Podcasts about Lonely Nights

¡Bienvenidos a Vinyl Radio! En este episodio, exploramos la increíble trayectoria de Bryan Adams. Desde sus inicios en Kingston, Ontario, hasta convertirse en una leyenda del rock, su viaje es inspirador y lleno de éxitos.

Recording artist, actor, and mental health advocate Bo Baskoro shares his journey, touching upon his upbringing in a single-parent household within a conservative community and how it shaped his personal narrative. He also shares how a tumor discovery led to connecting with family he did not know. Major Takeaways:Navigating Single-Parent Household Challenges: Bo sheds light on growing up without a father and how societal expectations influenced his perception of self and identity.Embracing Vulnerability through Storytelling: Bo emphasizes the importance of sharing personal struggles, which helped him connect with others and proved therapeutic.Pursuing Passions: Bo's recent move to Los Angeles to pursue acting and voice acting signifies the importance of chasing dreams and making life-changing decisions.Navigating Single-Parent Household Challenges: Bo's upbringing without a father in a conservative community played a defining role in shaping his identity. He elaborates how societal judgments and stereotypes projected onto his family influenced his understanding of self and family.Embracing Vulnerability through Storytelling: Bo underscores the transformative power of sharing personal narratives. He shares how opening up about his personal struggles enabled him to connect with others and proved to be therapeutic.Pursuing Passions: Bo's transition into acting and voice acting highlights the importance of pursuing personal passions. He shares the significance of fulfilling his long-held dreams and how they led him to significant changes.Bo Baskoro is a passionate recording artist, actor, and mental health advocate from the Pacific Northwest. His music is known for its percussive ear candy, honest lyrics, and energizing production. The now LA-based artist exudes a nostalgic sound that seamlessly captures who he is at the core, as his Indonesian heritage comes through in his unique musical perspective. The Portland native has always marched to the beat of his own drum. His original songs have amassed over 6 million streams on Spotify. His latest, “The Lonely Nights,” is an emotionally charged track about the mixed emotions that come at the end of a relationship. Socials: @bobaskoroWebsite: www.bobaskoro.comResources: To listen in on more conversations about pivotal moments that changed lives forever, subscribe to "The Life Shift" on Apple Podcasts or wherever you listen to podcasts. If you enjoyed this episode, please take a moment to rate the show 5 stars and leave a review! ⭐️⭐️⭐️⭐️⭐️Access ad-free episodes released two days early and bonus episodes with past guests through Patreon.https://patreon.com/thelifeshiftpodcastConnect with me:Instagram: www.instagram.com/thelifeshiftpodcastFacebook: www.facebook.com/thelifeshiftpodcastYouTube: https://bit.ly/thelifeshift_youtubeTwitter: www.twitter.com/thelifeshiftpodLinkedIn:

We all get lonely sometimes, especially on a quiet night in – dinner for one in front of the telly. Try this meditation to soothe the pang of loneliness and find some peace in your solitude tonight.  LINKS Follow @novapodcastsofficial on Instagram CREDITS Host: Casey Donovan @caseydonovan88 Writer: Amy Molloy @amymolloy Executive Producer: Anna HenvestProducer: Adair SheppardEditor: Adrian Walton  Listen to more great podcasts at novapodcasts.com.au   See omnystudio.com/listener for privacy information.

Joy Division "Dead Souls" We Are Parasols "Body Horror' - Body Horror https://nomovementrecords.com/we-are-parasols Golden Shoals "Jimmy Beam Ain't My Friend" www.goldenshoals.com Krashkarma "Voodoo Devil Drum" www.krashkarma.com Hologramme "Unfold" SOLEDAD opus 32 no.1, https://www.hologramme.mu/ Surprise Chef 'Spiky Boi" - Friendship www.bigcrownrecords.com Brokof "Postcard Of Rome" Blind Spot On The Bright Side Of Life www.brokof.net Crowes Pasture "The Night We Met" - Don't Blink https://crowespastureduo.com/ ********************* Mississippi McDonald "The Devil Wants Repayment" - Heavy State Lovin' Blues https://mississippimacdonald.com/ Danielle Miraglia "Pick Up The Gun" - Bright Shining Stars www.daniellem.com Katie Dahl "Jericho" - Seven Stones https://katiedahlmusic.com/ Claudia Schmidt "Broken Glass" - Reimagining www.claudiaschmidt.com Tom Paxton & John McCutcheon "Invisibe Man" - Together www.folkmusic.com Joselyn & Don "Wayfarer's Son" - Soar https://joselynanddon.com/ Michele Hannan & One Blue Night "Blue Days & Lonely Nights" www.onebluenight.com Terry Klein "Blue Hill Bay" - Leave The Light On https://terrykleinmusic.com Slaid Cleaves "Nature's Darker Laws" - Together Through Th Dark www.slaidcleaves.com Ed Sweeney with Cathy Clasper-Torch "Bury Me Not On The Lone Prairie" - A Sunday Drive https://edsweeneymusic.com/ Closing music: Lou Reed "Halloween Parade" - New York Daniel Johnston "Grievances" - Songs Of Pain Running time: 4 hours, 42 minutes --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

