Podcasts about Little Milton

Mike Zito performs live on the Blues Radio International SoundStage at the 2024 Blues Music Awards in Memphis on Edition 698 of Blues Radio International, with Southern Avenue, Little Milton and Eddie Taylor.Sound by Michael Wolf.Find more at BluesRadioInternational.net

Carolyn Wonderland and Shelly King perform live at the Intrepid Artists 30th Anniversary Celebration in Charlotte, North Carolina in November 2024 on Edition 694 of Blues Radio International, with Little Milton, Brownie McGhee, Eddie C. Campbell, and Jimmy Vivino.Sound by Michael Wolf.  Image courtesy of Carolyn Wonderland and Shelley King.Find more at BluesRadioInternational.net

El mes de mayo de 1965 merecía una segunda parte de canciones que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU en ese mes de hace 60 años.Playlist; (sintonía) SOUNDS ORCHESTRAL “Cast your fate to the wind” (top 10)THE ROLLING STONES “Play with fire” (top 96)CHAD and JEREMY “What do you want with me” (top 51)GERRY and THE PACEMAKERS “It’s gonna be alright” (top 23)THE DAVE CLARK FIVE “Reelin’ and rockin’” (top 23)THE DRIFTERS “Come on over to my place” (top 60)DOBIE GRAY “(See you at the) Go Go” (top 69)THE SHANGRI-LAS “Out in the streets” (top 53)THE DIXIE CUPS “Iko Iko” (top 20)CHUBBY CHECKER “Let’s do the Freddie” (top 40)SOUPY SALES “The mouse” (top 76)JULIE ANDREWS and DICK VAN DYKE and THE PEARLIES “Super-cali-fragil-istic-expi-ali-docious” (top 66)THE NEW CHRISTY MINSTRELS “Chim chim cheree” (top 81)LITTLE MILTON “We’re gonna make it” (top 35)TONY CLARKE “The Entertainer” (top 31)ALVIN CASH and THE CRAWLERS “The Barracuda” (top 59)THE KINGSMEN “The climb” (top 65)THE OLYMPICS “Good lovin’” (top 81)DEL SHANNON “Break up” (top 95)THE IMPRESSIONS “Woman’s got soul” (top 29)Escuchar audio

Hommage à des légendes disparues en 2025Ce premier trimestre de 2025 a été tragiquement marqué par la perte de nombreuses figures influentes de la scène musicale funk, soul, et R&B. Raphael Melki et Belkacem Meziane ont soigneusement choisi 12 titres emblématiques, représentant chacun des artistes récemment disparus, afin de leur rendre hommage. Voici la sélection de morceaux diffusés dans cet épisode "hors série" :Sam Moore – Stop (1971)12 octobre 1935, 10 janvier 2025Gene Barge – Grits Ain't Groceries (de Little Milton, 1969)9 août 1926, 2 février 2025Irv Gotti – Always On Time (de Ja Rule & Ashanti, 2001)26 juin 1970, 5 février 2025 Jerry Butler – Only The Strong Survive (1969)18 décembre 1939, 20 février 2025Gwen McCrae – Let's Straighten It Out (1978)21 décembre 1943, 21 février 2025Chris Jasper – Caravan Of Love (par Isley/Jasper/Isley, 1985)30 décembre 1951, 23 février 2025Roberta Flack – Compared To What (1969)10 février 1937, 24 février 2025Angie Stone – Green Grass Vapors (2004)18 décembre 1961, 1 mars 2025Roy Ayers – Mystic Voyage (1975)10 septembre 1940, 4 mars 2025Randy Brown – We Ought To Be Doin' It (1980)xx/xx/1952, 5 mars 2025D'Wayne Wiggins – Music Is Power (2000)14 février 1961, 7 mars 2025Stedman Pearson – The Slightest Touch (de Five Star, 1987)29 juin 1964, 10 mars 2025À 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 emblématiques qui illustrent l'évolution des genres. Au-delà de la musique, le podcast propose un regard analytique sur l'industrie musicale et ses artistes.Aidez nous, en soutenant gratuitement ce podcast !Comment ? C'est très simple :1)

Prepare to be impressed by singer-guitarist Gus Glynn who gives us a stunning kitchen session. This is the free-for-all version, featuring everything from Little Milton to Sierra Leone ska.

Segunda entrega dedicada a recordar singles que llegaron a su puesto más alto en el Billboard Hot 100 de EEUU en enero de 1965. Arrancamos con una andanada de nombres de la invasión británica y seguimos con girl groups, bandas de garaje, voces del country y varias anomalías.(Foto del podcast por Gered Mankowitz; Marianne Faithfull, 1965)Playlist;(sintonía) THE WAIKIKIS “Hawaii tatoo” (top 33)THE SEARCHERS “Love potion number 9” (top 3)THE DAVE CLARK FIVE “Anyway you want it” (top 15)MARIANNE FAITHFULL “As tears go by” (top 22)THE ANIMALS “Boom boom” (top 43)MANFRED MANN “Sha la la” (top 12)THE HULLABALLOOS “I'm gonna love you too" (top 56)THE NOVAS “The Crusher” (top 88)THE YOU KNOW WHO GROUP “Roses are red my love” (top 43)DEL SHANNON “Keep Searchin' (We'll Follow The Sun)” (top 9)DICK AND DEE DEE “Thou shalt not steal” (top 13)THE SHANGRI-LAS “Give him a great big kiss” (top 18)THE DETERGENTS “Leader of the laundromat” (top 19)ROGER MILLER “Do wacka do” (top 31)GEORGE JONES “The race is on” (top 96)CHUCK BERRY “Promised land” (top 41)RONNY and THE DAYTONAS “Bucket T” (top 54)GARNET MIMMS “A Little bit of soap” (top 95)DEAN MARTIN “You’re nobody till somebody loves you” (top 21)LITTLE MILTON “Blind man” (top 86)Escuchar audio

Today's show features music performed by Little Milton and Hash Brown

Kat Riggins and Kevin Burt perform live on the Blues Radio International SoundStage at the 2024 Blues Music Awards in Memphis on Edition 656 of Blues Radio International, with music from Little Milton, Eddie Taylor and David Bromberg.Mix by Audrey Michelle.Find more at BluesRadioInternational.net/

He has been compared by some to the late great B.B. King, but if you listen closely, you might find a bit of Little Milton and Albert King flowing through his guitar as well. This week, join host Jim Ervin for a discussion with one of the Blues up and comers, D.K. Harrell. This Blues traditionalist talks about his early influences in music, and how he started talking (or actually singing) for the first time at the age of 19 months to a B.B. King CD. 2019 3rd place IBC winner, and B.B. King Symposium winner, D. K. Harrell on this edition of Time Signatures with Jim Ervin.Website: D.K. HarrellFacebook: D.K. HarrellYouTube: D.K. HarrellSpotify: D.K. Harrell_________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues SocietyFriends of Time Signatures _______Website: University of Mississippi Libraries Blues ArchiveWebsite: Killer Blues Headstone ProjectWebsite: Blues Society Radio Network

Uwe's got some hot new records, including knocking at least one long-time want off his list. James has been too busy to get his new finds lately cleaned up and ready to play, so he's dug through some old favorites from his collection. You'll hear upbeat 1960s soul and R&B dance tunes from Jimmy Cliff, Nina Simone, The Exciters, Jackie Wilson & Count Basie, Ruth Brown, Clyde McPhatter, Little Milton, Jimmy Radcliff, Charlie Rich, Etta James, and more! -Originally broadcast June 23, 2024- Willie Mitchell / That Driving BeatHarold Melvin & The Blue Notes / Get Out (and Let Me Cry)Nina Simone / Work SongThe Danleers / Baby You've Got ItThe Baby Dolls / Now That I've Lost YouChristine Quaite / In The Middle of The FloorPeggy March / If You Loved Me (Soul Coaxing-Ame Caline)R. Dean Taylor / Let's Go SomewhereBilly Butler / Burning Touch Of LoveJimmy Cliff / Give and TakeThe Exciters / You Know It Ain't RightJohnny Holiday / TormentedClarence Murray / Let's Get On With ItAl Henderson with Boyd Bennett Orchestra / She Says "Crazy"Nicoletta / 32 SeptembreMassachusettes Assembly / Run Like The DevilJohnny Moore / Walk Like a ManCurtis King / Bad HabitsEugene Church / Good NewsThe Vanguards / I Can't Use You GirlJohnny Watson / Gangster Of LoveCharlie Rich / I Can't Go OnJimmy Radcliff / (There Goes) The Forgotten ManAlice Rozier / George, BB and RoyRuth Brown with the Milestone Singers / Mama (He Treats Your Daughter Mean)Etta James / You Got ItDebbie Devole / Hey LoverJane Morgan / MaybeTom Storm and the Peps / That's The Way Love IsClyde McPhatter / In My TenementDon Covay & Goodtimers / 40 Days - 40 NightsCurtis Knight / Ain't Gonna Be No Next TimeAnita Humes & The Essex / What Did I Do?Deon Jackson / You Said You Loved MeJackie Wilson And Count Basie / UptightThe Hesitations / Soul Kind of LoveLittle Milton / Grits Ain't Groceries (All Around the World)Jackie Ross / Dynamite Lovin'Lee LaMont / I'll Take Love Hosted on Acast. See acast.com/privacy for more information.

We feature tunes by Ray Pollard, JJ Barnes, Mary Wells, Charlie Rich, Dean Parrish, Mitty Collier, a B-side by Little Milton, a garage and mod rock set with the Seeds, The Hollies, The Easybeats, and a studio group on the Bang label called Bazooka! We also threw a few more artists from our home base city of Louisville than usual in the mix in this episode. Get on your feet and move to That Driving Beat! Originally broadcast June 16, 2024 Willie Mitchell / That Driving BeatThe Emperors / KarateMartha & The Vandellas / Forget Me NotCosmo / You Gotta DanceLittle Milton / Ain't No Big Deal On YouRuby Winters / Sweetheart ThingsMary Wells / Oh Little Boy (What Did You Do to Me)Ray Pollard / WanderlustThe Spiral Starecase / I'll RunPopular Five / Little Bitty Pretty OneJ.J. Barnes / Please Let Me InThe Easybeats / Gonna Have A Good Time (Good Times)The Seeds / Can't Seem To Make You MineThe Sultans / I Know It's TrueBazooka / Boo On YouThe Trend-Els / Don't You Hear Me Calling - BabyVan Morrison / Ro Ro RoseyThe Hollies / It's YouThe Original Playboys / Now That I'm SomebodyHoney Cone / One Monkey Don't Stop No Show (Pt. 1)Coasters / Love Potion Number NineJesse James / I Know I'll Never Find Another OneWilson Pickett / Ain't No Doubt About ItCharlie Rich / I Washed My Hands In Muddy WaterFontella Bass / Leave It In The Hands Of LoveThe Vibrations / Canadian SunsetJohnny Nash / Strange FeelingO.V. Wright / Treasured MomentsDean Parrish / Tell HerThe Exciters / Tell HimBarbara Lewis / My Heart Went Do Dat DaBettye Swann / Lonely LoveSteve Alaimo / Every Day I Have To CryMitty Collier / Ain't That LoveOtis Clay / That Kind of Lovin'Dolly Parton / Busy SignalThe Pacers / Gotham City Hosted on Acast. See acast.com/privacy for more information.

