to be a LOT of girls and not so many guys. LOL A gal asked Duke to sing and he grabbed the other guys and said let's all sing...and the magic happened and the rest is history. No one could top the four of them collaborating together. With three of his original fellow Four Tops gone now, Duke Fakir continues the magical musical tours with three talented younger vocalists, but shares a touching mention of how sometimes when he's performing he can still feel the presence of his late performing buddies and it brings a tear.  Now that The Four Tops have been inducted into the Rock 'n Roll Hall of Fame,  have received the Grammy's Lifetime achievement award, and have been named by Billboard Magazine as one of the greatest groups of all time, what could possibly be next?  A Dazzling Stage Musical? A 'Jersey Boys kinda hit'?  Well since some of the very same guys who wrote the original hits for him are back doing it again I wouldn't be surprised at all. Tune in to this sweet upbeat conversation with Duke Fakir fresh off his first gig in nearly a year because of Covid. He was excited to travel to  Washington, D.C. where he taped an upcoming PBS Memorial Day Special. He's even more excited about the upcoming Four Tops Musical.    

In the world of movies, there are some lines that are baked into the cultural vernacular -- FEED ME, SEYMOUR! is definitely one of them. So it's with great pride and pleasure and JOY that Katie introduces the third movie in our Let's Get MUSICAL theme, the utterly charming 1986 Little Shop of Horrors. This has all the pod's favorite attributes -- incredible production, stunning sets, the peak of comedic talent...listen to this: RICK MORANIS, STEVE MARTIN, JOHN CANDY, BILL MURRAY, CHRISTOPHER GUEST, LEVI STUBBS, TISHA CAMPBELL, ELLEN GREENE...all in one movie. You wanna watch something truly delightful? Put this movie on and then listen to our podcast and BE HAPPY FOR A HOT MINUTE. Graham, Katie and Ashley also chat about puppets (obv.), Broadway musicals turned into movies, and a mini-Let Me Introduce you, so what are you waiting for?! IT'S SUPPERTIME! See acast.com/privacy for privacy and opt-out information.

On this week's show, it's a Black History Month homage to three of the most important record labels in the history of soul music, in the history of pop music, and in the history of music in general. All this & much, much less!

There must have been a time when the very existence of Little Shop of Horrors seemed like an oddity. It is, after all, a campy musical about a killer plant whose songbook cribs liberally from mid-20th century R&B music. However, after several decades worth of amateur productions and a steady presence on both cable TV and streaming services, Little Shop of Horrors has established itself as a persistent mainstay in the popular consciousness. Both Ryan and Rachel participated in school productions of Little Shop and they talk about their experiences as they deconstruct the 1986 film adaptation. Other points of discussion include the movie's ridiculously loaded cast, its Roger Corman-directed source material, the infamous original ending, the film's odd stature as a cultural ambassador, and its subtextual nods to white flight and moral compromise. Rachel takes a crack at impersonating Ellen Greene's affect for Audrey, but she didn't have the temerity to attempt Levi Stubbs' vocalizations for Audrey II. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ryan-valentine3/support

Tray talks about 1986's Little Shop of Horrors. It stars Rick Moranis, Ellen Greene, and Levi Stubbs. Directed by Frank Oz. Have your say! Leave a message! Required Watching is a movie club. Tell me what I got wrong, right, drop a line to say hi or suggest the next movie to discuss. GIVEAWAY! Leave a 5 star review and subscribe for a chance to win subscriptions/gift cards to The Criterion Collection, Mubi or HBO MAX. We'll draw winners every two weeks. Hit us up: Instagram: @RequiredWatch Twitter: @RequiredWatch Email: Requiredwatch@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/required-watching/message

Little Shop of Horrors, based on the off-Broadway musical, in turn based off the 1960 Roger Corman dark comedy The Little Shop of Horrors... is probably my favourite ever screen musical.It contains within several elements that never fail to delight me:-Rick Moranis - a true gem of a man, on-and-off screen, who was a regular for all us 80s and 90s kids growing up-It's a musical - with music and lyrics by the award-winning team of Alan Menken and Howard Ashman-Practical effects - the puppet work is some of the greatest ever put to screen, with Frank Oz at the helm and a talented team of professional puppeteers (including Brian Henson), Audrey II feels real, tangible and a genuine threat to our heroes Seymour and AudreyAt the time, the most expensive motion picture Warner Bros had ever released, it had a lot riding on its mean, green shoulders. It failed to deliver at the box office but has since become a cult classic on VHS, and it was the first ever DVD to be recalled for content.... and not for the busting of balls, although the song "Mean, Green Mother From Outer Space" was the first song containing naughty words to be nominated for Best Original Song at the Academy Awards. It didn't win, sadly. And nor did it win for Visual Effects, but at least it lost that to Aliens....The cast is flawless and an 80s/90s kid's dream;Rick Moranis is the perfect nerdy, unconfident Seymour that we can all immediately root for. Ellen Greene (reprising her role from the stage) has a meek, shrill voice for Audrey, which transforms into a powerful set of pipes once singing, showing Audrey's inner strength. Steve Martin's Orin Scrivello (D.D.S!) is memorable and threatening enough to be fed to a carnivorous plant without us caring all that much for his loss and additional cameos from Bill Murray, Jim Belushi, Christopher Guest and John Candy just add to the brilliance of the production.And finally, Levi Stubbs just IS Audrey II. His charisma and charm flows through an inanimate puppet, adding to the experience of seeing Audrey II come to life on screen.Famously filmed with an original ending which was scrapped due to a very negative test screening, a new ending was hastily put together and it was the only ending available until the previously only black-and-white footage was digitally coloured and enhanced for released in 2012. "Don't Feed The Plants" - the final song and footage from the Director's Cut, is available on YouTube. It's all table-top miniatures created by Richard Conway and it's delightful - watch it here!A remake is in the pipeline, but I guarantee it will never be able to emulate the charm, nostalgia or dream-like quality of this, and while this in itself is a remake, it's hard to not fall completely in love with everything about it. For me, this really is THE Little Shop of Horrors.Just don't feed the plants!I would love to hear your thoughts on Little Shop of Horrors! You can get in touch onTwitter @verbaldioramaInstagram @verbaldioramaFacebook @verbaldioramaYouTube @verbaldioramaLetterboxd @verbaldioramaor you can email me general hellos, feedback or suggestions:verbaldiorama [at] gmail [dot] comThank you to patrons Simon E, Sade, Jardiel, Claudia, Simon B, Laurel, Derek, Jason, Kristin and new Patron Cat for supporting Verbal Diorama.You can rate or review the show at Apple Podcasts or Podchaser and I'd very much appreciate that!My website is at https://verbaldiorama.comThanks to the following for their contributions to this episode:Twitter peeps@NFTDT@TimeShiftersPod@PulpCerealInstagram folk@friends_and_flayers@somewherethatsellengreene@steveharveyisboss@tfgifpodcastFacebook chumsAndy DeSistoTheme Music: Verbal Diorama Theme SongMusic by Chloe Enticott - Compositions by Chloe FacebookLyrics by Chloe Enticott (and me!)Production by Ellis Powell-Bevan of Ewenique Studios. See acast.com/privacy for privacy and opt-out information.

Where do you go when you're life's a joke? That's right...Downtown! Down on Skid Row. I hear there is a cute flower shop there. Life kind of feels like a big joke right now so join us in watching a giant man-eating plant attempt to take over the world in the Skid Row classic "Little Shop of Horrors," because the premise sounds more manageable than what is actually happening in the world at this moment. We pair it with a delicious Cabernet Sauvignon from Australia called Mister Big Mouth. Movie Sync Notes: We watch the movie on Amazon Prime and start it 5:10 into the pod and push play on part two at 1:00:02. It is also streaming on Hulu with a littler extra time tacked on to the beginning of the movie.

We were joined by Sam and Louise from the 90 Minutes or Less Film Fest podcast for our 100th main episode, and they picked a SHOP triple bill with all killer, no filler! The Shop Around the Corner (1940) stars James Stewart and Margaret Sullavan. Little Shop of Horrors (1986) is directed by Frank Oz and stars Rick Moranis, Ellen Greene, Vincent Gardenia, Levi Stubbs, John Candy, Bill Murray and Steve Martin. Shoplifters (2018) is directed by Hirokazu Kore-eda and stars Lily Franky, Sakura Ando and Kirin Kiki. You can find Sam @sam_clements and Louise on Instagram @podclash, 90 Minutes or Less Film Fest, can be found at https://www.90minfilmfest.com/ Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs!

053 - It's a slight change of pace this week, as we cover our first ever live-action musical, Little Shop of Horrors. There is a LOT to unpack with this one, from the impeccable cast (Rick Moranis, Ellen Green, Levi Stubbs, Steve Martin and Bill Murray), to one of the most bizarre origin stories we have ever uncovered. It's also just an all-round weird movie directed by Yoda himself, with absurd music by the two guys that went on to write almost every Disney song you have ever loved - so join us we attempt to answer that all-important question: does Little Shop of Horrors hold up today, or is it best left in the past?

