Podcasts about little tenderness

(S4-Ep.13) Otis Redding -Live In Europe with guest Rob Bowman Released July 10, 1967 and Recorded March 1967 and Volt/Atco (Stax) Otis Redding's Live in Europe is a landmark live album that captures the soul legend at the peak of his powers. Recorded during his 1967 European tour, the album showcases Redding's incredible stage presence and raw emotional depth, bringing a vibrant energy to the tracks. The album features classic songs like "Try a Little Tenderness" and "I Can't Turn You Loose," with Redding's dynamic vocals and impassioned delivery shining through. The European audience provided a perfect backdrop for Redding's electrifying performance, emphasizing his ability to connect with listeners worldwide. The album also highlights his impeccable backing band, Booker T and M.G.'s, who play with precision and soul. Live in Europe became one of Redding's most cherished records, offering fans a glimpse into his legendary live shows and solidifying his place as one of the greatest soul performers ever.Signature Tracks: "Respect" "(I Can't Get No) Satisfaction"  "Try A Little Tenderness" Full Album:  YouTube, SpotifyPlaylist YouTube, Spotify

In the new year, stories of people trying a radical approach to solving their problems. Visit thisamericanlife.org/lifepartners to sign up for our premium subscription.Prologue: Ira meets two sisters who got into a fight, and then learned a lesson in turning the other cheek. (8 minutes)Act One: A hardened PI works the toughest case of his very young life. (18 minutes)Act Two: Producer Aviva DeKornfeld talks to a man who finds himself the target of vengeful crows. (8 minutes)Act Three: Comedian Josh Johnson wonders if some people should've been spanked as kids. (10 minutes)Act Four: Writer Etgar Keret reads his story about a bus driver who refuses to open the doors for late passengers. (9 minutes)Transcripts are available at thisamericanlife.orgThis American Life privacy policy.Learn more about sponsor message choices.

In a harsh world we could all be a little nicer. cocktailnation.net   James Spencer-I've Got a Crush On You Claude Bolling/ Jean Pierre Rampal-Amoureuse Beverly Kenney-Try a Little Tenderness Jackie Gleason-Good Night Sweet Nightingale Johnny Hartman For the Want of a Kiss Julie London-In The Middle of A Kiss Marilyn Monroe-Kiss” from Niagara  Chet Baker- My Buddy Sue Raney with The Bob Florence Group-Close Enough For Love Liza Minnelli- Embraceable You Beegie Adair-Moonlight Serenade Ray Brown Orchestra -Gentle Lover Paula Castle-Here I Am In Love Again Doris Day-You Love Me Nelson Riddle-Body and Soul Jennie Smith-Never Had This Feeling

Send us a textIñaki nos trae la canción de Try a Little Tenderness de Otis Redding. Y Eva nos acompaña una vez más a explorar lo que significa el poder de la ternura en las relaciones y como impacta a las emociones. Agrégate nuestros playlists a tu Spotify: 'A Pie De Letra Temporada 1' y 'A Pie De Letra Temporada 2' para que nos acompañes cada semana con una nueva canción.

#23- Otis Redding-Complete & Unbelievable: The Otis Redding Dictionary of Soul (Stax) Released October 1966, Recorded May-September 1966  Complete & Unbelievable: The Otis Redding Dictionary of Soul, recorded at Stax Recording Studios in Memphis, is a seminal work in Otis Redding's career and soul music. Produced by Jim Stewart, Isaac Hayes, and Booker T. Jones, the album features legendary Stax studio musicians like Steve Cropper, Donald "Duck" Dunn, Al Jackson Jr., Booker T. Jones, and the Memphis Horns. It includes standout tracks such as the iconic "Try a Little Tenderness," "Fa-Fa-Fa-Fa-Fa (Sad Song)," and "My Lover's Prayer." It covers like "Day Tripper" and "Tennessee Waltz," each showcasing Redding's dynamic vocal range and the band's tight, soulful arrangements. The album received critical acclaim, reaching No. 5 on the Billboard R&B chart and No. 73 on the Billboard 200, solidifying Redding's legacy as a master of soulful expression and musical innovation. Full Album on YouTube https://youtube.com/playlist?list=PLn1E4mv4x-I4oNQ0qlroeWXxa4lDD4Lj9&si=6SlxhnkIL8UdM3Ms Full Album on Spotify https://open.spotify.com/album/25uNcuL4dAoV62eKmr8Q0Y?si=hK3DknToSX2TkN_3ggWDiA Curated 1966 Playlist Spotify: https://open.spotify.com/playlist/7I6dzYc5UJfko8unziRMWf?si=a07e4d1e27944d00