**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Soul & Boogie/Rare Groove/80's & 70's Grooves Cuts From Clarence Carter, Tony Ransom, Simplicious, Scherrie Payne & Phillip Ingram, Michelle Gold, Little Milton, Lionel Richie, Klassique, Karin Jones, James King, Funk Therapy, Dennis Dean, Deniece Williams, Al Hudson & The Soul Partners & More. Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio #traxfm #rendellradio #soul #funk #70ssoul #80ssoul #60s #boogie #disco #raregrooves #soulclassics #reggae #nusoul #relaxwithrendell Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Probably for the first time ever…we make a tribute to great state of Mississippi. Known for being the birthplace of American blues and home to many talented musicians. In the line of this show, I shine lights on soul, funk, boogie and some jazz-fusion…from artist, bands, and record companies all hailing from the Magnolia State. It's all vinyl show…enjoy it! 1.Tyrone Davis - In the mood '79 2.Jerry Butler - Would you mind '80 3.Natural High - I think I'm falling in love with you ‘79 4.Teddy Edwards - Eleven twenty three '74 5.Jasmine feat. Cassandra Wilson - Dream street ‘81 6.Mose Allison - Love for sale '66 7.Little Milton - 4-59am '77 8.King Floyd - Do you feeling '73 9.King Floyd - I feel like dynamite '75 10.G.C. Cameron - If I ever lose this heaven '76 11.James Bradley - I can't enough of your love '79 12.G.C. Cameron - You're what's missing in my life ‘77 13.Dorothy Moore - Ain't that a mother's luck '76 14.Mary Wilson - Red hot '79 15.Natural High - Time is wasting '79 16.Power - Hott '82 17.Bobby Rush - Do the do '77 18.Jerry Butler feat. Heaven & Earth - Ask me what you want ‘82 19.Freedom - Stacked back '81 20.Bo Diddley - Bite you '74 21.Fern Kinney - I'm ready for your love '83 22.Denise LaSalle and Satisfaction - E.R.A. '81 23.Sho-Nuff - Don't use me up '82 24.Tyrone Davis - Burnin' up '79 25.Natural High - Reachin' out '79 26.Freedom - Get up & dance '79 27.Rufus Thomas - Funkiest man alive '73

Uwe and James bring stacks of Mod and Northern Soul 45 rpm favorites for today's 1960s all-vinyl dance party. Enjoy tunes from Nella Dodds, Little Milton, Darrell Banks, Irma Thomas, Pat Lewis, Chuck Jackson, Etta James, and hear the story of us playing a highly in-demand Northern Soul classic by Harold Melvin and the Blue Notes at a soul club night and clearing the dance floor! Originally broadcast October 29, 2023 Willie Mitchell / That Driving BeatDee Clark / Crossfire TimeJames Brown & The Famous Flames / Night TrainMarvin Gaye / Little Darling, I Need YouPatty LaBelle & the Bluebelles / You Forgot How To LoveLittle Milton / Just A Little BitAlvin Cash & The Registers / The Philly FreezeTina Britt / You're Absolutely RightThe Vibrations / My Girl SloopyMajor Lance / Too Hot To HoldDarrell Banks / Somebody (Somewhere) Needs YouJimmy Lewis / Two WomenThe Lot / Loving You Is All I DoWilmer & The Dukes / Give Me One More ChanceTimmy Shaw / Gonna Sent You Back To GeorgiaLee Rogers / You're the Cream of the CropNella Dodds / Your Love BackHarold Melvin & The Blue Notes / Get Out (and Let Me Cry)Maxine Brown / You Upset My SoulBobby Bland / Call On MeIrma Thomas / Time Is On My SideBunny & Cindy / Sure Didn't Take LongMike Williams / If This Isn't LovePat Lewis / WarningThe Olympics / FireworksAnna King / The Big ChangeChuck Jackson / Any Day NowMaxine Brown / One In A MillionBetty Everett / I Can't Hear YouThe Preparations / Get-E-Up (The Horse)Bobby Freeman / C'mon and SwimMadeline Bell / Picture Me GoneThe Diplomats / There's Still A TomorrowThe Cookies / Don't Say Nothin' Bad (About My Baby)Lee Dorsey / Can You Hear MeJim Benson / Some Other FaceEtta James / Mellow FellowGarnett Mimms / Prove It To Me Hosted on Acast. See acast.com/privacy for more information.

Sammy & Frankie cook up a fine selection of 45s this week - all related to food and drink. So tuck in and enjoy tracks from Julien Covey, The Supremes, Little Milton and Jack Costanzo.Tune into new broadcasts of Blow-Up, Sunday from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.For more info visit: https://thefaceradio.com/blow-up///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Throughout history, many of the music industry's great artists are from right here in St. Louis. Fontella Bass is certainly up there with the legends. She was a pianist and songwriter, in addition to her vocal talents. And she helped write a famous song, that she had to fight to try and have songwriting credit on. Just press play to hear the whole story. ------ Click on search links to see if there are episodes with related content: Katie Moon, Women's History, Black History, People of Note, Music, Arts, Entertainment, and Culture, Podcast Transcript: I am not ashamed to say that I love Motown music. Even as a young kid growing up in Ohio in the 80s I loved listening to the oldies station on the radio. Marvin Gaye, the Temptations, Aretha…I loved them all. But hands down, my all time favorite song was Rescue Me by Fontella Bass. Imagine my delight years later when I moved to St. Louis and discovered that this was her hometown. ——— If you turned on the radio in late 1965, chances are you would hear Fontella's soulful voice singing that amazing song. But it had taken a tardy lead singer to finally convince her to step out from behind the piano and take her place on the center stage. ——— At the request of her grandmother, Fontella began playing the piano at funerals at the age of 5, and went on tour with her mother, gospel singer Martha Bass, at the age of 9. Born and raised in St. Louis, Fontella attended Soldan High School while already earning money as a musician. She became the piano player for Little Milton, a well known blues singer, and one evening, when he was late for a show, she covered for him, and her singing career began. Soon she was a regularly featured singer, and later became a highlighted act with the Oliver Sain Soul Review. ——— Fontella began recording solo records in 1962, but the songs just didn't gain much of an audience. It wasn't until she released a duet with Bobby McClure in early 1965 that her career really began to take off. A few months later, after an informal jam session and only 3 takes, she unknowingly recorded what would become her best-selling record. Released on September 4, 1965, Rescue Me climbed to number 1 on the R&B charts by October 30, and made it to number 9 on the Hot 100. ——— Unfortunately, Fontella wasn't included as one of the songwriters on the album, and spent years fighting for both recognition and royalty rights for the song she co-wrote. She continued to record through the 1980s, but the high point of her career remains the unforgettable song that will forever be tied to her name. ——— Here's History is a joint production of K-D-H-X and the Missouri Historical Society. I'm Katie Moon, and this is eighty-eight-one, K-D-H-X, St. Louis.  ———

In tonight's show Chris plays tunes by artists such as the Four Tops, Little Milton and Clarence Carter. This weeks Listener's Top 7 is from Phil Blacknell.Tune into new broadcasts of Dab Of Soul every Tuesday from Midday - 2 PM EST / 5 - 7 PM GMT.For more info visit: https://thefaceradio.com/dab-of-soul///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.

Thick as a Brick (1972) es el quinto álbum de estudio de la banda británica de rock progresivo Jethro Tull. El álbum se caracteriza por estar compuesto por una única canción, dividida en dos partes (correspondientes a cada una de las caras de los discos de vinilo de la época). La letra, supuestamente, se basa en un poema escrito por un ficticio niño precoz llamado Gerald Bostock, alias Little Milton. Las cubiertas y el interior del disco de vinilo fueron diseñados imitando un diario de un pequeño pueblo, el St. Cleve Chronicle & Linwell Advertiser, en el cual se incluye la letra de la canción y diversas noticias y pasatiempos típicos de un diario.

Darrayl Keith Simmons love for music started when he attended Rowan Jr. High school in his hometown of Jakson, Mississippi. One day he tried out for the football team and got hit very hard, immediately after he Joined the band .He mastered the trumpet and became a well rspected trumpet player, Participating in various performances and events. This led him to create his own group with his best friend Willie C. Dishmon (Spark of Love) Rip) During his senior year he began to tour with his brother's band. Funk and R&B called (Sho Nuff) he played trumpet on various gigs.  He then became a Road Manager. In 1993 while attending a local music fest Darrayl met  sound enggineer, Johnnie Mcgee who asked if he would be interested in working with him as a stage tech and that was the beginning of Darrayl's career in production management. Which led him to establish "OnMy Stage Productions. That allowed him to work with legends like . BB KIng, Johnnie Taylor, Tyrone Davis, Little Milton, Bobby Rush, Bobby Bland, Willie Clayton, The Jackson music award association, and many more.   He worked as a production tech with the Jackson music Awards association many years in 2010 He became a production Manager.ad serve on the JMMA Executive committee.  In 2017 He created a face book page called SoulMusicSession. Soul Music Session's mission is to helppromote music venues and showcase all soul music artist through Live recored performances and interviews as well as music videos . In 2016 Darrayl was honored for his role as Production Manager for the (JMMA) in 2020 Darrayl received the prestigious King Mose award. From the Jackson Music Awards Association. for his support of Local, national and international artist. Currently he is a division director for the state of Mississippi. Darrayl is married to Elisa J. Simmons he has 5 children 7 grandchilden and 2 great grandchildren.

1. George Thorogood And The Destroyers 2. Freddie King 3. Big Daddy Wilson 4. Canned Heat 5. Fleetwood Mac 6. Rolling Stones 7. Snowy White 8. Howlin' Wolf 9. Big Mama Thornton 10. Otis Rush 11. Little Milton 12. John Mayall And The Bluesbreakers 13. Foghat 14. Tony McPhee 15. Jimmy Reed 16. Larry McCray

Coming from the home of the blues, Memphis. Beale Street CaravanArchived recordings and interviews from the Beale Street Caravan vault, remembering Blues legend Little Milton.

Today's show features music performed by Little Milton and Hash Brown

Today's show features music performed by Pee Wee Crayton and Little Milton

Nos zambullimos en las valijas años 60 del legendario sello Chess de Chicago en busca de cartuchos de Rhythm n’ Soul y aderezando la sesión con jazz y otros sonidos de club. Playlist; ETTA JAMES “Mellow fellow” MITTY COLLIER “Get out” MARLENA SHAW “Let’s wade in the water” KOKO TAYLOR “Fire” KIP ANDERSON “A knife and a fork” BROTHER JACK McDUFF “Ain’t it” BOBBY MOORE AND THE RHYTHM ACES “Hey Mr DJ” LITTLE MILTON “Grits ain’t groceries” MUDDY WATERS “Messin’ with the man” BO DIDDLEY “Ooh baby” TOMMY TUCKER “Hi heel sneakers” JAMO THOMAS “Must I holler” RAMSEY LEWIS “Function and the junction” BILLY STEWART “Summertime” LOU DONALDSON “Musty rusty” SUGAR PIE DESANTO “I don’t wanna fuss” Escuchar audio