It's the Easter Week and we'd love for you to enjoy this poem as you take a break. ;)     This poem is written by Steve Jones, entitled Lonely Nights.   Enjoy!     For anyone who would like to share their poems and want us to read it for you, we are up for it! ;)     Have a great Easter week to those celebrating.     ---------- Websites: https://thepenisproject.org/ https://rshealth.com.au/ https://www.prostaterehabilitation.com/ http://www.menshealthphysiotherapy.com.au/ http://prost.com.au/     Facebook: https://www.facebook.com/Restorativeshealthclinic   Instagram: https://www.instagram.com/rshealth_perth/   Linkedin: https://www.linkedin.com/in/melissa-hadley-barrett/   Music David Mercy https://open.spotify.com/artist/1HbvnltKu4XbWTmk0kpVB9?si=D1xP5dDVQK-zzNU3rViRWg   Producer Thomas Evans: The SOTA Process https://www.instagram.com/thesotaprocess/ https://open.spotify.com/show/4Jf2IYXRlgfsiqNARsY8fi  

FRED & Sanchezz - Lonely Nights Радио версия. SN records.

Всем привет! Новый релиз на SN records от FRED & Sanchezz. Трека называется Lonely Nights и это полная версия для диджеев. Мелодия напоминает Pjanoo, только в другой тональности. Это произошло совершенно случайно в процессе написания. Надеюсь Вам понравился этот легкий, атмосферный трек. Приятного прослушивания!

There's a new gift on the Horizon for when you want to snuggle but don't have a person nearby - the Cuddle Teddy, life-sized Man Bear! Um...

The party makes their way into the Starmetal Hills, in an attempt to find Harsh-Nag. Though the Terrain is not as desolate as the Tundra of the Sword Mountains, they will find its just as unhospitable.

New artist alert! Cecilia Castleman might be the best artist you haven't heard yet. Her debut single Lonely Nights was produced by Don Was and it's out now on Glassnote Records. You need to listen. At just 21 years old, Castleman is managed by Paul McCartney's manager Scott Rodger and is signed to Big Yellow Dog. The insiders know about her. So should you.

Head and Banger, superhéroes del rocknroll, una pareja de pinchadiscos que emergió en la noche madrileña para hacer atronar las cabinas de los garitos con cartuchos de punk rock a ritmo de 45rpm. Suya es la sesión musical cocinada para hoy; Playlist; THE CHOIR - ‘It’s Cold Outside’ (Head) THE NECESSARIES - 'Runaway Child (Minors Beware)' (Banger) U.K. SUBS - ‘Keep On Running (Till You Burn)’ (Head) A.P.B. - 'Chain Reaction' (Banger) ROBERT GORDON - ‘Red Hot’ (Head) RAMONES - 'Go Lil' Camaro Go' (Banger) BLEACHED - ‘For the Feel’ (Head) NEW MATH - 'Die Trying' (Banger) PARASITES - ‘Last Caress’ (Head) DAN SARTAIN (Con Jane Wiedlin) - 'Now Now Now' (Banger) LOS VEGETALES - ‘Odio el verano’ (Head) OUTTACONTROLLER - 'Colt Summer' (Banger) RARITO - ‘Los miércoles’ (Head) FIDLAR - 'Got No Money' (Banger) BABY SHAKES - ‘Lonely Nights’ (Head) JOHNNY PALERMO - 'Summer Again' (Banger) Escuchar audio