  Episode sixty-four of A History of Rock Music in Five Hundred Songs looks at “Reet Petite” by Jackie Wilson, and features talent contests with too much talent, the prehistory of Motown, a song banned by the BBC, and a possible Mafia hit. 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 “Get a Job” by the Silhouettes. —-more—-  Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I used three main books to put together the narrative for this one. Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy’s own, understandably one-sided, but relatively well-written, autobiography. And Jackie Wilson: Lonely Teardrops by Tony Douglas is the closest thing out there to a definitive biography. There are dozens of compilations of Wilson’s fifties material, as it’s in the public domain, but for around the same price as those you can get this three-CD set which also has his later hits on, so that’s probably the place to start when investigating Wilson’s music. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we’re going to have a look at one of the most important people in the history of popular music, and someone we’ll be seeing a lot more of as the series goes on. There are very few people in the world who can be said to have created an entire genre of music, and even fewer who were primarily record company owners rather than musicians, but Berry Gordy Jr was one of them. Gordy didn’t start out, though, as a record executive. When he first got into the music industry, it was as a songwriter, and today we’re going to look at his early songwriting career. But we’re also going to look at a performer who was massively important in his own right, and who was one of the most exciting performers ever to take to the stage — someone who inspired Elvis, Michael Jackson, and James Brown, and who provides one of the key links between fifties R&B and sixties soul: [Excerpt: Jackie Wilson, “Reet Petite”] I’m afraid that this episode is another case where I have to point you to the disclaimer I did in the early weeks of the show. Jackie Wilson was an admirable musician, but he was in no way an admirable human being, particularly in his treatment of women – he’s been credibly accused of at least one sexual assault, and he fathered many children by many different women, who he abandoned, and was known for having a violent temper. As always, this podcast is not about his reprehensible acts, but about the music, but again, it should not be taken as an endorsement of him as a person when I talk about his artistic talent. Wilson started out as a boxer in his teens, but he quickly decided to move into singing instead. He would regularly perform at talent contests around Detroit, and he was part of a loose association of musicians and singers including Wilson’s cousin Levi Stubbs, the Royals, who would later become Hank Ballard and the Midnighters, and the blues singer Little Willie John. They would all perform on the same talent shows and would agree among themselves who was going to win beforehand – Wilson would tell Stubbs “you win this week, I’ll win next week”. On one occasion, Johnny Otis happened to be in the audience, when the Royals, Little Willie John, and Wilson were all on the same bill, and on that particular show Wilson came third. Otis was working as a talent scout for King Records at the time, and tried to get all three acts signed to the label, but for reasons that remain unclear, King decided they only wanted to sign the Royals (though they would sign Little Willie John a couple of years later). As a result, a song that Otis had written for Wilson was recorded instead by the Royals: [The Royals, “Every Beat of My Heart”] Wilson kept performing at the amateur nights for a couple of years, until at the age of seventeen he was signed to Dee Gee Records, a small label co-owned by the jazz trumpet player Dizzy Gillespie. There he cut two singles, under the name Sonny Wilson. Wilson’s favourite song to sing in talent contests was “Danny Boy”, which would remain in his setlists until late in his life, and he would use that song as a way to show off his vocal virtuosity, ornamenting it to the point that the melody would become almost unrecognisable, and so that was, of course, one of the two singles: [Excerpt: Sonny Wilson, “Danny Boy”] Neither single was particularly successful, but Wilson continued performing in nightclubs around Detroit and built up something of a local following. But in 1953 he got a big break, when he auditioned for Billy Ward and his Dominoes. We’ve talked about the Dominoes before, back in the episode on “Money Honey”, but as a bit of a recap, they were the biggest black vocal group of the early fifties, and they were led by Billy Ward, a vocal coach who was not their lead singer. The lead singer in the early fifties was Clyde McPhatter, but McPhatter was getting restless. There are several different stories about how Wilson came to be picked for Ward’s group, but one that sticks out in my mind is one that Ward used to tell, which is that one reason Wilson was picked for the group is that his mother begged Ward, saying that she was scared for the life of her son, as he was getting into trouble on the streets. Certainly, she had every reason to be worried for him – Wilson had recently been stabbed in the chest by a sex worker. But Ward noted that Wilson was a diamond in the rough, and could have a great deal of success with the right amount of polishing. He decided to get Wilson into the group as a replacement for McPhatter, though McPhatter and Wilson were in the group together for a while, as McPhatter served out his notice with the group. Over the next few weeks, Wilson studied what McPhatter was doing, until he was able to take McPhatter’s place. Ward taught him breath control, and became something of a father figure, giving him some discipline for the first time in his life. McPhatter’s were very big shoes to fill, but Wilson soon won the audiences over, both with his vocals and his dancing. While Wilson was not regarded as a good dancer by most of the people who knew him – he couldn’t dance with a partner at all – he had a unique way of moving all his own, which he had learned in the boxing ring, where he’d learned to slide, sidestep, and duck away from other fighters, and to come at them from unexpected angles. He soon became one of the most riveting performers on stage, jumping up, throwing his mic in the air, doing mid-air splits, and completely dominating the stage. As well as teaching him to perform, Ward made one other major change. Up to this point, Wilson had always been known either as Jack or as Sonny. Ward thought that being called Sonny smacked of Uncle Tommery, and decided that from this point on, Wilson’s stage name was going to be Jackie. Wilson was not happy with this at first, but later decided that Ward had been right – though he was still always “Jack” or “Sonny” to those who knew him. Wilson’s first recording with the group as lead singer came just after he turned nineteen, when he went into the studio with them to cut “You Can’t Keep a Good Man Down” for King Records — the same label that had turned him down when Johnny Otis had put him forward: [Excerpt: Billy Ward and the Dominoes, “You Can’t Keep a Good Man Down”] Four months later, they went back into the studio to cut eleven songs in a single day — a mammoth session which really allowed Wilson to show off his vocal versatility. From that session, their version of “Rags to Riches”, which had been a massive hit for Tony Bennett earlier in the year, went to number two on the R&B chart, though it didn’t dent the pop chart: [Excerpt: Billy Ward and the Dominoes, “Rags to Riches”] But after this, the Dominoes started to have less success in the charts — their records weren’t selling as well as they had been when Clyde McPhatter was the group’s lead singer, and in 1954 they had no hits at all. But in some ways that didn’t really matter — the group weren’t just looking to have success as recording artists, but as live performers, and they got a two-year residency in Las Vegas, supporting Louis Prima and Keely Smith. The group were getting five thousand dollars a week — a massive amount of money in those days — though most of that went to Ward, and Wilson was on a salary of only ninety dollars a week. It was while he was performing in Las Vegas that Wilson first came to the notice of someone who would later become a good friend — Elvis Presley. In 1956 Elvis made his own first trip to perform in Vegas, although he was far, far less successful there than he would be thirteen years later. While he was there, he watched with amazement as Jackie Wilson performed Elvis’ own hit “Don’t Be Cruel” much better than Elvis did himself — and in the famous Million Dollar Quartet tapes, you can hear Elvis raving about Wilson to Johnny Cash, Carl Perkins, and Jerry Lee Lewis: [Excerpt: Elvis talking about Jackie Wilson] It’s quite funny listening to those recordings, as the others keep trying to drag Elvis on to other topics of conversation, and Elvis keeps insisting on telling them just how good this singer with Billy Ward and the Dominoes, whose name he hadn’t caught, was. But Vegas wasn’t a good fit for Wilson. He chafed at the discipline of the Dominoes, and at staying in one place all the time. After a couple of years of disappointing record sales, the Dominoes switched labels to Decca, and for the first time Jackie Wilson hit the pop charts as a lead singer, when “St. Therese of the Roses” made number thirteen on the pop charts and number twenty-seven on the hot one hundred: [Excerpt: Billy Ward and the Dominoes, “St. Therese of the Roses”] Incidentally, over in the UK, where American chart records were often covered for the domestic market by British acts, that was recorded by Malcolm Vaughan, a pop tenor who wanted to be England’s answer to Dean Martin: [Excerpt: Malcolm Vaughan, “St. Therese of the Roses”] That version actually became a massive hit over here, reaching number three, after being banned by the BBC. Yes, you heard that right. That song was banned, because it was “contrary both to Roman Catholic doctrine and to Protestant sentiment”. The ban caused enough controversy that the record sold half a million copies. Vaughan would later go on to have a minor hit with a cover version of another Jackie Wilson record, “To Be Loved”. In 1957, Jackie decided to leave Billy Ward and the Dominoes. It had become apparent that Ward had no bigger ambitions than to keep playing Las Vegas forever, and keep making vast amounts of money without having to travel or work especially hard. Jackie Wilson wanted something more, and he went back to Detroit. At first he was going to join a vocal group that had been performing for a few years, the Four Aims, which featured his cousin Levi Stubbs and another distant relative, Lawrence Payton. Unfortunately, they found that Jackie’s voice didn’t blend well with the group — he sounded, according to Wilson’s first wife Freda, too similar to Stubbs, though I don’t hear that much of a vocal resemblance myself. Either way, the attempt to work together quickly fizzled out, and the Four Tops, as they became, had to find their own success without Jackie Wilson in the group. Around this time, Wilson also became obsessed with the singer Mario Lanza. Lanza was an Italian-American pop singer who sang in a pseudo-operatic style, rather than in the more casual crooning style of contemporaries like Frank Sinatra and Tony Bennett, and Wilson was a huge fan of Lanza’s 1951 film The Great Caruso, in which he played the opera singer Enrico Caruso: [Excerpt: Mario Lanza, “The Loveliest Night of the Year”] Wilson studied Lanza’s performances, and he tried to emulate Lanza’s diction and projection. But at the same time, he was, at heart, an R&B performer, and he also knew that as a black singer in Detroit in the early fifties, R&B was what he needed to do to make money. And making money was what Wilson needed to do more than anything else, and so he got an audition at the Flame Bar, which was owned and run by a local mobster, Al Green. Green was a big name in the local music business — he managed Johnnie Ray, one of the biggest names in white pop music at the time, and also LaVern Baker, who had had a string of R&B hits. Wilson got the audition through his friend Roquel Davis, who went by the name Billy Davis, who was Lawrence Payton’s cousin and had performed with him in an early lineup of the Four Aims. Davis had also written songs for the Four Aims, but more importantly for this purpose, his girlfriend, Gwen Gordy, worked with her sister Anna at the Flame Bar. Through these connections, Wilson got himself a regular spot at the Flame — and he also got to meet Gwen and Anna’s little brother Berry. Berry Gordy Jr was someone who would go on to be one of the most important people in the history of twentieth century music — someone without whom none of the rest of this story would happen. He was as important to the music of the sixties as Sam Phillips was to the fifties, if not more important. Gordy was born, the seventh of eight children, to a poor family in Detroit. As a child, he was taught some of the rudiments of the piano by an uncle, who tried to get him to learn to play in the proper manner — learning scales and arpeggios, and how to read music. But young Berry was easily bored, and soon figured out that if you play the first three notes of an arpeggio together, you can get a simple triad chord. A diversion here, just for those of you who don’t know what I’m talking about — an arpeggio is a musical term that literally means “like a harp”, and it’s used for a type of scale where you pick out the individual notes of a chord. You know the sound, even if you don’t know the term. So when you arpeggiate a C major chord, you play the notes C, E, and G, sometimes in multiple octaves: [Demonstrates on guitar] When you play those notes together, that’s a C major chord: [Demonstrates on guitar] Once young Berry Gordy Jr figured