17. The sound of pop music in the 1960s was largely driven by four relatively unknown house bands. For example, Los Angles had the Wrecking Crew, which included Glenn Campbell, Dr. John, and Leon Russell; Muscle Shoals had The Swampers, and Motown had The Funk Brothers. What was the name of the legendary backing band for many of the acts on Stax Records?18. Speaking of Motown, this version of Ain't Too Proud to Beg features, Ben Harper. Which motor city band had the original hit with this song?        BONUS: While considered by some to be "just a blues cover band" which British Band also covered this song?19. Performed by soul singer Betty LaVette, which Brit-rock psychedelia band, named in part after blues artist Pink Anderson, wrote this post-card-themed song?        BONUS: This song was written for the former member and leader of this band, who was this song written for?20. Heard here by Syl Johnson, which Hi Recording artist, now Reverend, referenced from the podium by then-President Obama, had the original hit with this song?        BONUS: Which art-rock, CBGB Punk-era band, fronted by a Scottish ex-patriot, later covered this song, creating awareness among a whole new audience? The Talking Heads21. Known as the Soul Queen of New Orleans, Irma Thomas struck gold with this hit, Time Is On My Side. Which British blues-rock band had an early hit with this soulful song?22. Originally signed to Motown Records with Omaha-born singer Shaun 'Stoney' Murphy, which Hades-based night flyer had the original hit with this song?23. Heard here by The Leaves, which Seattle-based Native American blues-rock guitarist, featured at Woodstock, would later cover this song?24. Played here by the late Canadian guitarist Jeff Healy, the song was composed by a member of Steeler's Wheel, and later a successful solo artist, who had the original hit with this song?25. Blues artist Albert King recorded for the Memphis-based Stax Records. Which Memphis Groover wrote and backed up King on this recording? (Born Under a Bad Sign)26. Often accused of being a Jimi Hendrix clone, which former member of the British band Procol Harem, originally recorded and performed this song? He was a trowering figure in the mid-1970s.27. Heard here by Mike Zito and Sonny Landreth, which band, from the Bay Area, originally known as the Polly Wogs, wrote and recorded the original version of this song, Fortunate Son?28. Written and performed by Paul Pena, Which Dallas-born native son had the original hit with this song?        BONUS: Which former member of this band, also from Dallas, went on to have a soulful hit-driven career?29. Performed here by Tanya Donnelly, while Freda Payne was singing about a Band of Gold, which Canadian singer-songwriter had a hit with the original version of his song, Heart of Gold?30. Performed here by Little Milton, which noted Irish soul singer wrote and recorded this song originally?31. For this next song, we're going back to the days when you actually boy bands. Which band, from the steel mill area of Gary, Indiana, had the original hit with this song?32. Performed here by Warren Haynes and Gov't Mule, which fab band featured this song late in their career?        BONUS: Although not the official name of the album, what is the generally accepted colorless name of the band's album that featured this song?        SUPER BONUS: Name the convicted murderer that recorded with the Beach Boys and knew Neil Young, who referenced this song for his dastardly deeds? (Two points for a correct answer here).33. Heard here by blues artist Larry McCray, who was the iron-belt Minnesotan minstrel who wrote this song?        BONUS: The only gold the original writer got was when this noted bi-racial guitarist covered his song: who was the artist that built Electric Lady studios with the silver and the gold he earned from his cover of All Along the Watchtower?34. Performed here by the recently reformed Screaming Cheetah Wheelies, featuring Grammy Award-winning vocalist Mike Ferris, who ordained voodoo priest, who was referenced early in this show, wrote this song?35. Originally written and performed by Peter Green's Fleetwood Mac Blues Band, which band, who debuted nationally at Woodstock, hit the Billboard charts with this song, Black Magic Woman?36. Heard here by Blaster Dave Alvin, this song, Highway 61 was written by Bob Dylan and references this highway that cuts through the deltas of northwestern Mississippi. Which smokin' blues slide player, born in Leland, Mississippi but raised in Beaumont, Texas arguably recorded the best rendition of this song?Total Earnable Points: 56 Points.CONTEST QUESTION Answers (One Point Each)(^) These are out of order. Some acts appear more than once in our contest.1. Song One - Not a part of the contest2. Song Two - Not a part of the contest3. Bill Withers4. Elvis Presley5. The Temptations6. The Traveling Wilburys7. The Rolling Stones8. Paul Simon (Simon & Garfunkel)9. Al Green10. The Book of Ecclesiastes11. Steve Miller12. George Thorogood13. Meatloaf14. The Supremes15. Neil Young16. Cream17. Bob Segar18. Van Morrison19. Bob Dylan20. The Doobie Brothers21. Gerry Rafferty22. Eric Clapton23. Santana24. The Beatles24. Creedence Clearwater Revival25. The Eagles26. Dr. John27. Norman Greenbaum28. Jimi Hendrix29. Robin Trower30. Lynyrd Skynyrd31. Johnny Winter32. Booker T & the MGs33. The Jackson 534. Pink FloydBONUS Question Answers (1 Point Each)SUPER BONUS Answers (2 Points Each)George HarrisonThe White AlbumThe ByrdsJimi HendrixBob DylanJackson BrowneThe Talking HeadsTom PettyMichelob BeerCharles MansonThe Rolling StonesRoy OrbisonJeff LynneBoz ScaggsThe Actual Playlist1. Tommy Castro / A Bluesman Came to Town2. Hector Anchondo / I'm Going to Missouri3. JJ Cale / They Call Me the Breeze4. JJ Cale / After Midnight5. Robert Johnson / Cross Roads Blues 6. Dixie Hummingbirds / Loves Me Like a Rock7. Travis Tritt / Take It Easy 8. Hank Williams / Move It On Over9. Keb Mo / Lean on Me10. The Blind Boys of Alabama / Spirit in the Sky11. Nina Simone / Turn, Turn, Turn12. Robert Randolph & the Family Band / Jesus is Just Alright13. Kris Kristopherson / All Shook Up14. Jonell Mosser / Stop, In the Name of Love 15. Lyle Lovett and Keb Mo / Till It Shines16. Bonnie Raitt / You Got It17. Booker T & the MGs / Green Onion18. Ben Harper / Ain't Too Proud to Beg19. Betty LaVette / Wish You Were Here20. Syl Johnson / Take Me to the River21. Irma Thomas / Time Is On My Side22. Jamey Johnson / Two Out of Three Ain't Bad23. The Leaves / Hey Joe 24. Jeff Healey / Stuck in the Middle With You 25. Albert King / Born Under a Bad Sign 26. Drivin' & Cryin' / Too Rolling Stoned27. Mike Zito & Sonny Landreth / Fortunate Son28. Paul Pena / JetAirliner29. Tonya Donnelly / Heart of Stone30. Little Milton / Tupelo Honey 31. Graham Parker & the Rumor / I Want You Back 32. Gov't Mule / Helter Skelter33. Larry McCray / All Along the Watchtower34. Screaming Cheetah Wheelies / Right Place, Wrong Time35. Peter Green's Fleetwood Mac Blues Band / Black Magic Woman36. Dave Alvin / Highway 61 Revisited 

The Cave Singers "Gifts and the Raft"The Cave Singers "Black Leaf"Bob Dylan "Tangled Up In Blue"Eilen Jewell "Down the Road"Tyler Childers "Long Violent History"Patti Smith "People Have the Power"R.E.M. "Oh My Heart"Candi Staton "Wanted: Lover"Spirit Family Reunion "Time to Go Back Home"Mavis Staples "I Wish I Knew How It Would Feel To Be Free"The Rollers "Knocking on the Wrong Door"Professor Longhair "Everyday I Have The Blues"Professor Longhair "Tipitina"Arlo McKinley "Back Home"Frank Williams & the Rocketeers "Show Me What You Got"Swamp Dogg "Total Destruction to Your Mind"Sleater-Kinney "You're No Rock n' Roll Fun"Kitty Wells "You're No Angel Yourself"The Low Anthem "This God Damn House"Buddy Emmons "Bottle Baby Boogie"Lou Donaldson "Blues Walk"D'Angelo "Devil's Pie"Big Maybelle "Way Back Home"Micah Schnabel "Blame It On Geography"Delbert McClinton "The Jealous Kind"Little Milton "Monologue 1 / That's How Strong My Love Is"Earth, Wind & Fire "Keep Your Head to the Sky"Lucero "Sometimes"Dolly Parton "Heartbreak Express"The Devil Makes Three "For Good Again"Billy Joe Shaver "Honky Tonk Heroes"Wilco "Impossible Germany"Turnpike Troubadours "Easton & Main"Eddie Vedder "Long Way"The Hold Steady "Southtown Girls"S.G. Goodman "Teeth Marks"Roky Erickson "Don't Shake Me Lucifer"Steve Earle & The Dukes "Angry Young Man"Valerie June "Use Me"Eddie Hinton "Everybody Needs Love"Willie Nelson "Time of the Preacher"

Pacific St Blues & AmericanaSecond Annual On-Air Trivia ContestJuly 17, 2022Here are the Questions1. Not a part of the contest2. Not a part of the contest3. Who covered this JJ Cale track and had an FM radio hit? 4. Who covered this JJ Cale track and had an FM radio hit?        BONUS: Which product featured this song in their commercial? 5. Robert Johnson famously went down to the crossroads, not to sell his soul but to hitch a ride? Which band, featuring a slow hand, struck gold with Johnson's song?6. Performed here by the five-part gospel-based harmonies of The Dixie Hummingbirds, who Brille Building songwriter, who performed under the name Tom & Jerry, later wrote this song?7. Performed here by Travis Tritt, which band had the original hit with this song?        BONUS: which well-known singer-songwriter collaborated with the band to compose this song?8. The little dog had to move it on over for the big dog. And in Country Music, there is perhaps no bigger dog than Hank Williams. But which denizen from Delaware created a concert stable with Williams' song, Move It On Over?9. Released on the most recent album by Keb Mo, which recently deceased, army veteran composed this song and had the original hit?10. While the song, Spirit in the Sky is well known, the original artist, um, not so much. What is the name of the artist who had a hit with this song?11. Set to music by Pete Seeger, what was the source for the lyrics to this song?        BONUS Which LA Strip Band, inspired by the Rickenbacker Sound of the Beatles, had a pop hit with their cover of this song?12. Performed here by Robert Randolph and the Family Band, which band capitalized on the Jesus Freak Movement to have a top radio hit with this song?13. Songwriter Otis Blackwell would write numerous hits for Memphis-based, Sun Records recording artists including Jerry Lee Lewis and others. Which hip-shaking Memphis Man from Tupelo had the original hit with this song?14. Recorded here for the Hope Floats motion picture soundtrack, which Motor City three-piece group had the original hit with this song?15. Speaking of the Motor City, covered here by Texan Lyle Lovett and California Keb Mo, which Michigander, a real ramblin' man, wrote and performed this song, Till It Shines?16. Featured here, Bonnie Raitt is covering a song by a band that featured five very high-profile artists. Name the band that had the hit with this song.         Bonus: Take a bonus point for each member of the original supergroup that recorded this song.         SUPER BONUS: Only two of the original five members of this band are still alive. Name the two members of this band that are still with us. (Two points for each correct answer)17. The sound of pop music in the 1960s was largely driven by four relatively unknown house bands. For example, Los Angles had the Wrecking Crew, which included Glenn Campbell, Dr. John, and Leon Russell; Muscle Shoals had The Swampers, and Motown had The Funk Brothers. What was the name of the legendary backing band for many of the acts on Stax Records?18. Speaking of Motown, this version of Ain't Too Proud to Beg features, Ben Harper. Which motor city band had the original hit with this song?        BONUS: While considered by some to be "just a blues cover band" which British Band also covered this song? 19. Performed by soul singer Betty LaVette, which Brit-rock psychedelia band, named in part after blues artist Pink Anderson, wrote this post-card-themed song?        BONUS: This song was written for the former member and leader of this band, who was this song written for? 20. Heard here by Syl Johnson, which Hi Recording artist, now Reverend, referenced from the podium by then-President Obama, had the original hit with this song?        BONUS: Which art-rock, CBGB Punk-era band, fronted by a Scottish ex-patriot, later covered this song, creating awareness among a whole new audience? The Talking Heads21. Known as the Soul Queen of New Orleans, Irma Thomas struck gold with this hit, Time Is On My Side. Which British blues-rock band had an early hit with this soulful song?22. Originally signed to Motown Records with Omaha-born singer Shaun 'Stoney' Murphy, which Hades-based night flyer had the original hit with this song?23. Heard here by The Leaves, which Seattle-based Native American blues-rock guitarist, featured at Woodstock, would later cover this song?24. Played here by the late Canadian guitarist Jeff Healy, the song was composed by a member of Steeler's Wheel, and later a successful solo artist, who had the original hit with this song?25. Blues artist Albert King recorded for the Memphis-based Stax Records. Which Memphis Groover wrote and backed up King on this recording? (Born Under a Bad Sign)26. Often accused of being a Jimi Hendrix clone, which former member of the British band Procol Harem, originally recorded and performed this song? He was a trowering figure in the mid-1970s. 27. Heard here by Mike Zito and Sonny Landreth, which band, from the Bay Area, originally known as the Polly Wogs, wrote and recorded the original version of this song, Fortunate Son?28. Written and performed by Paul Pena, Which Dallas-born native son had the original hit with this song?        BONUS: Which former member of this band, also from Dallas, went on to have a soulful hit-driven career?29. Performed here by Tanya Donnelly, while Freda Payne was singing about a Band of Gold, which Canadian singer-songwriter had a hit with the original version of his song, Heart of Gold?30. Performed here by Little Milton, which noted Irish soul singer wrote and recorded this song originally? 31. For this next song, we're going back to the days when you actually boy bands. Which band, from the steel mill area of Gary, Indiana, had the original hit with this song?32. Performed here by Warren Haynes and Gov't Mule, which fab band featured this song late in their career?        BONUS: Although not the official name of the album, what is the generally accepted colorless name of the band's album that featured this song?         SUPER BONUS: Name the convicted murderer that recorded with the Beach Boys and knew Neil Young, who referenced this song for his dastardly deeds? (Two points for a correct answer here). 33. Heard here by blues artist Larry McCray, who was the iron-belt Minnesotan minstrel who wrote this song?        BONUS: The only gold the original writer got was when this noted bi-racial guitarist covered his song: who was the artist that built Electric Lady studios with the silver and the gold he earned from his cover of All Along the Watchtower? 34. Performed here by the recently reformed Screaming Cheetah Wheelies, featuring Grammy Award-winning vocalist Mike Ferris, who ordained voodoo priest, who was referenced early in this show, wrote this song? 35. Originally written and performed by Peter Green's Fleetwood Mac Blues Band, which band, who debuted nationally at Woodstock, hit the Billboard charts with this song, Black Magic Woman?36. Heard here by Blaster Dave Alvin, this song, Highway 61 was written by Bob Dylan and references this highway that cuts through the deltas of northwestern Mississippi. Which smokin' blues slide player, born in Leland, Mississippi but raised in Beaumont, Texas arguably recorded the best rendition of this song? Total Earnable Points: 56 Points.CONTEST QUESTION Answers (One Point Each)(^) These are out of order. Some acts appear more than once in our contest. 1. Song One - Not a part of the contest2. Song Two - Not a part of the contest3. Bill Withers4. Elvis Presley 5. The Temptations6. The Traveling Wilburys7. The Rolling Stones 8. Paul Simon (Simon & Garfunkel) 9. Al Green 10. The Book of Ecclesiastes 11. Steve Miller 12. George Thorogood 13. Meatloaf 14. The Supremes 15. Neil Young 16. Cream 17. Bob Segar18. Van Morrison 19. Bob Dylan20. The Doobie Brothers21. Gerry Rafferty 22. Eric Clapton 23. Santana24. The Beatles24. Creedence Clearwater Revival 25. The Eagles26. Dr. John27. Norman Greenbaum28. Jimi Hendrix 29. Robin Trower 30. Lynyrd Skynyrd31. Johnny Winter32. Booker T & the MGs 33. The Jackson 534. Pink FloydBONUS Question Answers (1 Point Each)SUPER BONUS Answers (2 Points Each) George HarrisonThe White AlbumThe ByrdsJimi Hendrix Bob DylanJackson BrowneThe Talking HeadsTom PettyMichelob BeerCharles MansonThe Rolling Stones Roy OrbisonJeff LynneBoz ScaggsThe Actual Playlist1. Tommy Castro / A Bluesman Came to Town2. Hector Anchondo / I'm Going to Missouri3. JJ Cale / They Call Me the Breeze4. JJ Cale / After Midnight5. Robert Johnson / Cross Roads Blues 6. Dixie Hummingbirds / Loves Me Like a Rock7. Travis Tritt / Take It Easy 8. Hank Williams / Move It On Over9. Keb Mo / Lean on Me10. The Blind Boys of Alabama / Spirit in the Sky11. Nina Simone / Turn, Turn, Turn12. Robert Randolph & the Family Band / Jesus is Just Alright13. Kris Kristopherson / All Shook Up14. Jonell Mosser / Stop, In the Name of Love 15. Lyle Lovett and Keb Mo / Till It Shines16. Bonnie Raitt / You Got It17. Booker T & the MGs / Green Onion18. Ben Harper / Ain't Too Proud to Beg19. Betty LaVette / Wish You Were Here20. Syl Johnson / Take Me to the River21. Irma Thomas / Time Is On My Side22. Jamey Johnson / Two Out of Three Ain't Bad23. The Leaves / Hey Joe 24. Jeff Healey / Stuck in the Middle With You 25. Albert King / Born Under a Bad Sign 26. Drivin' & Cryin' / Too Rolling Stoned27. Mike Zito & Sonny Landreth / Fortunate Son28. Paul Pena / JetAirliner29. Tonya Donnelly / Heart of Stone30. Little Milton / Tupelo Honey 31. Graham Parker & the Rumor / I Want You Back 32. Gov't Mule / Helter Skelter33. Larry McCray / All Along the Watchtower34. Screaming Cheetah Wheelies / Right Place, Wrong Time35. Peter Green's Fleetwood Mac Blues Band / Black Magic Woman36. Dave Alvin / Highway 61 Revisited 