Learning to acknowledge, accept and nurture all of the pieces that make me… ME daily. Reminding myself that I'm dope af. --- Send in a voice message: https://podcasters.spotify.com/pod/show/truthmoment/message

Award-winning storyteller in television, film, and literature, Matthew Weiner, is a recent graduate of the Hoffman Process. Matthew is the creator, executive producer, writer, and director of the television show, Mad Men. Matthew shares that his biggest fear in doing the Process was losing his creativity; if he healed his trauma, he'd no longer be creative. Now on the other side of the Process, Matthew knows his fear was unfounded because, through his deep work of transformation, he learned that making art is part of healing trauma. As a comedy writer, Matthew shares that often negative self-statements get a laugh. And yet, that inner negativity, including when it is pointed at ourselves, is, as Matthew says, "not sustainable." Releasing harmful negative patterns and the negative love we learned as children brings freedom and a lightness that is hard to imagine until you discover it within yourself. A particularly beautiful and wise reflection from Matthew comes when he speaks about childhood. He shares that, as children, we see ourselves as a "supporting player" in our parents' lives, not realizing that each of us is actually "the star" of our childhood. Toward the end, Matthew shares the importance of reflecting on his experience during the Process and after. Post-Process, people have told him he's different, his voice has changed and he's softer. Like many of our guests, Matthew sees value in this process of reflection through conversation on personal transformation. We know there is also great value in witnessing another's experience. We hope you enjoy this wise, reflective conversation with Matthew and Drew. More about Matthew Weiner: Matthew Weiner is a nine-time Emmy Award winner and five-time WGA Award-winning storyteller in television, film, and literature. Among his range of credits are two of television's most successful and critically lauded shows:  creator, executive producer, writer, and director on Mad Men, which was distinguished with the Peabody Award, and executive producer for The Sopranos. Weiner was also the creator, executive producer, writer, and director of the original contemporary anthology series, The Romanoffs, set in seven countries around the globe. Weiner's debut novel, Heather, The Totality, was published by Little, Brown and Company. You can discover more about Matthew Weiner here. As mentioned in this episode: Esopus Magazine article. Quote: “Unfortunately, or maybe fortunately, I don't have anything on paper despite years of constant rejection. In showbiz, all bad news has come through agents and in the form of phone calls. Even early on. I don't know that I would have saved them if I had gotten them. They're like bad reviews for me, best skimmed through and then briefly obsessed over before being mentally discarded. I've come to realize rejection is now part of my process. I am not used to it by any means, nor do I expect it, but it both sharpens my resolve that my ideas are new and also drives me to professionally outlive the resistance of the gatekeepers. If I wait patiently they will either move on, reconsider, or become brave enough to try something new. Rejection, as painful as it is, is nothing more than a delay.“ - Matthew Weiner Mindful Self-Compassion (Kristin Neff and Chris Germer) Listen to Kristen Neff on the Hoffman Podcast. Listen to Chris Germer on the Hoffman Podcast, Livia Soprano David Chase Terry (Terrence) Winter Robin Green Mitch (Mitchell) Burgess TM (Transcendental Meditation) About the song, Try a Little Tenderness Try a Little Tenderness by Otis Redding Fawlty Towers: Don't mention the war! Wizard of Oz Hoffman Teacher, Barbara Comstock Listen to Barbara Comstock on the Hoffman Podcast The cargo ship that took down Baltimore's Francis Scott Key Bridge Sigmund Freud Id: the part of the mind in which innate instinctive impulses and primary processes are manifest.

This episode will expire in 24 hours! Missed an episode? Pick it back up anytime! Want the back catalog? Become a supporter on Patreon! patreon.com/mercuryradio More info about ARTC And Mercury at artc.org/mercury  Follow us on Twitter @mercury870 Script available at http://mercuryradio.libsyn.com

In this episode of "More Confidence with Luna Gaia," I open up about something deeply personal and incredibly important: the critical importance of self-kindness. I know all too well the heavy toll that low self-esteem and self-worth can take on our mindset and actions. I've been there, in the trenches, fighting my own battles with self-abuse, including bulimia and self-harm. It was a heart-wrenching journey to the realization that I was in an abusive relationship with myself. I'm here to share my story, not to seek sympathy, but to connect with you on a level that says, "I understand." I want to encourage you to take a moment, a real, honest moment, to reflect on your relationship with yourself. It's the most crucial and lasting relationship you'll ever have, and it deserves to be nurtured with self-love and kindness. I've learned, sometimes the hard way, that the way we treat ourselves sets the stage for how others will treat us. It's not just about being kind to ourselves; it's also about holding ourselves accountable and embracing discipline as forms of self-care. It's a delicate balance, but it's possible. I'm here to offer you resources and support for your journey of self-improvement. Remember, self-love is not a destination reached through self-abuse. It's a path of gentle growth, understanding, and acceptance. Let's walk this path together.