 | Artist  | Title  | Album Name  | Album Copyright | Ivy Gold  | Six Dust Winds | Ivy Gold  |   |  | Jack's Waterfall  | Soul Rider  | American Roots Project | Jo Ann Kelly  | Sugar Babe  | Do It and More  |  | The Groove Krewe Featuring Nick Daniels III  | Have A Party  | Run to Daylight  |  | Mudlow  | Lower Than Mud  | Bad Turn  |   |  | The Lucky Ones  | Broken Bow Stomp  | Slow Dance, Square Dance, Barn Dance | Danny Bryant  | Alone In The Dark  | Danny Bryant  |  | Katie Webster  | Those Lonely, Lonely Nights  | No Foolin'  |  | Jason Lee McKinney Band  | Doubters Prayer  | One Last Thing  |  | Little Richard  | Jesus Walked This Lonesome Valley  | Little Richard Goes Gospel | Roy Young  | I'm in Love  | John, Paul, George, Dave, Brian, Tony & More; The Birth of the  | Chuck Berry  | You Never Can Tell  | The Blues Collection (Chuck Berry) | Eva Carboni  | Crossed a Line  | Smoke and Mirrors  |  | Sugar Queen And The Straight Blues Band  | I Can't Wait  | Sugar Queen LIVE  |  | Ronny Aagren  | Let's Have Some Fun  | Changes  |   | 

 | Artist  | Title  | Album Name  | Album Copyright | Stacy Jones  | Everything Is Going To Be All Right  | World On Fire  |  | Curtis Johnson  | None Like You  | None Like You [Single] | Son Of Dave  | I'm Going Monkey For Your Love  | Call Me KIng  |  | Debra Power  | The Last Time I Saw Memphis  | I'm Not From Chicago | Blue Touch  | Baby Please Don't Go  | Old, New, Borrowed & Blue | Vaneese Thomas  | Rosalee  | Fight The Good Fight | The Nighthawks  |Nobody  | Established 1972  |  | Trevor Finlay  | Recover  | Get Into It  |  | Katie Webster  | Those Lonely, Lonely Nights  | No Foolin'  |  | Steve Bailey featuring Mississippi MacDonald  | She's My Baby  | Crazy 'Bout You  |  | Washington Phillips  | Washington Phillips Mix  |  | The Soundtracks  | Don't Ever Change  | John, Paul, George, Dave, Brian, Tony & More; The Birth of the  | The Cadillac Kings  | For Richer, For Poorer  | Cadillac Kings  |  | Dean Haitani  | Fairlight Walking  | RED DUST  | 

(Red-band):  Would you rather be a clone or a cyborg? Is there a right way to do the news? Never have something nice to say or never say anything ever again..? All these heady topics and more in this episode of 1000? Sensibility Content Warning. Towards the end of the episode the triggering topic of suicide is discussed. Listener discretion is advised.