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today we're going to look at a record which I actually originally intended to do a full episode on, but by an artist about whom there simply isn't enough information out there to pull together a full episode -- though some of this information will show up in other contexts in future episodes. So we're going to have a Patreon bonus episode on one of the great soul-pop records of the mid 1960s -- "Rescue Me" by Fontella Bass: [Excerpt: Fontella Bass, "Rescue Me"] Fontella Bass was actually a second-generation singer. Her mother, Martha Bass, was a great gospel singer, who had been trained by Willie Mae Ford Smith, who was often considered the greatest female gospel singer of the twentieth century but who chose only to perform live and on the radio rather than make records. Martha Bass had sung for a short time with the Clara Ward Singers, one of the most important and influential of gospel groups: [Excerpt: The Clara Ward Singers, "Wasn't It A Pity How They Punished My Lord?"] Fontella had been trained by her mother, but she got her start in secular music rather than the gospel music her mother stuck to. She spent much of the early sixties working as a piano player and singer in the band of Little Milton, the blues singer. I don't know exactly which records of his she's on, but she was likely on his top twenty R&B hit "So Mean to Me": [Excerpt: Little Milton, "So Mean to Me"] One night, Little Milton didn't turn up for a show, and so Bass was asked to take the lead vocals until he arrived. Milton's bandleader Oliver Sain was impressed with her voice, and when he quit working with Milton the next year, he took Bass with him, starting up a new act, "The Oliver Sain Soul Revue featuring Fontella and Bobby McClure". She signed to Bobbin Records, where she cut "I Don't Hurt Any More", a cover of an old Hank Snow country song, in 1962: [Excerpt: Fontella Bass, "I Don't Hurt Any More"] After a couple of records with Bobbin, she signed up with Ike Turner, who by this point was running a couple of record labels. She released a single backed by the Ikettes, "My Good Loving": [Excerpt: Fontella Bass, "My Good Loving"] And a duet with Tina Turner, "Poor Little Fool": [Excerpt: Fontella Bass and Tina Turner, "Poor Little Fool"] At the same time she was still working with Sain and McClure, and Sain's soul revue got signed to Checker records, the Chess subsidiary, which was now starting to make soul records, usually produced by Roquel Davis, Berry Gordy's former collaborator, and written or co-written by Carl Smith. These people were also working with Jackie Wilson at Brunswick, and were part of the same scene as Carl Davis, the producer who had worked with Curtis Mayfield, Major Lance, Gene Chandler and the rest. So this was a thriving scene -- not as big as the scenes in Memphis or Detroit, but definitely a group of people who were capable of making big soul hits.  Bass and McClure recorded a couple of duo singles with Checker, starting with "Don't Mess Up a Good Thing": [Excerpt: Fontella Bass and Bobby McClure, "Don't Mess Up a Good Thing"] That made the top forty on the pop charts, and number five on the R&B charts. But the follow-up only made the R&B top forty and didn't make the pop charts at all. But Bass would soon release a solo recording, though one with prominent backing vocals by Minnie Ripperton, that would become one of the all-time soul classics -- a Motown soundalike that was very obviously patterned after the songs that Holland, Dozier, and Holland were writing, and which captured their style perfectly: [Excerpt: Fontella Bass, "Rescue Me"] There's some dispute as to who actually wrote "Rescue Me". The credited songwriters are Carl Smith and Raynard Miner, but Bass has repeatedly claimed that she wrote most of the song herself, and that Roquel Davis had assured her that she would be fairly compensated, but she never was. According to Bass, when she finally got her first royalty cheque from Chess, she was so disgusted at the pitiful amount of money she was getting that she tore the cheque up and threw it back across the desk. Her follow-up to "Rescue Me", "Recovery", didn't do so well, making the lower reaches of the pop top forty: [Excerpt: Fontella Bass, "Recovery"] Several more singles were released off Bass' only album on Chess, but she very quickly became disgusted with the whole mainstream music industry. By this point she'd married the avant-garde jazz trumpeter Lester Bowie, and she started performing with his group, the Art Ensemble of Chicago. The music she recorded with the group is excellent, but if anyone bought The Art Ensemble of Chicago With Fontella Bass, the first of the two albums she recorded with the group, expecting something like "Rescue Me", they were probably at the very least bemused by what they got -- two twenty-minute-long tracks that sound like this: [Excerpt: The Art Ensemble of Chicago with Fontella Bass: "How Strange/Ole Jed"] In between the two albums she recorded with the Art Ensemble of Chicago, Bass also recorded a second solo album, but after it had little success she largely retired from music to raise her four children, though she would make the odd guest appearance on her husband's records. In the 1990s she made a few gospel records with her mother and her younger brother, the R&B singer David Peaston, and toured a little both on the nostalgia circuit and performing gospel, but she never returned to being a full-time musician. Both she and her brother died in 2012, Peaston from complications of diabetes, Bass from a heart attack after a series of illnesses. "Rescue Me" was her only big hit, and she retired at a point when she was still capable of making plenty of interesting music, but Fontella Bass still had a far more interesting, and fulfilling, career than many other artists who continue trying to chase the ghost of their one hit. She made music on her own terms, and nobody else's, right up until the end.

PART ONE:Paul and Scott chat about the canonical playlist that's part of every Independence Day fireworks display, the time Scott accidentally hit Lee Greenwood in the face with a water balloon, and how our Patreon supporters can get the chance to get their hands on one of the very first copies of Dave Alvin's forthcoming book New Highway. PART TWO:Our in-depth interview with "Fourth of July" composer Dave Alvin on the Fourth of July! ABOUT DAVE ALVIN:Grammy-winning artist, musician, songwriter, poet, and roots music pioneer Dave Alvin launched his professional career when he and his brother Phil founded the Downey, California, based group The Blasters. Blending rockabilly and R&B, Dave became the band's primary songwriter, penning classics such as “Marie, Marie,” “American Music,” “Border Radio,” “Jubilee Train,” “Little Honey,” “Dark Night,” and “Long White Cadillac,” which later became a Top 40 country hit for Dwight Yoakam. After a brief stint as a member of the band X, Dave launched a solo career and continued to craft critically-acclaimed songs that defy genre, including “Fourth of July,” “Haley's Comet,” “Dry River,” “King of California,” “Abilene,” “Ashgrove,” “Harlan County Line,” “Johnny Ace is Dead,” and “Downey to Lubbock,” a collaboration with Jimmie Dale Gilmore. Dave's songs have been covered by Los Lobos, Little Milton, Buckwheat Zydeko, Shakin' Stevens, Joe Ely, Robert Earl Keen, James McMurtry, and others. Additionally, his music has been featured on a number of TV soundtracks, including Justified and The Sopranos. 

I'll be playing your favorite artists who were on Stax Records,artists including:Sam & Dave,Rufus Thomas and his daughter Carla Thomas,Otis Redding,Johnnie Taylor,The Staple Singers,Mel & Tim,Rance Allen,Little Milton,Albert King,The Bar-Kays,Issac Hayes,The Dramatics and more. --- 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/samuel-wilsonjr/message

Aretha Franklin "Don't Play That Song"Sonny Terry & Brownie McGhee (with Lightin' Hopkins) "Everybody's Blues"Sonny Terry & Brownie McGhee "Trouble In Mind"Cat Power "Do the Romp"Paul Westerberg "Knockin on Mine"Justin Townes Earle "Far From Me"Nina Simone "Revolution (Pts. 1 and 2)"Cory Branan "You Make Me"The Handsome Family "The Bottomless Hole"Songs: Ohia "Farewell Transmission"Bob Dylan "Meet Me In the Morning"Bob Dylan "Gotta Serve Somebody"George Jones & Ernest Tubb "Half a Mind"Woody Guthrie "Going Down the Road"Etta James "Almost Persuaded"Margo Price "Twinkle Twinkle"Millie Jackson "If Loving You Is Wrong I Don't Want to Be Right"Arthur Conley "Shake, Rattle & Roll"Wilson Pickett "Mini-Skirt Minnie"Gladys Knight & The Pips "Midnight Train to Georgia"Bonnie Raitt "I Thank You"Ted Hawkins "There Stands The Glass"Vic Chesnutt "Guilty By Association"Candi Staton "I'm Just a Prisoner (Of Your Good Lovin')"Solomon Burke "Proud Mary"Patterson Hood "Heat Lighting Rumbles In the Distance"Centro-matic "Iso-Residue"Counting Crows "Omaha"Pedro The Lion "First Drum Set"Mos Def "Close Edge"M. Ward "Never Had Nobody Like You"Bettye Swann "Stand By Your Man"Craig Finn "This is What It Looks Like"Widespread Panic "Contentment Blues"Buddy Guy "She's Got The Devil In Her"Waylon Jennings "Midnight Rider"Mildred Anderson "Cool Kind of Poppa (Good Kind Daddy)"Lucinda Williams "It's Nobody's Fault But Mine"Grateful Dead "Cold Rain and Snow"Little Milton "That's What Love Will Make You Do"Steve Earle "Feel Alright"Naomi Shelton & the Gospel Queens "What Have You Done?"Jason Isbell "Hurricanes and Hand Grenades"David Ramirez "That Ain't Love"

Pacific St Blues & AmericanaApril 3, 2022We all know Chess Records for Muddy Waters, Howlin' Wolf, Willie Dixon, Buddy Guy, and Little Walter (Jacobs). Despite her extensive list of jukebox hits James' is often overshadowed in history. Chess labelmate Etta James arguably births Rhythm and Blues.  1. Little Milton w/ Susan Tedeschi / Mother Earth 2. Tedeschi Trucks Band / Little Wing 3. Buddy Guy w/ Susan Tedeschi / Too Many Tears 4. Johnny Winter w/ Susan Tedeschi / Bright Lights, Big City  5. Etta James / Born on the Bayou  6. Holmes Brothers / Bad Moon Rising 7. Janiva Magness / Lookin' Out My Back Door  8. Mike Zito & Sonny Landreth / Fortunate Son  9. Etta James / Just a Little Bit10. Gregg Allman / Come and Go Blues 11. Aloe Blacc / I'll Take You There12. Staple Singers / If You're Ready 13. Etta James / Take It to the Limit14. Linda Ronstadt / Desperado15. Linda Ronstadt & Don Henley / Hasten Down the Wind16. Travis Tritt / Take It Easy 17. Etta James / Gotta Serve Somebody 18. Bob Malone / Tangled Up in Blue19. Larry McCray / All Along the Watchtower20. Adele / Make You Feel My Love 