This week Clockwork Torgo tackles The Commitments. We also talk about The Milking of Another Motion Picture Masterpiece: A Novel, Young Sheldon, Beekeeper, Ted: The Show, Servant, Shadowdark RPG, Star Trekkin in Vegas, the "George Carlin" special, Purple Rain: The Musical, The Mandalorian and Grogu, another Star Trek movie, plus more. So, squeeze her, it's time for a GeekShock

Because of the tender mercy of our God,With which the Sunrise from on high will visit us, LUKE 1:78 (NIV)See omnystudio.com/listener for privacy information.

Al goes two hours on Friday nights from Lucky Star Casino in Concho, OK. NBA Free Agency and fireworks safety. Who does 'Try a Little Tenderness' the best? Otis Redding or Three Dog Night?See omnystudio.com/listener for privacy information.

Ten Years After "I May Be Wrong, But I Won't Be Wrong Always"The Pogues "White City"Ruth Brown "It's All In Your Mind"Eilen Jewell "Silver Wheels and Wings"Tommy Tucker "Hi-Heel Sneakers"Adam Faucett "Day Drinker"Country Jim "Sad And Lonely"Buddy Emmons "Witchcraft"Twain And The Deslondes "Run Wild"Nappy Brown "The Right Time"Loretta Lynn "The Darkest Day"Furry Lewis "Casey Jones"She & Him "I Could've Been Your Girl"Bing Crosby "Where the Blue of the Night (Meets the Gold of the Day)"Otis Redding "Try a Little Tenderness"Bob Dylan "Floater (Too Much to Ask)"Oscar 'Papa' Celestin And His New Orleans Band "Didn't He Ramble"Valerie June "Shakedown"Jimmy "Duck" Holmes "It Had to Be the Devil"The Breeders "Saints"Tom Waits "Get Behind the Mule"Ella Fitzgerald "In the Still of the Night"John Prine "Often Is a Word I Seldom Use"Annisteen Allen "Fujiyama Mama"Fastbacks "In the Summer"The Replacements "Left Of The Dial"Bob Wills & His Texas Playboys "Milk Cow Blues"Gordon Lightfoot "The Wreck of the Edmund Fitzgerald"Clifford Brown & Max Roach "I GET A KICK OUT OF YOU"Elvis Costello & The Attractions "Every Day I Write the Book"ZZ Top "Waitin' for the Bus"ZZ Top "Jesus Just Left Chicago"George Lewis "Burgundy Street Blues"Webb Pierce "Slowly"Gang of Four "Armalite Rifle"J Mascis + The Fog "Ammaring"Gillian Welch "Tennessee"Lucero "Nothing's Alright"Drag the River "Tobacco Fields"Pretenders "Mystery Achievement"John Coltrane "Ev'ry Time We Say Goodbye"

Helen and Gavin chat about Tetris, American Manhunt: The Boston Marathon Bombing, and Renfield, and it's Week 73 from the list of Rolling Stone's 500 Best Songs Ever, numbers 140 to 136; No Woman, No Cry by Bob Marley and the Wailers, Vogue by Madonna, Heart of Glass by Blondie, Thank U, Next by Arianna Grande, and Try a Little Tenderness by Otis Redding.

Welcome back to "First Comes Love" podcast! In this exciting new episode, we're taking a look back at some of the valuable lessons we learned from our guest, Licensed Marriage and Family Therapist Michal Terrell, in episode 8. Join us as we recap the important topics we covered, including the importance of communication, the challenges of conflict resolution, and the power of forgiveness in relationships. We'll also touch on some of the personal stories and insights that Michal shared with us, drawing on her wealth of experience as a mental health professional and as Aaron's big sister. As always, Lindsey and Aaron bring their own unique perspectives and humor to the conversation, making for an engaging and entertaining discussion. We'll also share some tips and takeaways that we hope will help you in your own relationships, whether you're married or just starting out. Don't miss this opportunity to revisit some of the most valuable lessons from our podcast, and to join the conversation as we continue to explore the complexities and joys of love, marriage, and family. Be sure to subscribe to our channel and follow us on social media for more great content and updates on future episodes! Thanks for tuning in, and we'll see you next time on "First Comes Love" podcast! --- Send in a voice message: https://podcasters.spotify.com/pod/show/firstcomelovetcm/message

Will anyone come calling for Yosh Nijman? Would the Packers match or take the second round pick? Aaron chats about that and all things Green and Gold.