out how to play the chords C, F, and G, he was able to start playing boogie-woogie piano by ear. His favourite boogie record was “Hazel Scott’s Boogie Woogie”: [Excerpt: Hazel Scott, “Hazel Scott’s Boogie Woogie”] From an early age, he also became a fan of a particular type of vocal group performance, especially when the singers were singing touching songs about loneliness. He loved “Paper Doll” by the Mills Brothers: [Excerpt: The Mills Brothers, “Paper Doll”] and “We Three” by the Ink Spots: [Excerpt: The Ink Spots, “We Three”] But in his early years, Gordy was unsure whether he wanted to become a musician, or if instead he wanted to become a boxer like his hero Joe Louis — and in this way his career was paralleling that of Jackie Wilson, though he didn’t know Wilson at the time. He actually had a reasonable amount of success as a boxer, up until a point in 1950 where he saw two posters next to each other. One of them, on top, was advertising a battle of the bands between Stan Kenton and Duke Ellington, while the other was advertising a fight. He noticed two things about the posters. The first was that the bandleaders could work every night and make money, while he knew that boxers would go weeks or months between fights. And the second was that the bandleaders “were about fifty and looked twenty-three”, while the boxers “were about twenty-three and looked fifty”. He knew what he was going to do, and it wasn’t boxing. His attempts at a music career were soon put on the back-burner when he was drafted to fight in the Korean War. After he got out of the military, he had a variety of short-term jobs, but he was regarded by his family more or less as a bum — he never held down a steady job and he was a dreamer who saw himself as becoming a successful songwriter and a millionaire, but had never quite managed to make anything of his dreams. That was, at least, until he met Billy Davis, who at the time was a struggling songwriter like him, but one who had had slightly more success. Davis had managed to persuade Chess Records to sign up the Four Tops, as they were now called, and release a single with Davis credited as the songwriter: [Excerpt: The Four Tops, “Kiss Me Baby”] I say Davis was credited as the songwriter, because that song bears more than a little resemblance to the Ray Charles song from a few years earlier, “Kissa Me Baby”: [Excerpt: Ray Charles, “Kissa Me Baby”] But Chess hadn’t really been interested in the Four Tops themselves — they’d instead been interested in Billy Davis as a songwriter, and they quickly used songs he’d written for the Four Tops, and cut them instead with the Moonglows: [Excerpt: The Moonglows, “See Saw”] and the Flamingos: [Excerpt: The Flamingos, “A Kiss From Your Lips”] Neither of those had been a big hit, but the result was that Billy Davis was, in Gordy’s eyes at least, someone with a track record and connections. The two men hit it off musically as well as personally, and they decided that they’d start to collaborate on songs, along with Gordy’s sister Gwen, who was dating Davis. Anything any of them wrote on their own would also get credited to them as a group, and they’d pool whatever they got. And they were going to write songs for Jackie Wilson. Davis tried to get Wilson signed to Chess Records, but they weren’t interested in Wilson’s sound — they wanted a harder blues sound, rather than Wilson’s more soulful sound. But then Al Green took on Wilson’s management, and managed to persuade Bob Thiele at Decca Records, who had just signed Buddy Holly and the Crickets, to sign Wilson — not so much for Wilson’s own talent, though Thiele was impressed by him, but because Green promised that he could also sign LaVern Baker when her contract with Atlantic expired. As it turned out, though, Thiele would never get to sign Baker, as the day before Wilson’s contract was meant to be signed, Al Green died suddenly. More by chutzpah than anything else, Nat Tarnopol, an office boy who had been employed by Green, managed to take over Wilson’s management, just by saying that he was in charge now. He got the contracts signed, and got Wilson signed to Brunswick, the Decca subsidiary that put out rock and roll records. Over the next few years Tarnopol would manage to get himself made a co-owner of Brunswick, by using the leverage he got as Wilson’s manager. The first record Wilson put out as a solo artist was a song that Billy Davis had originally come up with when he was sixteen, inspired by a Louis Jordan song titled “Reet, Petite, and Gone”: [Excerpt: Louis Jordan, “Reet, Petite, and Gone”] Davis and the Gordys reworked his original idea into a new song called “Reet Petite”, which became Wilson’s first solo single since leaving the Dominoes. When Wilson took the song to Dick Jacobs, the arranger assigned to the session, Jacobs was impressed with the song, but became worried — he sat down with Wilson to work out what key to record the song in, and Wilson kept telling him to take it higher, and higher, and higher. Wilson couldn’t demonstrate what he meant during the preparations for the session, as he had laryngitis, but he kept insisting that he should sing it a full octave higher than Jacobs initially suggested. Jacobs went to Bob Thiele, and Thiele said it didn’t really matter, they’d only signed Wilson in order to get LaVern Baker, and just to do what he wanted. Jacobs hired some of the best session players in New York, including Panama Francis on drums and Sam “the Man” Taylor on saxophone, reasoning that if he had the best players around then the record wouldn’t end up too bad, whatever the singer sounded like. I’ll now quote some of Jacobs’ description of the session itself: “I got him behind the microphone and said a silent prayer that this aerial key he’d picked to sing in would be okay, and that this guy was a reasonable approximation of a singer. “Jackie Wilson opened his mouth and out poured what sounded like honey on moonbeams, and it was like the whole room shifted on some weird axis. The musicians, these meat and potatoes pros, stared at each other slack-jawed and goggle-eyed in disbelief; it was as if the purpose of their musical training and woodshedding and lickspitting had been to guide them into this big studio in the Pythian Temple to experience these pure shivering moments of magic. Bob Thiele and I looked at each other and just started laughing, half out of relief and half out of wonder. I never thought crow could taste so sweet.” [Excerpt: Jackie Wilson, “Reet Petite”] The record wasn’t a massive hit in the US — it only went to number sixty-two on the pop charts — but it was a much bigger hit in the UK, reaching number six, and over here it became a much-loved classic, so much so that it went to number one for four weeks when it was reissued in 1986. At one show, where he was Dinah Washington’s support act, he rolled his “r” on the title of the song, like he did on the record, and his two front dentures went flying off. He never sang the song live again. “Reet Petite” was the start of a run of songs that Davis and the Gordys wrote for Wilson, most of them big hits and several of them classics. Most notably, there was Wilson’s second solo single, “To Be Loved”. That song was written by Berry Gordy and Davis, after Gordy found out his wife was divorcing him. Gordy went round to his sister Gwen’s house, where Davis also was, and started playing the piano, after Gwen reassured him that even though his wife had left him, he still had the love of his children and his siblings. The result was a gorgeous ballad that went to number seven on the R&B charts and number twenty-two on the pop charts: [Excerpt: Jackie Wilson, “To Be Loved”] They also wrote what became Wilson’s biggest early it, “Lonely Teardrops”, which went to number one on the R&B charts: [Excerpt: Jackie Wilson, “Lonely Teardrops”] That had originally been written as a ballad, but was reworked into a more danceable song in the studio. Berry Gordy and Davis hated it when they first heard the finished record, but grew to appreciate it as it became a hit. However, from that point on, they started to take more interest in the production side of Wilson’s recordings, and they developed a routine where Davis and Gordy would rehearse Wilson, with Gordy on the piano, and they’d teach him the song and record a demo, which Jacobs would then use to write the arrangements — Dick Jacobs wasn’t the only arranger on Wilson’s early records, but they soon learned that he was the one who could best capture the sound they wanted. The three men would then supervise in the studio. (Gwen Gordy is also credited as a co-writer on several of the records, but her contributions tend to be played down by the others, and she doesn’t appear to have been involved in the production side. How much of that is her not contributing as much, and how much is just misogyny in how the story is told, is hard to say.) But eventually, they fell out with Nat Tarnopol, after they figured out that Tarnopol was putting songs to which he owned the copyright on the B-sides of all Wilson’s records, so he could get royalties from the sales. Gordy and Davis insisted that they should get to write the songs on both sides of the singles, so that they could get a fair share of the money — especially as they were effectively producing the sessions, without either a credit or royalties. Tarnopol disagreed — as far as he was concerned, Jackie Wilson could be a star with anyone writing his material, and he didn’t need these songwriters. Their days as Jackie Wilson’s hit factory were over. Davis and Gwen Gordy went off to found their own record label, along with Gwen and Berry’s sister Anna. Anna Records, as it was called, didn’t have the most propitious start, with its first single being a Davis and Gwen Gordy song “Hope and Pray”, performed by the Voice Masters: [Excerpt: The Voice Masters, “Hope and Pray”] But it would later put out some much more influential records. Berry, meanwhile, decided to groom another young artist for stardom — he saw a lot of possibilities in a young man called William Robinson, who everyone referred to as Smokey, and his group the Miracles. We’ll pick up on the Gordys and their business ventures in a few months’ time. Jackie Wilson continued having hits for several years, although his career dipped in the early sixties with the British Invasion. He then had a revival in 1967, when he recorded what would end up being his biggest hit, “Higher and Higher”: [Excerpt: Jackie Wilson, “Higher and Higher”] Wilson continued having occasional hits through to 1970, and remained a popular live artist for years afterwards, but then in 1975, in the middle of performing “Lonely Teardrops”, right after singing the line “my heart is crying”, he clutched his chest and collapsed. At first people thought it was part of the act, but he didn’t get back up. Cornell Gunter of the Coasters gave him mouth to mouth, and possibly saved his life, but some would question whether that was, in retrospect, a bad idea — Wilson was in a coma from which he would never fully recover. For the next eight and a half years, Wilson was institutionalised. There are some people who claim that he gained a little bit of awareness during that time, but by most accounts he was in a persistent vegetative state. At first, the music business rallied round and helped pay for his treatment — there are some reports that Jackie’s old friend Elvis Presley anonymously donated a lot of the money for his medical bills, though these obviously can’t be verified. The Detroit Spinners held a benefit concert for him, and donated $5000 of their own money. Al Green (the singer, not Wilson’s ex-manager) performed at the concert and gave ten thousand dollars, Stevie Wonder gave five thousand, Gladys Knight gave two thousand five hundred, Michael Jackson ten thousand, Richard Pryor twelve hundred. James Brown sent a one thousand dollar cheque, which bounced, but he coughed up the actual money when Jackie’s common-law wife said she was going to tell Jet magazine about the bouncing cheque. Nat Tarnopol and Brunswick Records, on the other hand, gave nothing. In fact, they did worse than nothing — they lied to Blue Cross/Blue Shield, claiming that Wilson hadn’t had any earnings from them in the year prior to his collapse, when he’d been in the studio and was owed regular union rates for recording sessions. If they’d told the truth, his medical bills would have been covered by the insurance, but they weren’t. There are many hypotheses as to why Wilson collapsed on stage that day, including that he used to drink salt water before going on stage to make himself sweat, and that this caused him to have a heart attack due to induced hypertension. But several people close to Wilson believed that his collapse was somehow caused by Nat Tarnopol having him poisoned. Wilson had been due to testify against Tarnopol in front of a grand jury ten days after his collapse, and Tarnopol was very involved with the Mafia — at one point he’d tried to have Carl Davis, who produced “Higher and Higher” killed, and it was only Davis’ friendship with another mobster with ties to Brunswick, Tommy Vastola, that saved him. Johnny Roberts, Wilson’s manager in the seventies and another mobster, actually faked his own death in the eighties and had a funeral, and then reappeared once Tarnopol himself died in 1987, while some of those close to Wilson think it’s no coincidence that Cornell Gunter, who had been there when Wilson collapsed and had always thought there was something strange about it, was murdered himself in 1990, in Las Vegas, by an unknown gunman — though if that murder did have anything to do with Wilson’s collapse, it can’t have been Tarnopol himself who ordered that murder, of course. Jackie Wilson finally died of pneumonia on January 21, 1984, after having been hospitalised since September 29, 1975. He was buried in an unmarked grave, but three years later funds were raised for a headstone, which reads “no more lonely teardrops”.