Fuego en la Pista de Baile, los éxitos y las novedades más underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Hoy música negra variada: jazz, soul y ska. Déjate seducir por el programa más underground de iPOPfm. Déjate seducir por Fuego En La Pista de Baile! Han sonado: 1. Howlin’ Wolf – Smokestack Lightening 2. T-Bone Walker – Teenage Baby 3. Little Milton – That’s Love Will Make You Do 4. Preston Epps – Sing Gonna Do 5. Ike Turner and His Kings of Rhythm– Rocket 88 6. Professor Longhair – Mardi Gras In New Orleans 7. Jewell King – 3x7=21 8. Richard Berry – Baby Please Come Home 9. Mongo Santamaria – Louie Louie 10. Baba Brooks and His Band – Watermelon Man 11. Derrick and Patsy – Let The Good Times Roll 12. Laurel Aitken & The Blue Beats – Bartender 13. Sir Charles Thompson – Streat Beat 14. Ray Baretto – New York Soul 15. Getz, Gilberto, Jobim – Doralice 16. Mose Alison – The Seventh Son 17. The Hi-Tones – Let’s Have a Good Time 18. Marie Knight – You Lie So Well 19. Bettie Swan – I’ll Be Alone 20. The Marvelettes – Way Over There 21. The Richard Kent Style – Just a Little Misunderstanding

This is a fun one. This podcast is an amalgamation of two shows. In it, I Mix 'n Match covers and originals by prominent musical acts that had a profound effect on the sounds of their era. It's kinda cool - I think you'll enjoy it: I hope you do! Rick  1. Allman Brothers / Melissa 2. Eric Gales / In Memory of Elizabeth Reed  3. Gov't Mule / Hole in My Soul 4. Little Milton w/ Gov't Mule / When Blues Come Knocking 5. Robert Wilkins / That's No Way to Get Along  (Prodigal Son: Beggar's Banquet) 6. Robert Johnson / Love in Vain Blues  7. Lucinda Williams / Little Red Rooster 8. Billy Boy Arnold / Play With Fire 9. Spirit / Taurus10. Alvin Youngblood Hart / Heartbreakers 11. Muddy Waters / You Need Love12. Beth Hart / Whole Lotta Love 13. Honeyboy Edwards w/ James Cotton / Crossroads Blues14. Eric Clapton / Stop Breaking Down Blues 15. John Cale / Cocaine16. Tedeschi Trucks Band / Bell Bottom Blues17. Aretha Franklin / Respect18. Etta James / Champagne & Wine19. Black Crowes / Hard to Handle 20. Otis Redding / Sittin' on the Dock of the Bay 21. Dusty Springfield / Take Another Little Piece of My Heart22. Lou Ann Barton / One Good Man 23. Etta James / Tell Mama24. Taj Mahal / Mercedes Benz25. Lou Ann Barton / One Way Street26. Donald Kinsey / Sweet Emotion 27. Aerosmith / EyeSight to the Blind (Sonny Boy Williamson/ The Who)28. Kim McFarland / Dream On 29. Murali Coryell / Sexual Healing30. Corrine Scott Bailey / Mercy Me (The Ecology)31. Etta James / What's Going on32. James Eddy / Dog Gone33. The Rolling Stones / Hitch Hike34. Eric Clapton / Higher Ground36. John Mellencamp / I Don't Know Why37. Susan Tedeschi / Love's in Need of Love 38. Stevie Wonder / We Can Work It Out 39. Little Milton / Tupelo Honey40. Son Seals / Queen of the Slipstream41. Henry Butler / I Like It Like That

1 04 - Theme from Shaft Prophets of Soul 05:24 Prophet of Soul Gregory James Edition 2 We Will Work Faith & Harmony 02:54 Sacred Soul Of North Carolina 3 I'm Going Home Dedicated Men of Zion 03:56 The Devil Don't Like It 4 The Masquerade Is Over Dobby Dobson - 03:06 You Can't Wine 5 Gone Too Far Allen Toussaint 03:30 45 6 It Ain't Necessary Mamie Galore 02:13 45 7 If Walls Could Talk (Checker 1226) Little Milton 03:09 45 8 Leaving Here (Pt. 1) PM Warson 02:21 Dig Deep Repeat 9 05 Rent Free (1644) tanika charles 02:19 10 Sally go round the roses La Clave 03:08 La Clave 11 Justified Esther Phillips 05:32 Home Is Where The Hatred Is: The Kudus Years 1971-1977 12 Firehouse Rock Wailing Souls 04:12 Down in Jamaica, 40 Years of VP Records CD1 13 Money I$ King Lee Fields & The Expressions 03:19 My World 14 Stay Broke Boukou Groove 04:32 A Lil' Bouko In Your Cup 15 Going Straight Crazy (feat. Princess Shaw) Galactic 03:29 Already Ready Already 16 Hymn Of The Big Wheel Massive Attack 06:37 Blue Lines 17 Maliba Fatoumata Diawara 03:32 Maliba 18 Tanty Lynn Anthony Joseph & The Spasm Band 06:08 Rubber Orchestras 19 Evil Ways Ozomatli 03:28 Non-Stop: Mexico to Jamaica 20 Santa Cruzin' The Soul Rebels 04:35 Let Your Mind Be Free 21 Don't Follow Fashion Oghene Kologbo & Afrobeat Academy 04:09 Remember Fela Anikulapo Kuti 22 Grand Theft Chocolate Milk 05:30 We're all in this together 23 Greenbacks (Featuring Shirley Davis) Deep Street Soul 02:52 Deep Street Soul 24 Triple Funk Dyke & The Blazers 03:09 We Got More Soul: Phoenix 1967-1968 CD1 25 Ain't That Peculiar (Feat. Sly Stone, El Debarge & The P-Funk All-Stars) George Clinton 04:36 George Clinton & His Gangsters Of Love 26 Got to Give It Up Brian Culbertson 04:54 Funk! 27 Get Up Off Stro Elliot & James Brown 03:30 Black & Loud: James Brown Reimagined By Stro Elliot 28 Natural High (Bonus Extended Version) Bloodstone 06:00 Natural High

I'm going to play all of your favorite Blues music including:B.B. KIng,Albert King,Little MIlton,Bobby"Blue"Bland,Etta James,Robert Cray and more.Plus Blue-Eyed Blues from Stevie Ray & Jimmie Vaughn,Samantha Fish. --- 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/samuel-wilsonjr/message

Fun Feb vinyl from: Tony Mattola,Watson T. Browne, Giant Sunflower,Kal David, Spooner and The Spoons,The Four Dates, Meg Myles,Jack Melick and The Gamblers,Little Milton, The Liverpool Five,Mark Lewis Trio, The New Lime and more!as broadcast live via 6160kc sw 2-5-22

In the next hour of The Roadhouse, I've got a playlist with 15 great tracks, including Rick Holmstrom, Robben Ford & The Blue Line, Howlin' Wolf, Delvon Lamarr Organ Trio, and Little Milton. And, that's almost a spoiler for a special set in the last half. Familiarity, surprise, and great blues - kinda sounds like another hour of the finest blues you've never heard.

In the next hour of The Roadhouse, I've got a playlist with 15 great tracks, including Rick Holmstrom, Robben Ford & The Blue Line, Howlin' Wolf, Delvon Lamarr Organ Trio, and Little Milton. And, that's almost a spoiler for a special set in the last half. Familiarity, surprise, and great blues - kinda sounds like another hour of the finest blues you've never heard.

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. 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, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

The latest show from Blues is the Truth is packed with amazing music... there are tracks new and old and birthday greetings for one of our most loyal listeners. We have tunes from Chase Walker, Fran McGilivray, Muddy Waters, Bernie Marsden, Son of Dave, Elles Bailey, Junior Watson, Wanda Jackson, Paul Garner, Marcus Flynn, Where Rivers Meet, BB King, Mark Pontin, Chickenbone Slim and then we finish with Little Milton! Sound tempting! Of course... Hit play and enjoy!

Today's show features music performed by Little Milton and Sugar Pie DeSanto

Attending Towson University in Maryland,Vinnie Ciesielski majored in music performance on trumpet, which he has played professionally for over 50 years. Since coming to Nashville in 1992, Vinnie has played on over 6000 recordings with artists such as Lady A, Lacy Kaye, Dave Barnes, Lance Neilson, Jeremy Lister(Street Corner Symphony) Fame Gang, Lyle Lovett, Travis Tritt, Tracy Byrd, Smokey Norful, Tanya Tucker, Glenn Frey, T.D. Jakes, Byron Cage, Little Milton, Marvin Sapp, Jill Scott, Hezekiah Walker, Lynyrd Skynyrd, Bad Company, Gregg Allman, Kirk Franklin, Queen Latifah, Yolanda Adams, Donnie McClurkin, Israel Houghton, Demi Lovato, Grace Potter, Delbert McClinton, Alison Krauss, Taylor Swift, The Clark Sisters, Thomas Rhett, Nuno Betencort, Marcus Scott(Tower of Power) Steven Tyler, Vince Gill, Michael MacDonald, Keb Mo, Johnny Taylor, Bobby Blue Bland, Via Con Dios, Martina McBride, Don Was, Zac Brown band, Foy Vance, Terri Clark, Chely Wright, Stevie Nicks and many more. He has performed live with artists such as Bruce Springsteen, Kid Rock, Keith Richards, Jimmy Buffett, Paul Simon, Sting, Tony Bennett, Glenn Frey, Don Henley, Kenny Rogers, Shelby Lynne, The Temptations, The Four Tops, The O'Jays, Aretha Franklin, Percy Sledge, Shawn Colvin, Eddie Floyd, Booker T. and the MGs, Vince Gill, Amy Grant, Bob Hope, Frankie Valli, Sheryl Crow, Adrian Belew, Bruce Hornsby, Michael Macdonald, Carrie Underwood, Jenifer Nettles and The Beach Boys. He has also appeared on The Tonight Show, Late Night with David Letterman, Conan O'Brien, Jimmy Kimmel, The Road, SoundStage, Disney and Universal TV specials, Nashville Now, Music City Tonight, Austin City Limits, Grand Old Opry, Rosie O'Donnell, Ellen's Really Big Show, The Dove Awards and The Stellar Awards. Vinnie has also performed on numerous Radio, Internet, TV and Movie sound tracks and Trailers. Vinnie has performed with the Nashville Symphony, Chattanooga Symphony, Orchestra Kentucky, Nashville and Knoxville Jazz Orchestras Well known in the performance and recording community, Mr. Ciesielski's resume includes work on over 6000 recording sessions, 50 Grammy-nominated and 25 Grammy-winning recordings and dozens of Stellar and Dove awards. Vinnie has also been the horn arranger on multiple Grammy, Dove and Stellar nominated and winning recordings. Learn more about Vinnie Ciesielski: www.trumpetvinnie.com Join Positive Trumpet Players Worldwide: www.positivetrumpetersworldwide.com Learn more about Bob Reeves Brass: www.bobreeves.com 

In this episode, I am pleased to share the screen with one of the most impactful guitar players who has molded hundreds to love and excel in the craft. Meet Roger "Hurricane" Wilson; the more you get to know him, the more you understand why he has an accurate moniker for his fantastic career and how his passion and purpose continue in all these decades.  Key points covered in this episode: ✔️ Roger shares his journey of first picking up the guitar at age 9 and started learning note by note, falling hard for rock and roll, and he never looked back. ✔️ He shares one unforgettable remark from a young student that stuck to him. The critical thing was to "have some fun." With music and everything else in life, something more amazing comes out when we're letting ourselves enjoy our gifts. ✔️ From teaching, building the chops to learning to write the songs and figuring out where the history comes from, Roger had his share of being discouraged from"doing this musician thing." ✔️ Roger shares how the fame and rockstar lifestyle can go to a person's head many times, but he stood by the belief that humility is the best virtue and there's always going to be somebody better who can come along. "There's nothing wrong with being proud of what you do and everything; just don't let it get to your head."  ✔️ His moniker "Hurricane" was him getting in and out of joints and gigs fast as a passionate musician. "I love playing guitar, and I don't care if anybody is listening or not." ✔️ At age 68, there's more to be done by the Hurricane. "Think about what you're going to leave behind — that's more about it now than anything else."    Roger "Hurricane" Wilson has been playing guitar since 1963 and performing professionally since 1972 in his own band, as a solo artist at home, and on the road. From 1973 to 1985, he owned and operated the brick-and-mortar location of the Roger Wilson Guitar Studio in Atlanta, Georgia, which still operates online today. It was during this time that he taught hundreds of students basic and advanced guitar styles. He has also worked as a radio DJ, music journalist, and broadcaster. In addition, he has been a judge for the  International Blues Challenge in Memphis, Tennessee, as well as being a 2015 Oklahoma Blues Hall of Fame Inductee. To date, he has released over 25 albums and toured over a million miles. Wilson started playing professionally in 1972, and he has jammed with Les Paul, Hubert Sumlin, Stevie Ray Vaughan, Albert Collins, Roy Buchanan, Savoy Brown, Magic Slim, Michael Burks, and Charlie Musselwhite. He has also shared the stage with B.B. King, Buddy Guy, Little Milton, John Mayall, Marcia Ball, Delbert McClinton, Taj Mahal, Leon Russell, and Edgar Winter.   Visit Roger's website: www.hurricanwilson.com   _____________________________________________________________________________ How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need is a community and a mentor. The 6-month Visionary Leader Program will move you forward. You will grow, transform and connect. https://msdianneallen.com/ Join our Facebook Group Someone Gets Me Follow Dianne's Facebook Page: Dianne A. Allen Email contact: dianne@visionsapplied.com Dianne's Mentoring Services: msdianneallen.com Website: www.visionsapplied.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your special gift, so let your light shine!