The ladies discuss the second part of season 38's reunion of MTV's The Challenge. A new discovery was made and the silence was deafening... Watch The Challenge, Wednesdays at 8/7CT.Watch us live on Youtube(Duel Alliance Pod)Check us out on Twitter@DuellAlliancePod Alicia: @Ace_S5Megan: @meggsnhinesJade Hoye's GoFundMe: https://gofund.me/5a8ece5dMake sure to rate, review, and subscribe wherever you get podcasts. While you're on the web, subscribe to our YouTube for episode clips and more.

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Aanvankelijk vond Otis het maar een beetje saai.. Try A Little Tenderness was al zo vaak uitgebracht door andere artiesten. Met tegenzin besloot hij het nummer na aandringen op te nemen. "Als ik iets teveel geef van alles, keuren ze het vast af" was zijn gedachte.. Maar dat liep toch even anders... Dit is het verhaal achter Try a little Tenderness van Otis Redding. 

Since 1959, the Navy has used marine mammals in aquatic missions such as identifying mines. Now their dolphins are resources for studies on aging. This weekend, the Academy Museum is planning to launch “Try a Little Tenderness,” a series focusing on movies that depict love and romance between Black characters. Hustler founder Larry Flynt's vast array of 20th century paintings, glass lamps, statuettes, and other obscurities are up for auction. 

durée : 00:24:59 - Les Nuits de France Culture - Massif, lourd, un peu raide, Otis Redding n'était certainement pas le plus grand danseur du monde, mais durant son passage sur terre, il démontra qu'il était sans doute l'un des plus grands chanteurs de l'histoire de la Soul music, probablement même le plus grand. Le 10 décembre 1967, en s'écrasant dans le lac gelé de Monona, son avion l'envoyait au ciel pour l'éternité, à seulement 26 ans, à l'aube d'une carrière qui s'annonçait gigantesque. * Il est resté depuis la référence de la soul, la voix noire du label Stax qui a fait danser les blancs. Une voix pleine d'énergie et de larmes qui a fait bouger des générations de toutes les couleurs ; toujours aussi époustouflante de virtuosité et de puissance aujourd'hui, même après la millième écoute de Try a Little Tenderness. En 1989, l'émission "Coda" consacrait une série à Otis Redding. Coda - Otis Redding, 1 à 5 1ère diffusion : 28/11/1989 et 02/12/1989

This week, it's another classic Q&H word game, because Hallie has written six trivia questions about people and things who share their names with big companies! We also talk classic literature, some spy history, and mythology!2:14: Q1 (Times & Places): The original surname of what World War I spy is the same as the name of a United States-based digital payments network owned by seven of the largest banks in the country?9:41: Q2 (Arts & Literature): The chief mate of the Pequod in Moby-Dick has the same name as what world's largest chain of coffeehouses?14:05: Q3 (Sports & Games): The largest exporter of beef in the United States, what Fortune 500 company is also the surname of an athlete who became infamous in the late 1990s after mutilating Evander Holyfield?25:22: Q4 (Movies & TV): The main character in the musical Funny Girl has the same first name as that of what company, officially called the Federal National Mortgage Association?31:34: Q5 (Everything Else): The name of what company was chosen by founder Phil Knight while at the Temple of Athena in Greece?35:32: Q6 (Music): What singer/songwriter, known for “Try a Little Tenderness” and “These Arms of Mine” has the same name as a company with the slogan “Made to move you”?Theme music: "Thinking it Over" by Lee Rosevere, licensed under CC BY 2.0E-Mail: quizandhers@gmail.com Facebook: https://www.facebook.com/quizandhers/Twitter: https://twitter.com/quizandhersInstagram: https://www.instagram.com/quizandhers/Body Count Podcast: https://podcasts.apple.com/us/podcast/body-count/id1445765613