  Episode sixty-four of A History of Rock Music in Five Hundred Songs looks at “Reet Petite” by Jackie Wilson, and features talent contests with too much talent, the prehistory of Motown, a song banned by the BBC, and a possible Mafia hit. 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 “Get a Job” by the Silhouettes. —-more—-  Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I used three main books to put together the narrative for this one. Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy’s own, understandably one-sided, but relatively well-written, autobiography. And Jackie Wilson: Lonely Teardrops by Tony Douglas is the closest thing out there to a definitive biography. There are dozens of compilations of Wilson’s fifties material, as it’s in the public domain, but for around the same price as those you can get this three-CD set which also has his later hits on, so that’s probably the place to start when investigating Wilson’s music. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we’re going to have a look at one of the most important people in the history of popular music, and someone we’ll be seeing a lot more of as the series goes on. There are very few people in the world who can be said to have created an entire genre of music, and even fewer who were primarily record company owners rather than musicians, but Berry Gordy Jr was one of them. Gordy didn’t start out, though, as a record executive. When he first got into the music industry, it was as a songwriter, and today we’re going to look at his early songwriting career. But we’re also going to look at a performer who was massively important in his own right, and who was one of the most exciting performers ever to take to the stage — someone who inspired Elvis, Michael Jackson, and James Brown, and who provides one of the key links between fifties R&B and sixties soul: [Excerpt: Jackie Wilson, “Reet Petite”] I’m afraid that this episode is another case where I have to point you to the disclaimer I did in the early weeks of the show. Jackie Wilson was an admirable musician, but he was in no way an admirable human being, particularly in his treatment of women – he’s been credibly accused of at least one sexual assault, and he fathered many children by many different women, who he abandoned, and was known for having a violent temper. As always, this podcast is not about his reprehensible acts, but about the music, but again, it should not be taken as an endorsement of him as a person when I talk about his artistic talent. Wilson started out as a boxer in his teens, but he quickly decided to move into singing instead. He would regularly perform at talent contests around Detroit, and he was part of a loose association of musicians and singers including Wilson’s cousin Levi Stubbs, the Royals, who would later become Hank Ballard and the Midnighters, and the blues singer Little Willie John. They would all perform on the same talent shows and would agree among themselves who was going to win beforehand – Wilson would tell Stubbs “you win this week, I’ll win next week”. On one occasion, Johnny Otis happened to be in the audience, when the Royals, Little Willie John, and Wilson were all on the same bill, and on that particular show Wilson came third. Otis was working as a talent scout for King Records at the time, and tried to get all three acts signed to the label, but for reasons that remain unclear, King decided they only wanted to sign the Royals (though they would sign Little Willie John a couple of years later). As a result, a song that Otis had written for Wilson was recorded instead by the Royals: [The Royals, “Every Beat of My Heart”] Wilson kept performing at the amateur nights for a couple of years, until at the age of seventeen he was signed to Dee Gee Records, a small label co-owned by the jazz trumpet player Dizzy Gillespie. There he cut two singles, under the name Sonny Wilson. Wilson’s favourite song to sing in talent contests was “Danny Boy”, which would remain in his setlists until late in his life, and he would use that song as a way to show off his vocal virtuosity, ornamenting it to the point that the melody would become almost unrecognisable, and so that was, of course, one of the two singles: [Excerpt: Sonny Wilson, “Danny Boy”] Neither single was particularly successful, but Wilson continued performing in nightclubs around Detroit and built up something of a local following. But in 1953 he got a big break, when he auditioned for Billy Ward and his Dominoes. We’ve talked about the Dominoes before, back in the episode on “Money Honey”, but as a bit of a recap, they were the biggest black vocal group of the early fifties, and they were led by Billy Ward, a vocal coach who was not their lead singer. The lead singer in the early fifties was Clyde McPhatter, but McPhatter was getting restless. There are several different stories about how Wilson came to be picked for Ward’s group, but one that sticks out in my mind is one that Ward used to tell, which is that one reason Wilson was picked for the group is that his mother begged Ward, saying that she was scared for the life of her son, as he was getting into trouble on the streets. Certainly, she had every reason to be worried for him – Wilson had recently been stabbed in the chest by a sex worker. But Ward noted that Wilson was a diamond in the rough, and could have a great deal of success with the right amount of polishing. He decided to get Wilson into the group as a replacement for McPhatter, though McPhatter and Wilson were in the group together for a while, as McPhatter served out his notice with the group. Over the next few weeks, Wilson studied what McPhatter was doing, until he was able to take McPhatter’s place. Ward taught him breath control, and became something of a father figure, giving him some discipline for the first time in his life. McPhatter’s were very big shoes to fill, but Wilson soon won the audiences over, both with his vocals and his dancing. While Wilson was not regarded as a good dancer by most of the people who knew him – he couldn’t dance with a partner at all – he had a unique way of moving all his own, which he had learned in the boxing ring, where he’d learned to slide, sidestep, and duck away from other fighters, and to come at them from unexpected angles. He soon became one of the most riveting performers on stage, jumping up, throwing his mic in the air, doing mid-air splits, and completely dominating the stage. As well as teaching him to perform, Ward made one other major change. Up to this point, Wilson had always been known either as Jack or as Sonny. Ward thought that being called Sonny smacked of Uncle Tommery, and decided that from this point on, Wilson’s stage name was going to be Jackie. Wilson was not happy with this at first, but later decided that Ward had been right – though he was still always “Jack” or “Sonny” to those who knew him. Wilson’s first recording with the group as lead singer came just after he turned nineteen, when he went into the studio with them to cut “You Can’t Keep a Good Man Down” for King Records — the same label that had turned him down when Johnny Otis had put him forward: [Excerpt: Billy Ward and the Dominoes, “You Can’t Keep a Good Man Down”] Four months later, they went back into the studio to cut eleven songs in a single day — a mammoth session which really allowed Wilson to show off his vocal versatility. From that session, their version of “Rags to Riches”, which had been a massive hit for Tony Bennett earlier in the year, went to number two on the R&B chart, though it didn’t dent the pop chart: [Excerpt: Billy Ward and the Dominoes, “Rags to Riches”] But after this, the Dominoes started to have less success in the charts — their records weren’t selling as well as they had been when Clyde McPhatter was the group’s lead singer, and in 1954 they had no hits at all. But in some ways that didn’t really matter — the group weren’t just looking to have success as recording artists, but as live performers, and they got a two-year residency in Las Vegas, supporting Louis Prima and Keely Smith. The group were getting five thousand dollars a week — a massive amount of money in those days — though most of that went to Ward, and Wilson was on a salary of only ninety dollars a week. It was while he was performing in Las Vegas that Wilson first came to the notice of someone who would later become a good friend — Elvis Presley. In 1956 Elvis made his own first trip to perform in Vegas, although he was far, far less successful there than he would be thirteen years later. While he was there, he watched with amazement as Jackie Wilson performed Elvis’ own hit “Don’t Be Cruel” much better than Elvis did himself — and in the famous Million Dollar Quartet tapes, you can hear Elvis raving about Wilson to Johnny Cash, Carl Perkins, and Jerry Lee Lewis: [Excerpt: Elvis talking about Jackie Wilson] It’s quite funny listening to those recordings, as the others keep trying to drag Elvis on to other topics of conversation, and Elvis keeps insisting on telling them just how good this singer with Billy Ward and the Dominoes, whose name he hadn’t caught, was. But Vegas wasn’t a good fit for Wilson. He chafed at the discipline of the Dominoes, and at staying in one place all the time. After a couple of years of disappointing record sales, the Dominoes switched labels to Decca, and for the first time Jackie Wilson hit the pop charts as a lead singer, when “St. Therese of the Roses” made number thirteen on the pop charts and number twenty-seven on the hot one hundred: [Excerpt: Billy Ward and the Dominoes, “St. Therese of the Roses”] Incidentally, over in the UK, where American chart records were often covered for the domestic market by British acts, that was recorded by Malcolm Vaughan, a pop tenor who wanted to be England’s answer to Dean Martin: [Excerpt: Malcolm Vaughan, “St. Therese of the Roses”] That version actually became a massive hit over here, reaching number three, after being banned by the BBC. Yes, you heard that right. That song was banned, because it was “contrary both to Roman Catholic doctrine and to Protestant sentiment”. The ban caused enough controversy that the record sold half a million copies. Vaughan would later go on to have a minor hit with a cover version of another Jackie Wilson record, “To Be Loved”. In 1957, Jackie decided to leave Billy Ward and the Dominoes. It had become apparent that Ward had no bigger ambitions than to keep playing Las Vegas forever, and keep making vast amounts of money without having to travel or work especially hard. Jackie Wilson wanted something more, and he went back to Detroit. At first he was going to join a vocal group that had been performing for a few years, the Four Aims, which featured his cousin Levi Stubbs and another distant relative, Lawrence Payton. Unfortunately, they found that Jackie’s voice didn’t blend well with the group — he sounded, according to Wilson’s first wife Freda, too similar to Stubbs, though I don’t hear that much of a vocal resemblance myself. Either way, the attempt to work together quickly fizzled out, and the Four Tops, as they became, had to find their own success without Jackie Wilson in the group. Around this time, Wilson also became obsessed with the singer Mario Lanza. Lanza was an Italian-American pop singer who sang