Like thieves amidst the chaos we steal a history lesson about the EMP (what is now called the MoPOP) from an experienced music volunteer.  Alan teaches us about the ins & outs of Paul Allen's museum, including their original exhibits, & where to catch the best view of its exterior.  Lastly he explains where the rock n roll legends originally recorded, & the origin of Seattle's anthem “Louie Louie”.

Sir Charles Jones is one of the Greats and has been Doing Music for many Decades he has worked with all the Greats From Marvin Cease, Little Milton, Marvin Cease, and so many more Sir Charles Jones won the BB KING Award and The Sweet Willie Mitchel Award and details each Award and what it meant to him he has dedicated his Life to the music and God has gifted Sir Charles Jones Like no other Sir Charles Jones Born in Akron Ohio but Moved to Birmingham, Alabama at a very Young Age where his singing career started His first album Sir Charles Jones was released in 2000 Sir Charles Jones taught himself how to write his own music his style was so needed but different and he was not accepted in the beginning but as usual God made away through his gift.  #blues​ #southernsoul​ #soul​  Apple Podcast: https://podcasts.apple.com/us/podcast...​ Spotify Podcast: https://open.spotify.com/show/0yD2UzY...​

In this episode Stuart and William explore a question from listener Keith in Little Milton, Oxfordshire, England, "David Attenborough was asked, what we could all do to help the environment? His answer was, not to waste anything. This is wise, alongside looking at carbon neutrality. Should no waste ideals start with us limiting our own waste thoughts though? ". --- Send in a voice message: https://podcasters.spotify.com/pod/show/thepeoplescountryside/message

It is hard to think of a time in the rock era when Crosby, Stills & Nash were not already a mainstay of the genre, but every rock legend has an origin, and the self-titled debut album first appeared in May of 1969.  It was a near-instant success and one of the harbingers of a turn from blues-oriented rock to more acoustic, folk-oriented rock that would usher in the decade of the 70's.Crosby, Stills & Nash were a supergroup from their debut.  David Crosby came from The Byrds, Stephen Stills came out of Buffalo Springfield, and Graham Nash was from The Hollies.  Each was a songwriter as well as a vocalist and instrumentalist (Crosby on guitar, Stills on guitar and keyboards, and Nash on guitar).  The addition of Neil Young (who has also previously played with Buffalo Springfield) would come after the album was released.As you listen to this podcast pay attention to the harmonies in the songs.  That is the calling card for CS&N.  Band members differ on where the trio first sang together.  Crosby and Nash maintain that it was at Joni Mitchell's house, but Stephen Stills insists that he would have been too intimidated to sing at Mitchell's place, and that it was at Cass Elliot's (from The Mamas and the Papas) house!  Either way the harmonies were so good it was clear that they would have to form a group.  Much of the album is accomplished with multi-instrumentalist Stephen Stills (aka "Captain Many Hands") playing on the tracks, though Crosby and Nash played guitar on songs that they wrote.  You can't duplicate this onstage however, so more instrumentalists had to be brought in for the tour — including Neil Young.  One of their first stops - only their second concert as a group in fact -  would be Woodstock, where they played a set between 3:00 and 4:00 a.m.Rob brings us this harmonic, folk album.  We hope you enjoy it!Suite:  Judy Blue EyesThis song is one of two hit singles from the album.  The song was written by Stephen Stills, inspired by his former girlfriend, Judy Collins.  It is a play on words - “Sweet Judy” and written as a 4-part suite.  The first section is a pop song, the second section is in half tempo (relative to the first section), the third section picks up the tempo and is more poetic, and the fourth section is in Spanish.  Long Time GoneThis should be a familiar track which is time-stamped from the late 60's.  It was written the night that Bobby Kennedy was killed.  David Crosby wrote this political, counter-cultural work.   “Speak out, you got to speak out against the madness, you got to speak your mind, if you dare.  But don't try to get yourself elected.  If you do you had better cut your hair.”You Don't Have to CryThe first song Crosby, Stills & Nash ever sang together is this deep cut.  Stephen Stills wrote this one as a love letter to Judy Collins, trying to convince her to move from New York to California.  “Are you thinking of telephones and managers and where you've got to be at noon?”Helplessly HopingThis deep cut was the B-side from the single for “Marrakesh Express” The beautiful acoustic work reminded us of songs like Fleetwood Mac's "Landslide" or Kansas' "Dust In the Wind."   ENTERTAINMENT TRACK:Everybody's Talking from the motion picture “Midnight Cowboy”Harry Nilsson performs this Grammy award-winning cover from the first X-rated movie to win an Academy Award for Best Picture. STAFF PICKS:“Galveston” by Glenn CampbellBrian's staff pick is one of three songs Jimmy Webb wrote for Campbell (the others being "By the Time I Get to Phoenix" and "Wichita Lineman").  “Just a Little Bit” by Little MiltonWayne takes us to the Mississippi delta for some blues.  Ike Turner discovered Little Milton for Sam Phillips at Sun Records.  Little Milton became more famous when he went to Checker Records, a more blues-oriented label.  Little Milton was a prolific blues artist.“It's Your Thing” by The Isley BrothersBruce moves from blues to soul with the first hit from the Isley Brothers after leaving Motown Records.  Ronald Isley wrote the song while dropping his daughter off at school.  It features the lyrics “I can't tell ya' who to sock it to,” an adaptation of  a popular line from the time that originally appeared in Aretha Franklin's “Respect.”“In-A-Gadda-De-Vida” by Iron ButterflyRob finishes off our staff picks with the radio version of the 17-minute psychedelic opus.  Is it heavy metal, is it acid rock?  We can't say, but Songfacts clears up the name as a misnomer.  The title was supposed to be "In the Garden of Eden," but someone wrote the name down wrong and the record label decided to stick with "In-A-Gadda-De-Vida" as an eastern-sounding title.   INSTRUMENTAL TRACK:Theme from "Hawaii 5-0" by The VenturesSurfs up as we close out this week's podcast with an instrumental from the cop drama which debuted in 1968 and ran for 12 seasons.  The Ventures' version of this song was on the charts this month as a top-5 hit.

Join us for some great classics and some new ones1) Handclappin'-Red Prysock2)Feel So Bad- Little Milton3)Shake, Rattle and Roll-Rev.Billy and Victor Wainwright4)Fooled You This Time- Gene Chandler5)Mississippi-Victor Wainwright6)We're Gonna Make It- Little Milton7)I'm Back In Baby's Arms- Patsy Cline8)Dissappear-Victor Wainwright9) This Train- Victor Wainwright10) Wade in the Water- Ramsey Lewis11) Driftin' and Driftin'-Charles Brown12) Hand Clappin'-Red Prysocksome real nice old school blues and soul meets Vic and his his incredible new tunes.

The songwriter and producer of modern soul music known as Darnell Da'Bachelor have released his latest official single, “Seduction.” The single has been bundled with a second original Darnell Da'Bachelor track, “Obama,” It has been proudly published as an independent release without the involvement of the corporate music industry. Bluesy, classy, sonorous, and riddled with style. With the release of his new single titled "Someone” will surely show the versatility and greatness of this young rising star!Decatur, Mississippi's Darnell Da'Bachelor cites as main artistic influences Bobby Rush (who is on the top of that list) Bobby Bland, BB King, Tyrone Davis, Marvin Sease, Little Milton, and Sir Small World. Darnell Da'Bachelor's own sound takes elements from each of these and adds something fresh and unique for a result, unlike anything today's music fans have heard before. With an emphasis on smooth vocal performances, chill melody lines, and solid backbeats, “Mr. Rogers, A Woman Like You, Maintenance Man, Obama, and The County” by Darnell Da'Bachelor have a little something for everybody. Today, Darnell Da'Bachelor is mostly known for playing and singing blues music. This also has deep roots in his childhood. Darnell Da'Bachelor says of this, “I was born in a small town Decatur, Mississippi. I grew up singing in church … I've been a blues lover all my life. I started writing songs when I was in high school.” “Seduction” and “Obama” are the most prominent official releases from Darnell Da'Bachelor since his popular 2010 gospel album. “Mississippi Roots” by Darnell Da'Bachelor is available from over 600 quality digital music stores online worldwide now

Sintonía: "Rinky Dink" - Dave "Baby" Cortez Pues eso; que a partir de un cofre con 13 CDs que repasan lo mejor del sello (1962-1975), mi querido hermano me (nos) ha confeccionado una increíble recopilación que no te puedes perder !!! "Mama Didn´t Lie" - Jan Bradley; "Got You On My Mind" - Cookie & The Cupcakes; "Help Me" - Sonny Boy Williamson; "Sally Go Round The Roses" - The Jaynetts; "The Entertainer" - Tony Clarke; "The In Crowd" - Ramsey Lewis Trio; "Landslide" - Tony Clarke; "Sweeter Than The Day Before" - The Valentinos; "Ooh Baby" - Bo Diddley; "Mercy Mercy Mercy" - Marlena Shaw; "It Ain´t Necesary" - Mamie Galore; "Here Comes The Judge" - Pigmeat Markham; "Look at Me" - Terry Callier; "Grits Hint Groceries" - Little Milton; "Love You Like A Woman" - Koko Taylor; "If Walls Could Talk" - Little Milton; "Can´t Get No Grindin´" - Muddy Waters Escuchar audio

Derek interviews and chats to one of his early musical influences, Billy Vera about his storied career as a singer, songwriter, actor, musician, big band leader, and author and Hollywood Walk of Fame Star recipient.Billy has had two number one US Billboard hits. At This Moment under his own name, and "I Really Get The Feeling" sung by Dolly Parton.Billy's songs have been sung by Tom Jones, Lou Rawles, Michal Buble, Bonnie Raitt, Robert Plant, Fats Domino, the Shirelles, Freda Payne and Little Milton as well as Etta James produced by Jerry Wexler.

My "Bluesland" podcast from July 16, 2020 KMRE 102.3 FM radio show. Enjoy the music of Howlin'Wolf with Little Red Rooster, Paul Butterfield Blues Band, Little Milton and more. It's free. Just click on the link/picture.