Welcome to the Celestial Insights Podcast, the show that brings the stars down to Earth! Each week, astrologer, coach, and intuitive Celeste Brooks of Astrology by Celeste will be your guide.   Book a private astrology reading or horary consultation. Join the waitlist for the Moon Mastery™ Program. Check out Celeste's blog. Download Celete's free guide to help understand the transiting Moon! Here's Celeste's Amazon storefront, with recommended books and oracle decks!   You can also follow Astrology by Celeste on Instagram, Facebook, YouTube, TikTok, and Yelp.   *****   Astrology highlights for the week of June 19, 2022:   00:48 – This week's theme is Try a Little Tenderness! Celeste pulled a card from The Oracle of Mystical Moments: It's #10, Flower Spirit. Harness friendship, soul connections, tenderness, and joy. Check out Celeste's Amazon storefront, with recommended books and oracle decks!   02:18 – The 3 big things this week: First, we have the Last Quarter Moon (LQM) at 29 Pisces on Monday; it's right near Neptune at 25 Pisces (illusions & delusions) and sextile Venus on Algol in Taurus (relationships beheading). The last degree is karmic (anaretic) and embodies all of the energy of the sign. Big endings are possible; stay curious. The Sun is at 29 Gemini during this lunation. What are you hearing? What is revealed? Perhaps the fog will continue to lift for you. The LQM is a crisis of consciousness, metabolizing and integrating the lessons you've learned. If you find yourself crying this week, let the tears flow!   05:51 – This LQM cycle is part of a Lunar Phase Family which began on Mar 24, 2020: What was seeded then? The cycle continued on Dec 21, 2020, the same day that social planets Jupiter (growth & abundance) and Saturn (lessons & work) met at 0 Aquarius. The cycle continued on Sep 20, 2021. What do these dates call to mind for you? Is there a theme playing out?   09:04 – Also, at this LQM, Mars is on asteroid Tisiphone (one of the furies associated with justice, revenge, and punishment). There may be an emotional release around anger.   09:51 – Second big thing: The Sun will make its annual ingress into Cancer, which heralds the summer solstice in the northern hemisphere and the winter solstice in the southern. What do you want to grow and nurture?   10:43 – As Celeste lives in the US, she cast a chart for Washington, DC. (But you could cast a chart for the capital of your country!) In the US, the Cancer ingress is 5:13am ET. The ascendant of this chart is 21 Gemini, which is the degree of the USA Mars. Also, Saturn sits at the Midheaven, and is retrograde. Saturn rules hardship and restrictions. Saturn squares Venus at 28 Taurus in the 12th house. Venus is still near Algol and trine Pluto at 28 Capricorn: Will inflation continue to rise? The US continues in its Pluto return; things are being unearthed, and the next conjunction is July 11 in the 2nd house of values and resources, including money. The Sun (the leader) in Cancer also is square the Moon (the people) in Aries.   13:25 – Third, Cancer season is a great time to work closely with the transiting Moon, as it rules Cancer. Notice how people's moods change. And do make sure you're on the waiting list for Celeste's Moon Mastery™ Program! Also, download Celeste's free guide to help understand the transiting Moon! Woo hoo!   14:21 – On Sunday, the word of the day is ADAPTABLE.   15:31 – On Monday, the theme is INSPIRED. The LQM is at 8:10 pm at 29 Pisces. Psychological integration. The Moon enters fiery Aries at 8:37 pm PT. Just do it!   17:09 – Tuesday's word is CONNECTION. The Summer solstice happens, and Cancer season begins at 2:13 am PT. Feelings of nostalgia may surface.   18:30 – On Wednesday, the word of the day is PLAYFUL. Venus enters Gemini at 5:34 pm PT. Get flirty!   19:21 – On Thursday, the focus is SELF-ESTEEM. The Moon enters Taurus at 4:57 am PT. Take time to savor your meals.   20:09 – On Friday, the word is REFLECT. The Balsamic Moon phase begins at 18 Taurus at 5:09 pm. Embrace releasing and relaxation.   20:54 – On Saturday, take time to CHILL! The Moon enters airy Gemini at 4:13 pm PT. Connect with a friend or sibling.   21:22 – Thanks for listening to Celestial Insights! To support the podcast and help others find the show, please follow or subscribe wherever you listen, rate it five stars, or write a lovely review! And let Celeste know if you have any "astrology in action" stories at Celeste@astrologybyceleste.com! See you next week!