in a pseudo-operatic style, rather than in the more casual crooning style of contemporaries like Frank Sinatra and Tony Bennett, and Wilson was a huge fan of Lanza’s 1951 film The Great Caruso, in which he played the opera singer Enrico Caruso: [Excerpt: Mario Lanza, “The Loveliest Night of the Year”] Wilson studied Lanza’s performances, and he tried to emulate Lanza’s diction and projection. But at the same time, he was, at heart, an R&B performer, and he also knew that as a black singer in Detroit in the early fifties, R&B was what he needed to do to make money. And making money was what Wilson needed to do more than anything else, and so he got an audition at the Flame Bar, which was owned and run by a local mobster, Al Green. Green was a big name in the local music business — he managed Johnnie Ray, one of the biggest names in white pop music at the time, and also LaVern Baker, who had had a string of R&B hits. Wilson got the audition through his friend Roquel Davis, who went by the name Billy Davis, who was Lawrence Payton’s cousin and had performed with him in an early lineup of the Four Aims. Davis had also written songs for the Four Aims, but more importantly for this purpose, his girlfriend, Gwen Gordy, worked with her sister Anna at the Flame Bar. Through these connections, Wilson got himself a regular spot at the Flame — and he also got to meet Gwen and Anna’s little brother Berry. Berry Gordy Jr was someone who would go on to be one of the most important people in the history of twentieth century music — someone without whom none of the rest of this story would happen. He was as important to the music of the sixties as Sam Phillips was to the fifties, if not more important. Gordy was born, the seventh of eight children, to a poor family in Detroit. As a child, he was taught some of the rudiments of the piano by an uncle, who tried to get him to learn to play in the proper manner — learning scales and arpeggios, and how to read music. But young Berry was easily bored, and soon figured out that if you play the first three notes of an arpeggio together, you can get a simple triad chord. A diversion here, just for those of you who don’t know what I’m talking about — an arpeggio is a musical term that literally means “like a harp”, and it’s used for a type of scale where you pick out the individual notes of a chord. You know the sound, even if you don’t know the term. So when you arpeggiate a C major chord, you play the notes C, E, and G, sometimes in multiple octaves: [Demonstrates on guitar] When you play those notes together, that’s a C major chord: [Demonstrates on guitar] Once young Berry Gordy Jr figured out how to play the chords C, F, and G, he was able to start playing boogie-woogie piano by ear. His favourite boogie record was “Hazel Scott’s Boogie Woogie”: [Excerpt: Hazel Scott, “Hazel Scott’s Boogie Woogie”] From an early age, he also became a fan of a particular type of vocal group performance, especially when the singers were singing touching songs about loneliness. He loved “Paper Doll” by the Mills Brothers: [Excerpt: The Mills Brothers, “Paper Doll”] and “We Three” by the Ink Spots: [Excerpt: The Ink Spots, “We Three”] But in his early years, Gordy was unsure whether he wanted to become a musician, or if instead he wanted to become a boxer like his hero Joe Louis — and in this way his career was paralleling that of Jackie Wilson, though he didn’t know Wilson at the time. He actually had a reasonable amount of success as a boxer, up until a point in 1950 where he saw two posters next to each other. One of them, on top, was advertising a battle of the bands between Stan Kenton and Duke Ellington, while the other was advertising a fight. He noticed two things about the posters. The first was that the bandleaders could work every night and make money, while he knew that boxers would go weeks or months between fights. And the second was that the bandleaders “were about fifty and looked twenty-three”, while the boxers “were about twenty-three and looked fifty”. He knew what he was going to do, and it wasn’t boxing. His attempts at a music career were soon put on the back-burner when he was drafted to fight in the Korean War. After he got out of the military, he had a variety of short-term jobs, but he was regarded by his family more or less as a bum — he never held down a steady job and he was a dreamer who saw himself as becoming a successful songwriter and a millionaire, but had never quite managed to make anything of his dreams. That was, at least, until he met Billy Davis, who at the time was a struggling songwriter like him, but one who had had slightly more success. Davis had managed to persuade Chess Records to sign up the Four Tops, as they were now called, and release a single with Davis credited as the songwriter: [Excerpt: The Four Tops, “Kiss Me Baby”] I say Davis was credited as the songwriter, because that song bears more than a little resemblance to the Ray Charles song from a few years earlier, “Kissa Me Baby”: [Excerpt: Ray Charles, “Kissa Me Baby”] But Chess hadn’t really been interested in the Four Tops themselves — they’d instead been interested in Billy Davis as a songwriter, and they quickly used songs he’d written for the Four Tops, and cut them instead with the Moonglows: [Excerpt: The Moonglows, “See Saw”] and the Flamingos: [Excerpt: The Flamingos, “A Kiss From Your Lips”] Neither of those had been a big hit, but the result was that Billy Davis was, in Gordy’s eyes at least, someone with a track record and connections. The two men hit it off musically as well as personally, and they decided that they’d start to collaborate on songs, along with Gordy’s sister Gwen, who was dating Davis. Anything any of them wrote on their own would also get credited to them as a group, and they’d pool whatever they got. And they were going to write songs for Jackie Wilson. Davis tried to get Wilson signed to Chess Records, but they weren’t interested in Wilson’s sound — they wanted a harder blues sound, rather than Wilson’s more soulful sound. But then Al Green took on Wilson’s management, and managed to persuade Bob Thiele at Decca Records, who had just signed Buddy Holly and the Crickets, to sign Wilson — not so much for Wilson’s own talent, though Thiele was impressed by him, but because Green promised that he could also sign LaVern Baker when her contract with Atlantic expired. As it turned out, though, Thiele would never get to sign Baker, as the day before Wilson’s contract was meant to be signed, Al Green died suddenly. More by chutzpah than anything else, Nat Tarnopol, an office boy who had been employed by Green, managed to take over Wilson’s management, just by saying that he was in charge now. He got the contracts signed, and got Wilson signed to Brunswick, the Decca subsidiary that put out rock and roll records. Over the next few years Tarnopol would manage to get himself made a co-owner of Brunswick, by using the leverage he got as Wilson’s manager. The first record Wilson put out as a solo artist was a song that Billy Davis had originally come up with when he was sixteen, inspired by a Louis Jordan song titled “Reet, Petite, and Gone”: [Excerpt: Louis Jordan, “Reet, Petite, and Gone”] Davis and the Gordys reworked his original idea into a new song called “Reet Petite”, which became Wilson’s first solo single since leaving the Dominoes. When Wilson took the song to Dick Jacobs, the arranger assigned to the session, Jacobs was impressed with the song, but became worried — he sat down with Wilson to work out what key to record the song in, and Wilson kept telling him to take it higher, and higher, and higher. Wilson couldn’t demonstrate what he meant during the preparations for the session, as he had laryngitis, but he kept insisting that he should sing it a full octave higher than Jacobs initially suggested. Jacobs went to Bob Thiele, and Thiele said it didn’t really matter, they’d only signed Wilson in order to get LaVern Baker, and just to do what he wanted. Jacobs hired some of the best session players in New York, including Panama Francis on drums and Sam “the Man” Taylor on saxophone, reasoning that if he had the best players around then the record wouldn’t end up too bad, whatever the singer sounded like. I’ll now quote some of Jacobs’ description of the session itself: “I got him behind the microphone and said a silent prayer that this aerial key he’d picked to sing in would be okay, and that this guy was a reasonable approximation of a singer. “Jackie Wilson opened his mouth and out poured what sounded like honey on moonbeams, and it was like the whole room shifted on some weird axis. The musicians, these meat and potatoes pros, stared at each other slack-jawed and goggle-eyed in disbelief; it was as if the purpose of their musical training and woodshedding and lickspitting had been to guide them into this big studio in the Pythian Temple to experience these pure shivering moments of magic. Bob Thiele and I looked at each other and just started laughing, half out of relief and half out of wonder. I never thought crow could taste so sweet.” [Excerpt: Jackie Wilson, “Reet Petite”] The record wasn’t a massive hit in the US — it only went to number sixty-two on the pop charts — but it was a much bigger hit in the UK, reaching number six, and over here it became a much-loved classic, so much so that it went to number one for four weeks when it was reissued in 1986. At one show, where he was Dinah Washington’s support act, he rolled his “r” on the title of the song, like he did on the record, and his two front dentures went flying off. He never sang the song live again. “Reet Petite” was the start of a run of songs that Davis and the Gordys wrote for Wilson, most of them big hits and several of them classics. Most notably, there was Wilson’s second solo single, “To Be Loved”. That song was written by Berry Gordy and Davis, after Gordy found out his wife was divorcing him. Gordy went round to his sister Gwen’s house, where Davis also was, and started playing the piano, after Gwen reassured him that even though his wife had left him, he still had the love of his children and his siblings. The result was a gorgeous ballad that went to number seven on the R&B charts and number twenty-two on the pop charts: [Excerpt: Jackie Wilson, “To Be Loved”] They also wrote what became Wilson’s biggest early it, “Lonely Teardrops”, which went to number one on the R&B charts: [Excerpt: Jackie Wilson, “Lonely Teardrops”] That had originally been written as a ballad, but was reworked into a more danceable song in the studio. Berry Gordy and Davis hated it when they first heard the finished record, but grew to appreciate it as it became a hit. However, from that point on, they started to take more interest in the production side of Wilson’s recordings, and they developed a routine where Davis and Gordy would rehearse Wilson, with Gordy on the piano, and they’d teach him the song and record a demo, which Jacobs would then use to write the arrangements — Dick Jacobs wasn’t the only arranger on Wilson’s early records, but they soon learned that he was the one who could best capture the sound they wanted. The three men would then supervise in the studio. (Gwen Gordy is also credited as a co-writer on several of the records, but her contributions tend to be played down by the