This STOPPAGE time episode is a short, fun, witty session of Q & A featuring WNY musician Jason Moynihan. Jason's father was in the Air Force when he was young and he has a heart for Veterans. As an adult, Jason is a professional freelance musician that plays Saxophone, Piano, and Guitar. He has an extensive experience in touring, recording and education.  Jason graduated from Berklee College of  Music in '94 (Music Performance and a Minor in Arranging). In late 1999, while playing in various bands in Chicago, he was asked to play with the legendary Blues, Rock & Roll Hall of Fame and 6 time Grammy award winner, Buddy Guy. He played in Buddy Guy's band from 1999 until 2006. They played every state in America and 20+ countries, in just the first two years. Jason's passport had "more stamps than a stamp collection." While playing with Mr. Guy, he also got a chance to be on national television a half dozen times (The Tonight Show with Jay Leno 3 times, Craig Ferguson Show twice, Jimmie Kimmel Show and The Jools Holland Show in the UK with REM and Yoko Ono).  Throughout Jason's amazing career he has played with some of his idols while with Mr.Guy...Carlos Santana, Rolling Stones, Dave Matthews, Robert Plant, B.B. King, Jimmie Vaughan, John Mayer, Johnny Lang, Zak Wylde, Jools Holland, Cheryl Crow, Robert Cray, Dr.John, Van Morrison, Little Milton, Kid Rock, Ike Turner, Actor Richard Gere,  Lou Ann Barton, Kim Wilson, and many others. To find out more info on Jason check out his website:  http://www.jaysax.com/ Here is a great video of Jay in The Buddy Guy Band with  Superstar John Mayer @ Farm Aid 2005: https://youtu.be/WaFMC8ODHf0 Here is another video of Jay in The Buddy Guy Band with Guitar Legend Carlos Santana @ The Montreux Jazz Festival in Montreux, Switzerland 2004: https://youtu.be/AShGBgfRgEA Discography (selected) : Carlos Santana Carlos Santana- Plays Blues at Montreux 2004 (2008 single 90min. DVD/Eagle Rock Entertainment) Carlos Santana Presents:  Blues at Montreux 2004 (2006  3 DVD Box Set/Eagle Rock Entertainment). Buddy Guy Buddy Guy Box Set (2007 3 DVD Box Set/Silvertone Records). Buddy Guy Live at Legends January 2004 (11 Live Cd's)(2004 Pirate Entertainment/Silvertone Records).   Host: Shawn McKinnon, Founder of the H.A.V.E. Project. Sponsorship: Wendy Weinstein, MD. Board Certified Psychiatrist. 651 Delaware Ave, Buffalo NY. (716)-362-1210. Music from: "4BC" on freesound.org, "TexasMusicForge" on freesound.org, and "Music by "Tri-Tachyon - https://soundcloud.com/tri-tachyon/albums" on freeesound.org.  2020 The H.A.V.E. Project productions. www.thehaveproject.com Find us on Facebook/Instagram

This episode features WNY musician Jason Moynihan. Jason's father was in the Air Force when he was young and he has a heart for Veterans. As an adult, Jason is a professional freelance musician that plays Saxophone, Piano, and Guitar. He has an extensive experience in touring, recording and education.  Jason graduated from Berklee College of  Music in '94 (Music Performance and a Minor in Arranging). In late 1999, while playing in various bands in Chicago, he was asked to play with the legendary Blues, Rock & Roll Hall of Fame and 6 time Grammy award winner, Buddy Guy. He played in Buddy Guy's band from 1999 until 2006. They played every state in America and 20+ countries, in just the first two years. Jason's passport had "more stamps than a stamp collection." While playing with Mr. Guy, he also got a chance to be on national television a half dozen times (The Tonight Show with Jay Leno 3 times, Craig Ferguson Show twice, Jimmie Kimmel Show and The Jools Holland Show in the UK with REM and Yoko Ono).  Throughout Jason's amazing career he has played with some of his idols while with Mr.Guy...Carlos Santana, Rolling Stones, Dave Matthews, Robert Plant, B.B. King, Jimmie Vaughan, John Mayer, Johnny Lang, Zak Wylde, Jools Holland, Cheryl Crow, Robert Cray, Dr.John, Van Morrison, Little Milton, Kid Rock, Ike Turner, Actor Richard Gere,  Lou Ann Barton, Kim Wilson, and many others. Jason shared with us about his experiences in life and everything that he has been through to become the person he is today. His interview is candid and very heartfelt. We hope you enjoy the interview as much we enjoyed recording it. To find out more info on Jason check out his website:  http://www.jaysax.com/ Here is a great video of Jay in The Buddy Guy Band with  Superstar John Mayer @ Farm Aid 2005: https://youtu.be/WaFMC8ODHf0 Here is another video of Jay in The Buddy Guy Band with Guitar Legend Carlos Santana @ The Montreux Jazz Festival in Montreux, Switzerland 2004: https://youtu.be/AShGBgfRgEA Discography (selected) : Carlos Santana Carlos Santana- Plays Blues at Montreux 2004 (2008 single 90min. DVD/Eagle Rock Entertainment) Carlos Santana Presents:  Blues at Montreux 2004 (2006  3 DVD Box Set/Eagle Rock Entertainment). Buddy Guy Buddy Guy Box Set (2007 3 DVD Box Set/Silvertone Records). Buddy Guy Live at Legends January 2004 (11 Live Cd's)(2004 Pirate Entertainment/Silvertone Records).   Host: Shawn McKinnon, Founder of the H.A.V.E. Project. Sponsorship: Wendy Weinstein, MD. Board Certified Psychiatrist. 651 Delaware Ave, Buffalo NY. (716)-362-1210. Music from: "4BC" on freesound.org, "TexasMusicForge" on freesound.org, and "Music by "Tri-Tachyon - https://soundcloud.com/tri-tachyon/albums" on freeesound.org.  2020 The H.A.V.E. Project productions. www.thehaveproject.com Find us on Facebook/Instagram

What happens when Blues had a baby and named it Soul Music. Well you get the sounds of the legendary Little Milton!!

Trying to let the music on today's Radio Wilder show, do what music does best; change and elevate moods!! The Deuces segment is one of the coolest we have ever had,, The Creator of Soul, Sam Cooke matched with with the brilliant voice of Amy Winehouse!! Wow!.Cocktail Slippers, Canned Heat, Alice Cooper, Grouplove, Sheryl, CSNY, Little Milton and gallons more!! First show airs after' Baby Ruth' picks up her daily load of toilet paper, cleans the chicken coop, and freshens up the Act records! So if you are stuck at home bored or just tired, nothing better than music.That's our way of trying to help out! Btw, our folks are showing up to work and making us proud!! Catch us on iTunes, Spotify, Stitcher, Google Play and stay tuned for an announcement about our 24 hour channel coming soon to Live365.com. Lot's of love from the Wilder family. You fans inspire us! Wishing you all a great weekend! Harry and the Wilder Crew!

Show #828 The Way It Is Blue Spinner put a show together of music he likes for the way it is blue. 01. Mike Zito - Down Bound Train (4:03) (Rock 'N' Roll: A Tribute to Chuck Berry, Ruf Records, 2019) 02. Betty Fox Band - Winter's Cold (4:24) (Peace In Pieces, self-release, 2020) 03. Harper & Midwest Kind - Blues I Can't Use (3:35) (Rise Up, Access Records, 2020) 04. Jimmie Vaughan - Just A Little Bit (3:05) (Plays Blues, Balads & Favorites, Shout! Factory, 2010) 05. Delta Moon - Just Lucky I Guess (3:40) (Cabbagetown, Landslide Records, 2017) 06. Tinsley Ellis - Everything And Everone (4:00) (Ice Cream In Hell, Alligator Records, 2020) 07. Bai Kamara Jr. & the Voodoo Sniffers - Homecoming (4:17) (Salone, Moosicus/MIG Music, 2020) 08. Diana Rein - Yes I Sing The Blues (3:28) (Queen Of My Castle, Gulf Coast Records, 2019) 09. Kim Wilson - Sho Nuff I Do (3:29) (Blues And Boogie Vol. 1, Severn Records, 2017) 10. Frank Bey - All My Dues Are Paid (4:12) (All My Dues Are Paid, Nola Blue Records, 2020) 11. Bobby Blue Bland - Lovin' On Borrowed Time (3:18) (Dreamer, ABC Dunhill Records, 1974) 12. John Mooney - Shake Hands And Tell Me Goodbye (3:07) (Comin' Your Way, Blind Pig Records, 1979) 13. Little Milton - 4:59 AM (3:44) (I Will Survive, Malaco Records, 1985) 14. Sass Jordan - The Key (4:10) (Rebel Moon Blues, Stony Plain Records, 2020) 15. Kern Pratt - Something's Gone Wrong (6:38) (Greenville MS...What About You?, Endless Blues Records, 2019) 16. Bill Sibley - Skeletons (2:44) (Sweet Rain, self-release, 2019) 17. Melody Gardot - Who Will Comfort Me (4:54) (My One And Only Thrill, Verve Records, 2009) 18. Thorbjørn Risager & The Black Tornado - On And On (5:18) (Come On In, Ruf Records, 2020) 19. Larry Carlton & Robben Ford - That Road (8:45) (Unplugged, 335 Records, 2013) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Alors que Noël fait traditionnellement fumer votre carte de crédit, le jour de l'an ne devrait pas vous ruiner. En effet, jusqu'à présent, on a pas encore réussi à taxer les vœux ni les bonnes résolutions. Alors n'hésitons pas, souhaitons nous le meilleur : Bonne année, bonne santé et du feu dans la cheminée cette semaine dans Bon Temps Rouler !     Playlist :  Auld Lang Syne, B.B. King, A Christmas Celebration Of Hope Starting All over Again, Al Green, Greatest Hits: The Best of Al Green Happy New Year Darling, Lonnie Johnson, Christmas Blues New Year's Resolution, Otis Redding, Carla Thomas, King & Queen Resolution Blues, Dinah Washington, Cootie Williams Orchestra, The Keynote, Decca And Mercury Singles 1943-19 Thank You (Remastered), Bonnie Raitt, Bonnie Raitt (Remastered Version) Broken Promise, B.B. King, Blues On The Bayou Next Time I See You, Little Milton, 50s Blues Next Time You See Me, Junior Parker, Call the Midwife (Music from the TV Series) Drinking Again, Aretha Franklin, Unforgettable: A Tribute To Dinah Washington (Expanded Edition) Everybody's Gonna Have a Wonderful Time up There, Sister Rosetta Tharpe, Gospel Songs Wonderful Time, John Lee Williamson, Saga Blues: The Original Sonny Boy Happy New Year, Lightnin? Hopkins, BD Music Presents Christmas Blues Counting The Days, John Mayall, Empty Rooms When You Broke Your Promise, Snowy White, Bird of Paradise    Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The first Groovy Soul of 2020 kicks off with a belter from Little Milton and then delivers you another Sunday selection of soul, funk, ska and blues from the likes of The Chi-Lites, Brenda Holloway, Earl Van Dyke and the Soul Brothers, James Brown, Bill Withers, The Four Tops and Nina Simone. There are the usual three Northern Soul Stonkers back to back, all from 1966 and a couple of cheeky curveballs from Zager and Evans and The Who. Catch Andy Davies' Groovy Soul every Sunday 1 - 3 PM EST / 6 - 8 PM GMT.For a complete track listing, visit: https://thefaceradio.comTwitter: @groovysouldjEmail: groovysoul@thefaceradio.com Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

Show 54 – Recorded 10-19-19 This podcast provides 12 performances of blues songs performed by 12 blues artists or groups whose tremendous talent is highlighted here. Performances range from 1961 to 2004. These blues artists are: Susan Tedeschi, Mississippi Joe Callicott, Buddy Guy, Beverly Guitar Watkins, Gary Clark, Jr, Muddy Waters, Taj Mahal, Paul Butterfields Better Days Blues Band, Jimmy Reed, Little Milton, Professor Longhair, Victoria Spivey.  

Show 54 – Recorded 10-19-19 This podcast provides 12 performances of blues songs performed by 12 blues artists or groups whose tremendous talent is highlighted here. Performances range from 1961 to 2004. These blues artists are: Susan Tedeschi, Mississippi Joe Callicott, Buddy Guy, Beverly Guitar Watkins, Gary Clark, Jr, Muddy Waters, Taj Mahal, Paul Butterfields Better Days Blues Band, Jimmy Reed, Little Milton, Professor Longhair, Victoria Spivey.  