What if we showed up in tenderness and love in all areas of our lives—be it ourselves, family, partners, friends, or even our clients? Today, Barb and Melissa discuss how coming from the heart expands our experiences, despite preconceived notions that love is taboo in certain situations. What difference would it make in your life if tenderness was front-and-center? Please find us on Melissa's website or  Barb's website.If you enjoy the show, please FOLLOW, RATE, and REVIEW us on Apple Podcasts or Spotify. It really helps us out. Thank you!

L'E&Bmission c'est l'émission qui parle de rap et de culture urbaine. Réalisée avec nos frérots d'Essec&Bab, cette deuxième édition vous propose de découvrir le rap sous l'angle de l'amour.  Les samples quesaco ? C'est simple (et pas simple XD). Il s'agit d'un échantillon d'un extrait musical  existant, qui est réutilisé pour en faire une nouvelle création musicale. Dans ce podcast, on s'intéresse aux samples revisités dans le monde du rap. Au programme : - Sample 1 : Josky de Kalash Criminel, inspiré de Masikini de Josky Kiambukuta - Sample 2 : Night Lovell - Derira City Center de Gangster Gang, inspiré de California Dreamin'- Sample 3 :Otis de Kanye West, inspiré de Try a Little Tenderness d'Otis Redding - Sample 4 : Nelick de Nelick 2022, inspiré de Zaddy de Ty Dolla Sign- Sample 5 : Dans la soucoupe de PNL, inspiré de The Birds Pt. 2 de The Weeknd - Sample 6 : Rémi de Columbine, inspiré de The Time To Run de Dexter Britain- Sample 7 : Something to Rap About de Freddie Gibbs et The Alchemist, inspiré de On Love de David T. Walker - Sample 8 : B.O. (Banlieue Ouest) de Lunatic, inspiré de La Serveuse de Serge Lama Super podcast sur la réincarnation (snif snif), streamez les sons ouaich ouaich ! 

Tenderness isn't something we experience a whole lot these days, yet it has the power to change the world. Listen in to a story from the last week of Jesus' life which invites us to overflow with tenderness.

Deco was 16 years old. We repeat, "Deco was 16!" Andrew Strong was a wee lad when he busted out covers of "Mustang Sally" and "Try a Little Tenderness" in the 1991 film, The Commitments. The Alan Parker drama-comedy about an assembled band of soul-singing Dubliners featured a rough and ready cast, great music, and one bummer of an ending. Three decades later, do the melodies linger? Do the accents still charm? And would a happier ending have made this movie a hit? The Old Roommates step up to the mic and give it a rewatch. Listen to this.Bonus content including Christina and Brian's favorite tracks off The Committments' soundtrack available at patreon.com/oldroommates! Follow Old Roommates on social media @OldRoommates. Email us at oldroommatespod@gmail.com and please give us a rating or review! Thanks for listening!#AlanParker #AndrewStrong #robertarkins #mariadoylekennedy #colmmeaney

Acclaimed poet Carl Phillips discusses the ideas in his new poetry collection, his interactions with the St. Louis police and why he plans to leave the city.

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In this episode we are discussing The Tender Bar (2021). You will get to hear Kris takes out his frustration of constantly being the runner up of People's Magazine's sexiest man alive. Directed by two time Oscar winner George Clooney and starring one time winner Ben Affleck. Get your bingo cards ready as Scott re-imagines the film in the style of Quentin Tarantino.   You can reach us at our one stop spot: howdyoulikethatmovie.com

Recorded from the comfort of Dee's bed, we unpack what being tender to yourself looks like. We also dive into how it looks in relationships and other things.   Like what you hear?! Show some love and leave us a 5 star rating and review us on Apple Podcast! Look for us here: Podbean Google Podcast Apple Podcast Follow/reach out via Instagram: @after5podcast_ @_lothelight @dyemi_  