others, and she doesn’t appear to have been involved in the production side. How much of that is her not contributing as much, and how much is just misogyny in how the story is told, is hard to say.) But eventually, they fell out with Nat Tarnopol, after they figured out that Tarnopol was putting songs to which he owned the copyright on the B-sides of all Wilson’s records, so he could get royalties from the sales. Gordy and Davis insisted that they should get to write the songs on both sides of the singles, so that they could get a fair share of the money — especially as they were effectively producing the sessions, without either a credit or royalties. Tarnopol disagreed — as far as he was concerned, Jackie Wilson could be a star with anyone writing his material, and he didn’t need these songwriters. Their days as Jackie Wilson’s hit factory were over. Davis and Gwen Gordy went off to found their own record label, along with Gwen and Berry’s sister Anna. Anna Records, as it was called, didn’t have the most propitious start, with its first single being a Davis and Gwen Gordy song “Hope and Pray”, performed by the Voice Masters: [Excerpt: The Voice Masters, “Hope and Pray”] But it would later put out some much more influential records. Berry, meanwhile, decided to groom another young artist for stardom — he saw a lot of possibilities in a young man called William Robinson, who everyone referred to as Smokey, and his group the Miracles. We’ll pick up on the Gordys and their business ventures in a few months’ time. Jackie Wilson continued having hits for several years, although his career dipped in the early sixties with the British Invasion. He then had a revival in 1967, when he recorded what would end up being his biggest hit, “Higher and Higher”: [Excerpt: Jackie Wilson, “Higher and Higher”] Wilson continued having occasional hits through to 1970, and remained a popular live artist for years afterwards, but then in 1975, in the middle of performing “Lonely Teardrops”, right after singing the line “my heart is crying”, he clutched his chest and collapsed. At first people thought it was part of the act, but he didn’t get back up. Cornell Gunter of the Coasters gave him mouth to mouth, and possibly saved his life, but some would question whether that was, in retrospect, a bad idea — Wilson was in a coma from which he would never fully recover. For the next eight and a half years, Wilson was institutionalised. There are some people who claim that he gained a little bit of awareness during that time, but by most accounts he was in a persistent vegetative state. At first, the music business rallied round and helped pay for his treatment — there are some reports that Jackie’s old friend Elvis Presley anonymously donated a lot of the money for his medical bills, though these obviously can’t be verified. The Detroit Spinners held a benefit concert for him, and donated $5000 of their own money. Al Green (the singer, not Wilson’s ex-manager) performed at the concert and gave ten thousand dollars, Stevie Wonder gave five thousand, Gladys Knight gave two thousand five hundred, Michael Jackson ten thousand, Richard Pryor twelve hundred. James Brown sent a one thousand dollar cheque, which bounced, but he coughed up the actual money when Jackie’s common-law wife said she was going to tell Jet magazine about the bouncing cheque. Nat Tarnopol and Brunswick Records, on the other hand, gave nothing. In fact, they did worse than nothing — they lied to Blue Cross/Blue Shield, claiming that Wilson hadn’t had any earnings from them in the year prior to his collapse, when he’d been in the studio and was owed regular union rates for recording sessions. If they’d told the truth, his medical bills would have been covered by the insurance, but they weren’t. There are many hypotheses as to why Wilson collapsed on stage that day, including that he used to drink salt water before going on stage to make himself sweat, and that this caused him to have a heart attack due to induced hypertension. But several people close to Wilson believed that his collapse was somehow caused by Nat Tarnopol having him poisoned. Wilson had been due to testify against Tarnopol in front of a grand jury ten days after his collapse, and Tarnopol was very involved with the Mafia — at one point he’d tried to have Carl Davis, who produced “Higher and Higher” killed, and it was only Davis’ friendship with another mobster with ties to Brunswick, Tommy Vastola, that saved him. Johnny Roberts, Wilson’s manager in the seventies and another mobster, actually faked his own death in the eighties and had a funeral, and then reappeared once Tarnopol himself died in 1987, while some of those close to Wilson think it’s no coincidence that Cornell Gunter, who had been there when Wilson collapsed and had always thought there was something strange about it, was murdered himself in 1990, in Las Vegas, by an unknown gunman — though if that murder did have anything to do with Wilson’s collapse, it can’t have been Tarnopol himself who ordered that murder, of course. Jackie Wilson finally died of pneumonia on January 21, 1984, after having been hospitalised since September 29, 1975. He was buried in an unmarked grave, but three years later funds were raised for a headstone, which reads “no more lonely teardrops”.

  Episode sixty-four of A History of Rock Music in Five Hundred Songs looks at "Reet Petite" by Jackie Wilson, and features talent contests with too much talent, the prehistory of Motown, a song banned by the BBC, and a possible Mafia hit. 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 "Get a Job" by the Silhouettes. ----more----  Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I used three main books to put together the narrative for this one. Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. And Jackie Wilson: Lonely Teardrops by Tony Douglas is the closest thing out there to a definitive biography. There are dozens of compilations of Wilson's fifties material, as it's in the public domain, but for around the same price as those you can get this three-CD set which also has his later hits on, so that's probably the place to start when investigating Wilson's music. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to have a look at one of the most important people in the history of popular music, and someone we'll be seeing a lot more of as the series goes on. There are very few people in the world who can be said to have created an entire genre of music, and even fewer who were primarily record company owners rather than musicians, but Berry Gordy Jr was one of them. Gordy didn't start out, though, as a record executive. When he first got into the music industry, it was as a songwriter, and today we're going to look at his early songwriting career. But we're also going to look at a performer who was massively important in his own right, and who was one of the most exciting performers ever to take to the stage -- someone who inspired Elvis, Michael Jackson, and James Brown, and who provides one of the key links between fifties R&B and sixties soul: [Excerpt: Jackie Wilson, "Reet Petite"] I'm afraid that this episode is another case where I have to point you to the disclaimer I did in the early weeks of the show. Jackie Wilson was an admirable musician, but he was in no way an admirable human being, particularly in his treatment of women – he's been credibly accused of at least one sexual assault, and he fathered many children by many different women, who he abandoned, and was known for having a violent temper. As always, this podcast is not about his reprehensible acts, but about the music, but again, it should not be taken as an endorsement of him as a person when I talk about his artistic talent. Wilson started out as a boxer in his teens, but he quickly decided to move into singing instead. He would regularly perform at talent contests around Detroit, and he was part of a loose association of musicians and singers including Wilson's cousin Levi Stubbs, the Royals, who would later become Hank Ballard and the Midnighters, and the blues singer Little Willie John. They would all perform on the same talent shows and would agree among themselves who was going to win beforehand – Wilson would tell Stubbs "you win this week, I'll win next week". On one occasion, Johnny Otis happened to be in the audience, when the Royals, Little Willie John, and Wilson were all on the same bill, and on that particular show Wilson came third. Otis was working as a talent scout for King Records at the time, and tried to get all three acts signed to the label, but for reasons that remain unclear, King decided they only wanted to sign the Royals (though they would sign Little Willie John a couple of years later). As a result, a song that Otis had written for Wilson was recorded instead by the Royals: [The Royals, "Every Beat of My Heart"] Wilson kept performing at the amateur nights for a couple of years, until at the age of seventeen he was signed to Dee Gee Records, a small label co-owned by the jazz trumpet player Dizzy Gillespie. There he cut two singles, under the name Sonny Wilson. Wilson's favourite song to sing in talent contests was "Danny Boy", which would remain in his setlists until late in his life, and he would use that song as a way to show off his vocal virtuosity, ornamenting it to the point that the melody would become almost unrecognisable, and so that was, of course, one of the two singles: [Excerpt: Sonny Wilson, "Danny Boy"] Neither single was particularly successful, but Wilson continued performing in nightclubs around Detroit and built up something of a local following. But in 1953 he got a big break, when he auditioned for Billy Ward and his Dominoes. We've talked about the Dominoes before, back in the episode on "Money Honey", but as a bit of a recap, they were the biggest black vocal group of the early fifties, and they were led by Billy Ward, a vocal coach who was not their lead singer. The lead singer in the early fifties was Clyde McPhatter, but McPhatter was getting restless. There are several different stories about how Wilson came to be picked for Ward's group, but one that sticks out in my mind is one that Ward used to tell, which is that one reason Wilson was picked for the group is that his mother begged Ward, saying that she was scared for the life of her son, as he was getting into trouble on the streets. Certainly, she had every reason to be worried for him – Wilson had recently been stabbed in the chest by a sex worker. But Ward noted that Wilson was a diamond in the rough, and could have a great deal of success with the right amount of polishing. He decided to get Wilson into the group as a replacement for McPhatter, though McPhatter and Wilson were in the group together for a while, as McPhatter served out his notice with the group. Over the next few weeks, Wilson studied what McPhatter was doing, until he was able to take McPhatter's place. Ward taught him breath control, and became something of a father figure, giving him some discipline for the first time in his life. McPhatter's were very big shoes to fill, but Wilson soon won the audiences over, both with his vocals and his dancing. While Wilson was not regarded as a good dancer by most of the people who knew him – he couldn't dance with a partner at all – he had a unique way