TBJ119: Clarke Rigsby of Tempest Recording on Paul McCartney, Steve Gadd and his Most Improved Player trophy Clarke Rigsby of Tempest Recording has acquired a reputation amongst his peers for being “musically militant.” Nuff said. From his site: Clarke Rigsby of Tempest Recording has acquired a reputation amongst his peers for being “musically militant.” Today, technology often overshadows or masks (or invents…) true musical talent, and although Clarke has the tools to “fix it in the mix,” he’d rather let music come from the musician and not the machine. Clarke combines his technical savvy and musical talent with his engineering and production experience giving his clients the appropriate combination for producing a first-rate project. Since 1980, Clarke’s recording history would be called diverse. Clarke has worked with such artists as Paul McCartney, Joey DeFrancesco, Glen Campbell, Ike Turner, Deepak Chopra, Dr. Billy Taylor, Hal Blaine, David Grisman, Jimmy Smith, The Phoenix Boys Choir, The Four Tops, Bobby Hutcherson, Don Edwards, James Moody, Rex Allen, Waylon Jennings, Frank Gambale, Alice Cooper, James Galway, Boston Brass, Brownie McGee, Tower of Power, the Fabulous Thunderbirds, the Phoenix Symphony Orchestra, Joe Alessi, Phil Smith (New York Philharmonic), Mark O’Connor, Peter Erskine, El Chicano, Honey Boy Edwards, UNM Wind Ensemble, Pro Musica Chamber Orchestra, Eric Burdon, Snuff Garrett, Lee Hazlewood, R. L. Burnside, Little Milton, Bo Diddley, Harvey Mason, Warren Jones, The Ahn Trio, The Arizona State University Marching Band, Bill Conte, River City Brass. With old pals Tim & Willy (KMLE Radio..) he’s done projects with a “who’s who” list of country music stars including Rascal Flatts, LeAnn Rimes, Steve Wariner, Trisha Yearwood, Sugarland, Billy Dean, Wynonna Judd, Dierks Bentley, Blake Sheldon, Colin Raye, Clint Black, Phil Vasser, Little Big Town, Travis Tritt, Trick Pony, Lee Ann Womack, Terri Clark, along comedians Frank Caliendo and Tim Hawkins, among many others. In this fun and lively discussion, we cover: Andrew's birthday! Clarke's start in the music business From L.A. to Phoenix Deciding to stay in Phoenix due to the L.A. scene in the early 80's Building his studio The joys of dealing with the city government Clarke and Paul McCartney on top of a bus Working with Phil Ramone Working with Sam Pilafian How they met "It's called development" Working with Steve Gadd and Joey DeFrancesco Boston Brass working with Steve Gadd Andrew actively ignoring Clarke's video Sweaty Lance Gadd's process Steely Dan stories How he got started doing brass recordings How the recording process is a learning opportunity and makes you a better musician Recording the River City Brass Band Freaking out at the green Eating at Rizzo's on Clarke's 50th birthday The Revenants Winning an Emmy Doing a jazz record with Frankie Valli His "Most Improved Player" trophy Working with Tower of Power Tower of Power and the ASU Marching Band Teaching at ASU Recording for musicians The impact of new technologies Bison TSA Agents Awkward segues Gadd AF Band LINKS: Tempest Recording Clarke's Sam tribute Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies march at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.  

Show 38 – Recorded 6-22-19 This podcast provides 13 performances of blues songs performed by 14 blues artists or groups whose tremendous talent is highlighted here. Performances range from 1959 up to the early 2018.  These blues artists are: Alabama Shakes, John Lee Hooker and Canned Heat, Big Joe Williams, Lightnin Hopkins, Brownie McGhee and Sonny Terry, Mary Lane, BB King and Etta James, Lowell Fulson, Charlie Musselwhite, Muddy Waters, Reverend Gary Davis, Pinetop Perkins and Willie “Big Eyes” Smith, Lucinda Williams, Leon Russell, Little Milton  

Show 38 – Recorded 6-22-19 This podcast provides 13 performances of blues songs performed by 14 blues artists or groups whose tremendous talent is highlighted here. Performances range from 1959 up to the early 2018.  These blues artists are: Alabama Shakes, John Lee Hooker and Canned Heat, Big Joe Williams, Lightnin Hopkins, Brownie McGhee and Sonny Terry, Mary Lane, BB King and Etta James, Lowell Fulson, Charlie Musselwhite, Muddy Waters, Reverend Gary Davis, Pinetop Perkins and Willie “Big Eyes” Smith, Lucinda Williams, Leon Russell, Little Milton  

Show 37 – Recorded 6-8-19 This podcast provides 14 performances of blues songs performed by 14 blues artists who’s tremendous talent is highlighted here. Performances range from the 1937 up to the early 2019.  These blues artists are: Little Willie John, Susan Tedeschi and Derek Trucks, Albert Castiglia, John Hammond, Paul Oscher, Precious Bryant, Smokey Wilson, Taj Mahal and Gregg Allman, Ry Cooder, Sonny Boy Williamson II, Robert Johnson, Little Milton, Howlin Wolf, Dr John and The Band  

Show 37 – Recorded 6-8-19 This podcast provides 14 performances of blues songs performed by 14 blues artists who’s tremendous talent is highlighted here. Performances range from the 1937 up to the early 2019.  These blues artists are: Little Willie John, Susan Tedeschi and Derek Trucks, Albert Castiglia, John Hammond, Paul Oscher, Precious Bryant, Smokey Wilson, Taj Mahal and Gregg Allman, Ry Cooder, Sonny Boy Williamson II, Robert Johnson, Little Milton, Howlin Wolf, Dr John and The Band  

259 - Greg "Fingers" Taylor This interview was conducted with the harmonica legend Greg “Fingers” Taylor on September 1, 2006 in Northeast Georgia. Taylor released a total of five studio albums including “Harpoon Man,” “Chest Pains,” “New Fingerprints,” and “Hi Fi Baby,” as well as two compilation albums “Greatest Hits” and “Back to the Blues.” Taylor was also a singer and played keyboards. He was one of the original members of Jimmy Buffett's Coral Reefer Band and continued on until 2000. Taylor wrote the song “Big Rig,” which Buffett recorded and also co-wrote the song “Miss You So Badly” with Buffett. In addition to appearing on the majority of Buffett's albums he has recorded with James Taylor, Chris LeDoux, Jerry Jeff Walker, Mac McAnally, Little Milton, Al Kooper, Jimmy Hall, Tim Krekel, The Nitty Gritty Dirt Band, Michael Nesmith, Bo Diddley, Larry Raspberry, Debbie Davies, Don Nix and The Tams. On his 67th birthday, we are proud to present the digitally remastered "Fingers Taylor tape." In this interview , the story of Greg “Fingers” Taylor is told in his own words. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour

Show 36 – Recorded 5-25-19 This podcast provides 14 performances of blues songs performed by 14 blues artists who’s tremendous talent is highlighted here. Performances range from the 1940’s up to the early 2018.  These blues artists are: Junior Wells, Etta James, Sonny Boy Williamson II, Lowell Fulson, Shaun Murphy, Mike Hill’s Blues Mob, Sleepy John Estes, Little Walter, Mary Lane, Smiley Lewis, Mike Zito, Bonnie Raitt, Little Milton, Boz Scaggs  

Show 36 – Recorded 5-25-19 This podcast provides 14 performances of blues songs performed by 14 blues artists who’s tremendous talent is highlighted here. Performances range from the 1940’s up to the early 2018.  These blues artists are: Junior Wells, Etta James, Sonny Boy Williamson II, Lowell Fulson, Shaun Murphy, Mike Hill’s Blues Mob, Sleepy John Estes, Little Walter, Mary Lane, Smiley Lewis, Mike Zito, Bonnie Raitt, Little Milton, Boz Scaggs  

Will McFarlane is a guitarist from Muscle Shoals. He played guitar in Bonnie Raitt’s band in the second half of the seventies before joining the Muscle Shoals Rhythm Section as lead guitar player in 1980. His playing can be heard on recordings by Bobby “Blue” Bland, Little Milton, Johnnie Taylor, Etta James, Candi Staton and Joss Stone. He also released a handful of contemporary Christian albums as an artist. In this episode we talk about his work spanning the 1980’s to today. The Crazy Chester Radio Hour is created and hosted by record producer Andreas Werner. This episode was recorded at the Florence-Lauderdale Tourism Visitor Center in Florence, Alabama. The theme song is performed by Jimmy Hall & Funky Chester and written by Andreas Werner (Crazy Chester Music, BMI). Used with permission.

Will McFarlane is a guitarist from Muscle Shoals. He played guitar in Bonnie Raitt’s band in the second half of the seventies before joining the Muscle Shoals Rhythm Section as lead guitar player in 1980. His playing can be heard on recordings by Bobby “Blue” Bland, Little Milton, Johnnie Taylor, Etta James, Candi Staton and Joss Stone. He also released a handful of contemporary Christian albums as an artist. The Crazy Chester Radio Hour is created and hosted by record producer Andreas Werner. This episode was recorded at the NuttHouse recording studio in Sheffield, Alabama. The theme song is performed by Jimmy Hall & Funky Chester and written by Andreas Werner (Crazy Chester Music, BMI). Used with permission.

Will McFarlane is a member of the Musician's Hall of Fame. He spent six years playing guitar with Bonnie Raitt, from 1974 to 1980. McFarlane left Raitt to move to Muscle Shoals, Alabama, playing on records for Bobby Blue Bland, Little Milton, Etta James and Johnnie Taylor as part of the famed Muscle Shoals Rhythm Section.

Show 7 – Recorded 7-14-18. This podcast provides 7 performances of blues songs performed by 3 blues artists whose tremendous talent is highlighted here. Performances range from the 1957 up to 2010. This podcast is a live interview of Billy Johnson, Founder and Curator of the Highway 61 Blues Museum in Leland, MS and features these 3 blues artists: James “Son” Thomas, Little Milton and Jimmy Reed  

This weeks episode starts with a nod to PY’s Soul Celler with tracks from Little Willy John, Little Milton and Otis Redding. We have a mini Go-Go frenzy with Trouble Funk, Little Benny & The Masters, The Soul Searchers, Redds & The Boys and stay in DC with Parliament. We remember Jalal of The Last Poets and also play music from Curtis Mayfield, Funk Inc, Blood, Sweat & Tears and Blind Faith. Finally, there is some exciting news of upcoming Gutbustery.   You can find us at: Facebook - @creamyshouse Skype - @CreamysHouse Drop us a tweet or email us at mark@choa.co.uk. We would love to hear from listeners, wherever you are and in particular in countries outside of England. Have a beautiful week and ‘Keep It On The One’ Love, Creamy xxx  

Tonight on City Of Giants with Michael Patton we have John Orsulak, the event chair for 2018 SpringFest at Woodward Park. Tulsa Garden Center This is one of my favorite things to do in Tulsa in April and I always buy a new spring color shirt to wear. I believe it serves as the official beginning of spring and the park is always beautiful as well. John was great. He pimped the park and bus ride from All Souls Church on Saturday, worked in the volunteer Boy Scouts who help get your purchases to your car, and talked all about the vendors and volunteers. Here is a link of vendors...http://tulsagardencenter.com/events/springfest/ Of course, I asked stupid question. I wanted to know if the Rose Society and Iris Society fight like Crips and Bloods and why SpringFest has so much focus on pollinators when you can't eat them. John was wonderful to put up with my odd conversation about soiling myself and only wanting to buy cut flowers (cause they are already dead). Poppa Nite found great tunes like "Tend To My Garden" by the James Gang, "Spring" by Little Milton, and "Spring Fling" by AudioMatrix. Listen tonight at 7 pm or this weekend each day at noon on www.radioIDL.com.

Billy Thompson has played with the legends; Albert King, Patrick Simmons, Billy Payne, Little Milton, Mike Finnigan and many more.  He combines world-class slide guitar, searing licks and soulful vocals with a unique amalgamation of style including blues. rock, funk and soul.  Two-time Program Director of the Year - Ray White, catches up with Billy in January 2017 to talk about his career highlights and his new CD, titled BT.  In our showcase segment, we feature multi-Grammy award winner Toto, whose latest release is 40 Trips Around The Sun.  Learn more about our show at http://www.classicartiststoday.com 

This week we unlock the Beale Street Caravan vault to remember Blues legend, James Milton Campbell Jr. -- better known as Little Milton. You'll hear a mix of performances and interviews from our archives, plus Dr. Barbara Ching returns with her series exploring the connection between country music and the Blues. #ilistentomemphis

ESPECIAL LITTLE MILTON Otro especial de Blues Syndicate, en esta ocasión dedicado a James Milton Campbell, más conocido como Little Milton fue un vocalista y guitarrista que nació el 7 de septiembre de 1934 en Inverness, Mississippi y que murió el 4 de agosto de 2004 en Memphis.

ESPECIAL LITTLE MILTON Otro especial de Blues Syndicate, en esta ocasión dedicado a James Milton Campbell, más conocido como Little Milton fue un vocalista y guitarrista que nació el 7 de septiembre de 1934 en Inverness, Mississippi y que murió el 4 de agosto de 2004 en Memphis.

Johnny Rawls is a Southern Mississippi soul-blues legend who cut his teeth with ZZ Hill, and Joe Tex before becoming O.V. Wright’s band leader. After O.V.’s death he led Little Johnny Taylor’s band before launching a solo career and scoring several hit records, Red Cadillac and Lucy (Get Juicy). Rawls has been featured on many magazine covers and in 2009 was honored with a Blues Trail Marker next to Tyrone Davis and Little Milton, located at the original site of the Hi Hat Club in Hattiesburg, Mississippi. He has been nominated for 14 Blues Music Awards.

Sharon McConnell-Dickerson is preserving the Mississippi Delta blues with her own two hands. She's doing it by creating molds of some of the most influential blues musicians of our time. The lifecasts include a mask of Bobby “Blue” Bland, Little Milton from Memphis, “Honeyboy” Edwards from Chicago, and Pinetop Perkins from Clarksdale, just to name a few – almost 60 musicians total. http://mcconnelldickersonart.com/blues-lifecast Learn more about your ad choices. Visit megaphone.fm/adchoices