This is a general reading, the words I speak is allegorical, so take what you need (put your thing down, flip it and reverse it) and leave what you don't. Either way, may this reading aid you along your journey. This is a general card reading that can pertain to anyone and anything (Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, Pisces) **If you'd like to support me and the growth of my podcast become a monthly supporter, donate to (Cashapp: $MedusaAsudem9), or simply tune in to my episodes. Any and all support is greatly appreciated. I'm currently not taking any personal readings but if you'd like a question featured on the podcast then email me at zalimanoree@gmail.com *Prefer questions of inner/personal work/development, not external pertaining's please. (I'm not in the business of telling you any lottery numbers, when Tyrone or Jane is coming back, nor if you're cleared of any health related issues.)** Welcome! I am, Medusa_Asudem. I channel general tarot card readings for those that may need guidance along their journey from my higher self for your higher selves. My intent is to bring forth messages that are for the purpose of directing and inspiring people to want to embark on their own personal inner work in order to detach and release from things that are of no use for our highest selves. (Through shadow work, inner work, soul searching, cleansing and healing of past and present experiences) Although I may deliver these messages, it is you that have the power of choice and you are the creator of your own reality/fate/journey. Disclaimer: These messages may not always resonate with you, that's fine. My advice would be to learn tarot yourself for you know you better than myself or anyone else. Lastly, this is for person's 18 and over. This reading is for your entertainment only. Peace --- 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/medusa-asudem/message Support this podcast: https://anchor.fm/medusa-asudem/support

In this episode we talk about how the current events in Afghanistan can be triggering and we reflect on a few stories to get deep into just why those memories and bonds created abroad mean so much to us at home. We discuss how to approach sensitive issues with veterans with the hopes of continuing to bridge the gap and create more compassion and understanding all around. Brought to you by: www.traditionalintents.com Use code VET10 for 10% www.wardogconcealment.com Use code EXTENDEDFAMILY for 10%

Today is the birthday of singer-songwriter Otis Redding (1941), known for soulful songs like “(Sittin' On) The Dock of the Bay” and “Try a Little Tenderness.”

If Otis Redding were alive, he'd be turning eighty this month. Instead, the world lost him at the age of 26. Redding revolutionized popular music, created a lasting legacy, and was the personification of soul. This episode of Hidden Track traces his journey, from modest roots to chart-topping hits, and we wonder what might have been. On this episode, Jonathan Gould, author of Otis Redding: An Unfinished Life joins host Grant Stovel to explore the fascinating story of Otis Redding's life and career. 

#65-61Intro/Outro: Heebie-Jeebies by Little Richard65. Adele (Chasing Pavements & Send My Love (To Your New Lover))64. Jay-Z (Izzo (H.O.V.A.) & Run This Town [feat. Rihanna])63. Talking Heads (Psycho Killer & Once in a Lifetime)62. Gov't Mule (Blind Man in the Dark & Mule [feat. John Popper])61. Otis Redding (Try a Little Tenderness & These Arms of Mine)

B.B. King/Tracey Chapman "The Thrill Is Gone"The Black Keys "Crawling Kingsnake"Amanda Shires "Bees In the Shed"Old 97's "St. Ignatius"Son Volt "Diamonds and Cigarettes"Cat Clyde, Jeremie Albino "What Am I Living For"Billy Joe Shaver/Willie Nelson "Hard to Be an Outlaw"Blondie "In The Flesh"The Hold Steady "We Can Get Together"Tom Petty & The Heartbreakers "Walls (Circus)"Precious Bryant "Don't Mess Up a Good Thing"Curtis Harding "Keep On Shining"Lizzo "Jerome"Digable Planets "Pacifics (Sdtrk "N.Y. Is Red Hot")"Charles Mingus "Goodbye Pork Pie Hat"The Meters "Out In the Country"Prince & The Revolution "Let's Go Crazy"A Tribe Called Quest "Excursions"Big Momma Thornton "Hound Dog"Cedric Burnside "Pretty Flowers"Eddie Floyd "Knock on Wood"Taj Mahal "Sweet Home Chicago"Raphael Saadiq "Heart Attack"Big Maybelle "How It Lies"Mississippi John Hurt "Louis Collins"Durand Jones & The Indications "Now I'm Gone"John Coltrane Quartet "All or Nothing At All"R.E.M. "Find The River"James Booker "One for the Highway"Bobby Bare Jr. "Your Adorable Beast"Waxahatchee "Lilacs"Krista Shows "Ain't Your Fault"Charlie Parr "Everyday Opus"Valerie June "Call Me A Fool"Big Mama Thornton "Early One Morning Blues"James Luther Dickinson "White Silver Sands"Otis Redding "Try a Little Tenderness"The Marvelettes "Too Many Fish In The Sea"R.L. Burnside "Miss Maybelle"Lucero "Coffin Nails"Dolly Parton "Don't Let It Trouble Your Mind"John Moreland "High on Tulsa Heat"Connie Smith "I Don't Want to Be with Me"Norma Jean "Po Folks"