of moving all his own, which he had learned in the boxing ring, where he'd learned to slide, sidestep, and duck away from other fighters, and to come at them from unexpected angles. He soon became one of the most riveting performers on stage, jumping up, throwing his mic in the air, doing mid-air splits, and completely dominating the stage. As well as teaching him to perform, Ward made one other major change. Up to this point, Wilson had always been known either as Jack or as Sonny. Ward thought that being called Sonny smacked of Uncle Tommery, and decided that from this point on, Wilson's stage name was going to be Jackie. Wilson was not happy with this at first, but later decided that Ward had been right – though he was still always "Jack" or "Sonny" to those who knew him. Wilson's first recording with the group as lead singer came just after he turned nineteen, when he went into the studio with them to cut "You Can't Keep a Good Man Down" for King Records -- the same label that had turned him down when Johnny Otis had put him forward: [Excerpt: Billy Ward and the Dominoes, "You Can't Keep a Good Man Down"] Four months later, they went back into the studio to cut eleven songs in a single day -- a mammoth session which really allowed Wilson to show off his vocal versatility. From that session, their version of "Rags to Riches", which had been a massive hit for Tony Bennett earlier in the year, went to number two on the R&B chart, though it didn't dent the pop chart: [Excerpt: Billy Ward and the Dominoes, "Rags to Riches"] But after this, the Dominoes started to have less success in the charts -- their records weren't selling as well as they had been when Clyde McPhatter was the group's lead singer, and in 1954 they had no hits at all. But in some ways that didn't really matter -- the group weren't just looking to have success as recording artists, but as live performers, and they got a two-year residency in Las Vegas, supporting Louis Prima and Keely Smith. The group were getting five thousand dollars a week -- a massive amount of money in those days -- though most of that went to Ward, and Wilson was on a salary of only ninety dollars a week. It was while he was performing in Las Vegas that Wilson first came to the notice of someone who would later become a good friend -- Elvis Presley. In 1956 Elvis made his own first trip to perform in Vegas, although he was far, far less successful there than he would be thirteen years later. While he was there, he watched with amazement as Jackie Wilson performed Elvis' own hit "Don't Be Cruel" much better than Elvis did himself -- and in the famous Million Dollar Quartet tapes, you can hear Elvis raving about Wilson to Johnny Cash, Carl Perkins, and Jerry Lee Lewis: [Excerpt: Elvis talking about Jackie Wilson] It's quite funny listening to those recordings, as the others keep trying to drag Elvis on to other topics of conversation, and Elvis keeps insisting on telling them just how good this singer with Billy Ward and the Dominoes, whose name he hadn't caught, was. But Vegas wasn't a good fit for Wilson. He chafed at the discipline of the Dominoes, and at staying in one place all the time. After a couple of years of disappointing record sales, the Dominoes switched labels to Decca, and for the first time Jackie Wilson hit the pop charts as a lead singer, when "St. Therese of the Roses" made number thirteen on the pop charts and number twenty-seven on the hot one hundred: [Excerpt: Billy Ward and the Dominoes, "St. Therese of the Roses"] Incidentally, over in the UK, where American chart records were often covered for the domestic market by British acts, that was recorded by Malcolm Vaughan, a pop tenor who wanted to be England's answer to Dean Martin: [Excerpt: Malcolm Vaughan, "St. Therese of the Roses"] That version actually became a massive hit over here, reaching number three, after being banned by the BBC. Yes, you heard that right. That song was banned, because it was "contrary both to Roman Catholic doctrine and to Protestant sentiment". The ban caused enough controversy that the record sold half a million copies. Vaughan would later go on to have a minor hit with a cover version of another Jackie Wilson record, "To Be Loved". In 1957, Jackie decided to leave Billy Ward and the Dominoes. It had become apparent that Ward had no bigger ambitions than to keep playing Las Vegas forever, and keep making vast amounts of money without having to travel or work especially hard. Jackie Wilson wanted something more, and he went back to Detroit. At first he was going to join a vocal group that had been performing for a few years, the Four Aims, which featured his cousin Levi Stubbs and another distant relative, Lawrence Payton. Unfortunately, they found that Jackie's voice didn't blend well with the group -- he sounded, according to Wilson's first wife Freda, too similar to Stubbs, though I don't hear that much of a vocal resemblance myself. Either way, the attempt to work together quickly fizzled out, and the Four Tops, as they became, had to find their own success without Jackie Wilson in the group. Around this time, Wilson also became obsessed with the singer Mario Lanza. Lanza was an Italian-American pop singer who sang in a pseudo-operatic style, rather than in the more casual crooning style of contemporaries like Frank Sinatra and Tony Bennett, and Wilson was a huge fan of Lanza's 1951 film The Great Caruso, in which he played the opera singer Enrico Caruso: [Excerpt: Mario Lanza, "The Loveliest Night of the Year"] Wilson studied Lanza's performances, and he tried to emulate Lanza's diction and projection. But at the same time, he was, at heart, an R&B performer, and he also knew that as a black singer in Detroit in the early fifties, R&B was what he needed to do to make money. And making money was what Wilson needed to do more than anything else, and so he got an audition at the Flame Bar, which was owned and run by a local mobster, Al Green. Green was a big name in the local music business -- he managed Johnnie Ray, one of the biggest names in white pop music at the time, and also LaVern Baker, who had had a string of R&B hits. Wilson got the audition through his friend Roquel Davis, who went by the name Billy Davis, who was Lawrence Payton's cousin and had performed with him in an early lineup of the Four Aims. Davis had also written songs for the Four Aims, but more importantly for this purpose, his girlfriend, Gwen Gordy, worked with her sister Anna at the Flame Bar. Through these connections, Wilson got himself a regular spot at the Flame -- and he also got to meet Gwen and Anna's little brother Berry. Berry Gordy Jr was someone who would go on to be one of the most important people in the history of twentieth century music -- someone without whom none of the rest of this story would happen. He was as important to the music of the sixties as Sam Phillips was to the fifties, if not more important. Gordy was born, the seventh of eight children, to a poor family in Detroit. As a child, he was taught some of the rudiments of the piano by an uncle, who tried to get him to learn to play in the proper manner -- learning scales and arpeggios, and how to read music. But young Berry was easily bored, and soon figured out that if you play the first three notes of an arpeggio together, you can get a simple triad chord. A diversion here, just for those of you who don't know what I'm talking about -- an arpeggio is a musical term that literally means "like a harp", and it's used for a type of scale where you pick out the individual notes of a chord. You know the sound, even if you don't know the term. So when you arpeggiate a C major chord, you play the notes C, E, and G, sometimes in multiple octaves: [Demonstrates on guitar] When you play those notes together, that's a C major chord: [Demonstrates on guitar] Once young Berry Gordy Jr figured out how to play the chords C, F, and G, he was able to start playing boogie-woogie piano by ear. His favourite boogie record was "Hazel Scott's Boogie Woogie": [Excerpt: Hazel Scott, "Hazel Scott's Boogie Woogie"] From an early age, he also became a fan of a particular type of vocal group performance, especially when the singers were singing touching songs about loneliness. He loved "Paper Doll" by the Mills Brothers: [Excerpt: The Mills Brothers, "Paper Doll"] and "We Three" by the Ink Spots: [Excerpt: The Ink Spots, "We Three"] But in his early years, Gordy was unsure whether he wanted to become a musician, or if instead he wanted to become a boxer like his hero Joe Louis -- and in this way his career was paralleling that of Jackie Wilson, though he didn't know Wilson at the time. He actually had a reasonable amount of success as a boxer, up until a point in 1950 where he saw two posters next to each other. One of them, on top, was advertising a battle of the bands between Stan Kenton and Duke Ellington, while the other was advertising a fight. He noticed two things about the posters. The first was that the bandleaders could work every night and make money, while he knew that boxers would go weeks or months between fights. And the second was that the bandleaders "were about fifty and looked twenty-three", while the boxers "were about twenty-three and looked fifty". He knew what he was going to do, and it wasn't boxing. His attempts at a music career were soon put on the back-burner when he was drafted to fight in the Korean War. After he got out of the military, he had a variety of short-term jobs, but he was regarded by his family more or less as a bum -- he never held down a steady job and he was a dreamer who saw himself as becoming a successful songwriter and a millionaire, but had never quite managed to make anything of his dreams. That was, at least, until he met Billy Davis, who at the time was a struggling songwriter like him, but one who had had slightly more success. Davis had managed to persuade Chess Records to sign up the Four Tops, as they were now called, and release a single with Davis credited as the songwriter: [Excerpt: The Four Tops, "Kiss Me Baby"] I say Davis was credited as the songwriter, because that song bears more than a little resemblance to the Ray Charles song from a few years earlier, "Kissa Me Baby": [Excerpt: Ray Charles, "Kissa Me Baby"] But Chess hadn't really been interested in the Four Tops themselves -- they'd instead been interested in Billy Davis as a songwriter, and they quickly used songs he'd written for the Four Tops, and cut them instead with the Moonglows: [Excerpt: The Moonglows, "See Saw"] and the Flamingos: [Excerpt: The Flamingos, "A Kiss From Your Lips"] Neither of those had been a big hit, but the result was that Billy Davis was, in Gordy's eyes at least, someone with a track record and connections. The two men hit it off musically as well as personally, and they decided that they'd start to collaborate on songs, along with Gordy's sister Gwen, who was dating Davis. Anything any of them wrote on their own would also get credited to them as a group, and they'd pool whatever they got. And they were going to write songs for Jackie Wilson. Davis tried to get Wilson signed to Chess Records, but they weren't interested in Wilson's sound -- they wanted a harder blues sound, rather than Wilson's more soulful sound. But then Al Green took on Wilson's management, and managed to