Welcome in to another episode of Totemtalks! Thanks for tuning in as we continue our deep dive into all things musical. In todays episode, we we go Soul Mining with The The, we make some Forever Changes with Love, and we Try a Little Tenderness with Three Dog Night! Enjoy! TotemTalks is a music podcast dedicated to breaking down a variety of musical artists in fun and educational ways. If that sounds interesting to you, please check it out! And if you enjoy listening, be sure to let us know by using #totemtalks, and following us on our Social Media! Peace and Love! Facebook: facebook.com/lowtotemband Instagram: low_totem Twitter: low_totem Website: lowtotemband.com Become a Member of Team Totem here: https://anchor.fm/lowtotem/support --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lowtotem/support

Welcome to another episode of TotemTalks our quest for the best! In today's episode, we go Walkin' to New Orleans with Fats Domino, get Sent on Our Way with Rusted Root, and Try a Little Tenderness with Otis Redding! Enjoy! TotemTalks is a music podcast dedicated to breaking down a variety of musical artists in fun and educational ways. If that sounds interesting to you, please check it out! And if you enjoy listening, be sure to let us know by using #totemtalks, and following us on our Social Media! Peace and Love! Facebook: facebook.com/lowtotemband Instagram: low_totem Twitter: low_totem Website: lowtotemband.com Become a Member of Team Totem here: https://anchor.fm/lowtotem/support --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lowtotem/support

A show as programmed by James Spencer this week and when it comes to Tenderness we should always remember the feelings of those we love and care about and that sometime harsh words can be so very damaging and can't be repaired.   www.cocktailnation.net   James Spencer-I’ve Got a Crush On You Claude Bolling/ Jean Pierre Rampal-Amoureuse Beverly Kenney-Try a Little Tenderness Jackie Gleason-Good Night Sweet Nightingale Johnny Hartman For the Want of a Kiss Julie London-In The Middle of A Kiss Marilyn Monroe-Kiss” from Niagara  Chet Baker- My Buddy Sue Raney with The Bob Florence Group-Close Enough For Love Liza Minnelli- Embraceable You Beegie Adair-Moonlight Serenade Ray Brown Orchestra -Gentle Lover Paula Castle-Here I Am In Love Again Doris Day-You Love Me Nelson Riddle-Body and Soul Jennie Smith-Never Had This Feeling

The iconic American actor, Kevin Bacon, joins Tom to discuss 10 of his favourite songs of all time: Otis Redding - Try a Little Tenderness, Stevie Wonder - Big Brother, The Rolling Stones - Start Me Up, Blind Faith - Can’t find My Way Home, Joni Mitchell - The Gallery, Earth, Wind & Fire - Shining Star, Tom Petty - Breakdown, Bruce Springsteen - Rosalita, James Taylor - Something In The Way She Moves, Led Zeppelin - Whole Lotta Love. The Bacon Brothers' latest LP, The Way We Love, is out now. This episode is brought to you by Modal Electronics, who make beautiful, innovative and powerful synthesisers. You can enjoy vibrant wavetable patches with their ARGON8 series. You can produce state-of-the-art analogue-style synth textures with their COBALT8 series. Go to modalelectronics.com to check out their incredible array of synthesisers. This episode is brought to you by Tinggly, who are on a mission to change the culture of gifting by encouraging everyone to give experiences rather than material things. Their team has handpicked the world’s best travel, adventure, culture, dining and more, bringing it all together in one place. Give stories, not stuff: go to tinggly.com to find out more.

The world may try to harden our hearts towards our fellow men and women, but as followers of Christ we should let the Word of God dictate how we deal with others, and that's with kindness and loving compassion. Won't YOU try a little tenderness towards those you encounter this week?

Self-care is not selfish even though at times it might seem that way. When your calendar is full, when your life is going in a dozen directions, you might find yourself sliding self-care further down on your own to-do list. It's been said that you cannot pour from an empty cup. We overdo, we overbook and we run out of steam until all we are left with is an empty vessel, our cup has become empty. It's time to disrupt the Status Quo!

Year C, Advent 1, Isaiah 40:1-11 UNEDITED My father is a good man, considering the human condition, with many good traits.  It wasn't until I was an adult that I noticed one certain thing about him. I first noticed when one of my sisters found out that she and her husband were expecting their […]

Year C, Advent 1, Isaiah 40:1-11 UNEDITED   My father is a good man, considering the human condition, with many good traits.  It wasn't until I was an adult that I noticed one certain thing about him. I first noticed when one of my sisters found out that she and her husband were expecting their […]