persuade Bob Thiele at Decca Records, who had just signed Buddy Holly and the Crickets, to sign Wilson -- not so much for Wilson's own talent, though Thiele was impressed by him, but because Green promised that he could also sign LaVern Baker when her contract with Atlantic expired. As it turned out, though, Thiele would never get to sign Baker, as the day before Wilson's contract was meant to be signed, Al Green died suddenly. More by chutzpah than anything else, Nat Tarnopol, an office boy who had been employed by Green, managed to take over Wilson's management, just by saying that he was in charge now. He got the contracts signed, and got Wilson signed to Brunswick, the Decca subsidiary that put out rock and roll records. Over the next few years Tarnopol would manage to get himself made a co-owner of Brunswick, by using the leverage he got as Wilson's manager. The first record Wilson put out as a solo artist was a song that Billy Davis had originally come up with when he was sixteen, inspired by a Louis Jordan song titled "Reet, Petite, and Gone": [Excerpt: Louis Jordan, "Reet, Petite, and Gone"] Davis and the Gordys reworked his original idea into a new song called "Reet Petite", which became Wilson's first solo single since leaving the Dominoes. When Wilson took the song to Dick Jacobs, the arranger assigned to the session, Jacobs was impressed with the song, but became worried -- he sat down with Wilson to work out what key to record the song in, and Wilson kept telling him to take it higher, and higher, and higher. Wilson couldn't demonstrate what he meant during the preparations for the session, as he had laryngitis, but he kept insisting that he should sing it a full octave higher than Jacobs initially suggested. Jacobs went to Bob Thiele, and Thiele said it didn't really matter, they'd only signed Wilson in order to get LaVern Baker, and just to do what he wanted. Jacobs hired some of the best session players in New York, including Panama Francis on drums and Sam "the Man" Taylor on saxophone, reasoning that if he had the best players around then the record wouldn't end up too bad, whatever the singer sounded like. I'll now quote some of Jacobs' description of the session itself: "I got him behind the microphone and said a silent prayer that this aerial key he'd picked to sing in would be okay, and that this guy was a reasonable approximation of a singer. "Jackie Wilson opened his mouth and out poured what sounded like honey on moonbeams, and it was like the whole room shifted on some weird axis. The musicians, these meat and potatoes pros, stared at each other slack-jawed and goggle-eyed in disbelief; it was as if the purpose of their musical training and woodshedding and lickspitting had been to guide them into this big studio in the Pythian Temple to experience these pure shivering moments of magic. Bob Thiele and I looked at each other and just started laughing, half out of relief and half out of wonder. I never thought crow could taste so sweet." [Excerpt: Jackie Wilson, "Reet Petite"] The record wasn't a massive hit in the US -- it only went to number sixty-two on the pop charts -- but it was a much bigger hit in the UK, reaching number six, and over here it became a much-loved classic, so much so that it went to number one for four weeks when it was reissued in 1986. At one show, where he was Dinah Washington's support act, he rolled his "r" on the title of the song, like he did on the record, and his two front dentures went flying off. He never sang the song live again. "Reet Petite" was the start of a run of songs that Davis and the Gordys wrote for Wilson, most of them big hits and several of them classics. Most notably, there was Wilson's second solo single, "To Be Loved". That song was written by Berry Gordy and Davis, after Gordy found out his wife was divorcing him. Gordy went round to his sister Gwen's house, where Davis also was, and started playing the piano, after Gwen reassured him that even though his wife had left him, he still had the love of his children and his siblings. The result was a gorgeous ballad that went to number seven on the R&B charts and number twenty-two on the pop charts: [Excerpt: Jackie Wilson, "To Be Loved"] They also wrote what became Wilson's biggest early it, "Lonely Teardrops", which went to number one on the R&B charts: [Excerpt: Jackie Wilson, "Lonely Teardrops"] That had originally been written as a ballad, but was reworked into a more danceable song in the studio. Berry Gordy and Davis hated it when they first heard the finished record, but grew to appreciate it as it became a hit. However, from that point on, they started to take more interest in the production side of Wilson's recordings, and they developed a routine where Davis and Gordy would rehearse Wilson, with Gordy on the piano, and they'd teach him the song and record a demo, which Jacobs would then use to write the arrangements -- Dick Jacobs wasn't the only arranger on Wilson's early records, but they soon learned that he was the one who could best capture the sound they wanted. The three men would then supervise in the studio. (Gwen Gordy is also credited as a co-writer on several of the records, but her contributions tend to be played down by the others, and she doesn't appear to have been involved in the production side. How much of that is her not contributing as much, and how much is just misogyny in how the story is told, is hard to say.) But eventually, they fell out with Nat Tarnopol, after they figured out that Tarnopol was putting songs to which he owned the copyright on the B-sides of all Wilson's records, so he could get royalties from the sales. Gordy and Davis insisted that they should get to write the songs on both sides of the singles, so that they could get a fair share of the money -- especially as they were effectively producing the sessions, without either a credit or royalties. Tarnopol disagreed -- as far as he was concerned, Jackie Wilson could be a star with anyone writing his material, and he didn't need these songwriters. Their days as Jackie Wilson's hit factory were over. Davis and Gwen Gordy went off to found their own record label, along with Gwen and Berry's sister Anna. Anna Records, as it was called, didn't have the most propitious start, with its first single being a Davis and Gwen Gordy song "Hope and Pray", performed by the Voice Masters: [Excerpt: The Voice Masters, "Hope and Pray"] But it would later put out some much more influential records. Berry, meanwhile, decided to groom another young artist for stardom -- he saw a lot of possibilities in a young man called William Robinson, who everyone referred to as Smokey, and his group the Miracles. We'll pick up on the Gordys and their business ventures in a few months' time. Jackie Wilson continued having hits for several years, although his career dipped in the early sixties with the British Invasion. He then had a revival in 1967, when he recorded what would end up being his biggest hit, "Higher and Higher": [Excerpt: Jackie Wilson, "Higher and Higher"] Wilson continued having occasional hits through to 1970, and remained a popular live artist for years afterwards, but then in 1975, in the middle of performing "Lonely Teardrops", right after singing the line "my heart is crying", he clutched his chest and collapsed. At first people thought it was part of the act, but he didn't get back up. Cornell Gunter of the Coasters gave him mouth to mouth, and possibly saved his life, but some would question whether that was, in retrospect, a bad idea -- Wilson was in a coma from which he would never fully recover. For the next eight and a half years, Wilson was institutionalised. There are some people who claim that he gained a little bit of awareness during that time, but by most accounts he was in a persistent vegetative state. At first, the music business rallied round and helped pay for his treatment -- there are some reports that Jackie's old friend Elvis Presley anonymously donated a lot of the money for his medical bills, though these obviously can't be verified. The Detroit Spinners held a benefit concert for him, and donated $5000 of their own money. Al Green (the singer, not Wilson's ex-manager) performed at the concert and gave ten thousand dollars, Stevie Wonder gave five thousand, Gladys Knight gave two thousand five hundred, Michael Jackson ten thousand, Richard Pryor twelve hundred. James Brown sent a one thousand dollar cheque, which bounced, but he coughed up the actual money when Jackie's common-law wife said she was going to tell Jet magazine about the bouncing cheque. Nat Tarnopol and Brunswick Records, on the other hand, gave nothing. In fact, they did worse than nothing -- they lied to Blue Cross/Blue Shield, claiming that Wilson hadn't had any earnings from them in the year prior to his collapse, when he'd been in the studio and was owed regular union rates for recording sessions. If they'd told the truth, his medical bills would have been covered by the insurance, but they weren't. There are many hypotheses as to why Wilson collapsed on stage that day, including that he used to drink salt water before going on stage to make himself sweat, and that this caused him to have a heart attack due to induced hypertension. But several people close to Wilson believed that his collapse was somehow caused by Nat Tarnopol having him poisoned. Wilson had been due to testify against Tarnopol in front of a grand jury ten days after his collapse, and Tarnopol was very involved with the Mafia -- at one point he'd tried to have Carl Davis, who produced "Higher and Higher" killed, and it was only Davis' friendship with another mobster with ties to Brunswick, Tommy Vastola, that saved him. Johnny Roberts, Wilson's manager in the seventies and another mobster, actually faked his own death in the eighties and had a funeral, and then reappeared once Tarnopol himself died in 1987, while some of those close to Wilson think it's no coincidence that Cornell Gunter, who had been there when Wilson collapsed and had always thought there was something strange about it, was murdered himself in 1990, in Las Vegas, by an unknown gunman -- though if that murder did have anything to do with Wilson's collapse, it can't have been Tarnopol himself who ordered that murder, of course. Jackie Wilson finally died of pneumonia on January 21, 1984, after having been hospitalised since September 29, 1975. He was buried in an unmarked grave, but three years later funds were raised for a headstone, which reads "no more lonely teardrops".

Gilbert and Frank chat with Grammy-nominated producer and songwriter Dennis Lambert ("One Tin Soldier," "Nightshift," "Ain't No Woman Like the One I've Got") who talks about working the Catskills as a boy singer, shopping songs in the Brill Building era, producing hit records for the Four Tops and the Righteous Brothers and co-creating the much-maligned Starship hit, "We Built This City." Also, Neil Diamond hawks holiday tunes, Carole King demos "One Fine Day," Gilbert "covers" Glen Campbell and Dennis becomes a superstar in the Philippines. PLUS: Freddie and the Dreamers! The artistry of Levi Stubbs! The versatility of Steve Lawrence! "Billy Jack" gets a message from God! And Dennis breaks down the construction of a Top 10 hit! Learn more about your ad choices. Visit megaphone.fm/adchoices