The Beach Bums - The Yellow Beret (1966) Did you know Bob Seger was such a right-wing nut job?  The song is a parody of The Ballad Of The Green Berets by Barry Sadler, a huge hit in February 1966, reaching #1 on the Billboard Hot 100, Cashbox, and Billboard Adult Contemporary charts, as well as #2 on the Country charts. It sold over two million copies in just the first two weeks. This song is a stark contrast to Seger's better-known ANTI-Viet Nam song, "2 + 2 + ? " released just 2 years later.  As you know, Seger finally hit the big time with Ramblin' Gamblin' Man in 1969, but what you might NOT know is that future Eagle Glenn Frey played acoustic guitar and sang backing vocals on Ramblin' Gamblin' Man.  Bob Seger - The Famous Final Scene (1977) My favorite song of his.  Wings - Give Ireland Back To The Irish (1972)  John Lennon - The Luck Of The Irish (1972)  Gilbert Neal and Ken Ray Wilemon - Photograph (2017) Gilbert Neal and Ken Ray Wilemon - Give Me Love (2017)  Johnny "Guitar" Watson - I Wanna Ta Ta You, Baby (1976) Johnny "Guitar" Watson - Superman Lover (1976) Zappa on Watson:  "Watson, he's the original minimalist guitar player. The solo on "Lonely Nights," the one-note guitar solo? Says it all! Gets the point across. I can remember guitar players in high school learning that solo and just going, "But how does he get it to sound that way?" It really was one note. If you can play that note against those chord changes and derive the same emotional impact that he got from playing that note, then you're onto something. He can make that one be so nasty. You know, like, "What's behind that note? What is the mode? Why are you continuing to play the tonic when the dominant chord comes around? Are you goin' like this [gestures with his middle finger in the F-you" position] with your playing or what?" You have to learn how to do that. (...)generally the people who write about music don't know music. Anybody can tell whether these four notes are faster than these four notes. But what does it take to listen to Johnny Guitar Watson's one note, and know that he's doin' that? Did you ever point that out to a reader? Did you ever get across that there's something more to it than rilly-rilly-ree?" Johnny "Guitar" Watson - It's All About the Dollar Bill  (1977) "Distributed by Amherst Records, 355 Harlem Road, Buffalo (West Seneca, really), NY, 14224" which was about .25 miles from where I grew up. They would occasionally have cut-out sales in that warehouse. I bought an American "Greatest Hits" album by The Move, but it was so cheaply packaged and sounded terrible.  Gilbert Neal and Ken Ray Wilemon - This Guy's In Love In With Guy (2017) Gilbert Neal and Ken Ray Wilemon -  Come Sail Away (2017) O C Smith - La La Peace Song (1974) The Equals - Black Skinned, Blue-Eyed Boys (1970) Written by Eddie Grant of "Electric Avenue" fame.  The Revox Singers - The Woodstock Message (1969?) An anti-war single from around that time. I think it was a song-poem. In other words, someone sent a poem to a "boutique" record company (in this case, Aladdin Records out of Chicago) and they wrote accompaniment.  Percy Mayfield - Walking On A Tightrope (1969) Percy Mayfield - I Don't Want To Be President (1974) Discogs:  US R&B vocalist and composer (b. August 12, 1920, Minden, Louisiana, d. August 11, 1984, Los Angeles, CA) Though maybe mostly known for penning the classic "Hit the Road, Jack", Mayfield himself was a major performer for the Specialty label in the first half of the 50s delivering slow blues ballads with his smoky voice reminiscent of Charles Brown. His biggest hit was the 1950 "Please Send Me Someone to Love", an R&B standard covered by many singers since then. The good-looking Mayfield was nearly killed in a 1952 car accident that left his face severely scarred and may have had a limiting effect on his career as a performer. In 1961 Ray Charles made his "Hit The Road, Jack" a major hit, and Mayfield was subsequently hired by Charles's Tangerine Records as a songwriter. After a decade in the background, Mayfield had a comeback and released several albums late 60s to early 70s on Tangerine and RCA. On these albums, Mayfield's smoky baritone voice is often heard accompained by top jazz session-players of the era. Percy Mayfield - Right On, Young Americans (1972) Gilbert Neal and Ken Ray Wilemon - Show Me The Way (2017) Gilbert Neal and Ken Ray Wilemon - Miracles (2017) Gilbert Neal and Ken Ray Wilemon - Fooled Around In Love (2017)  I chose some lesser-known songs from Chuck Berry's post-heyday. Some of the songs on these records are great stories like the great man could do effortlessly.  Chuck Berry - Ma Dear (1965)  Chuck Berry - Bio (1973) Chuck Berry - My Dream (1971)

info@podcastone.com2bd42af4-515f-4537-981a-b5d9647dfcc1Thu, 30 Sep 2021 16:13:50 PDT

Every blues fan knows about the three Kings of the Blues, Albert, BB & Freddie, but we're going to add two more: Saunders King and Earl King. In Part 2 we explore the music and life of Earl King of New Orleans. Earl was a singer, guitarist, songwriter, record producer and mentor to dozens of young New Orleans musicians. He may be best known for his two part record, Come On, also known as Let the Good Times Roll , recorded by Jimi Hendrix and many more.  His first hit was another New Orleans standard, Those Lonely, Lonely Nights, and he's said to have written the classic Big Chief, a tribute to his mother, a well-known Mardi Gras figure. Support the show (https://paypal.me/BFrank53?locale.x=en_US)

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Uriah Heep. es una banda de rock británica con tintes progresivos, formada en Londres en 1969, la cual es considerada como "uno de los grupos más populares de principios de los 70. La banda lanzó varios álbumes muy exitosos comercialmente a principios de los años 1970, como Demons & Wizards (1972), The Magician's Birthday (1972), o Uriah Heep Live (1973), pero su audiencia declinó en los 80, al punto de convertirse esencialmente en un grupo de culto, en los Estados Unidos y en Europa, principalmente. Uriah Heep fue la primera banda de occidente en tocar en la Rusia soviética, bajo la política de Gorbachov, llamada glásnost. Han vendido 40 millones de copias en todo el mundo. Constantes cambios en la banda han dejado al guitarrista Mick Box como único miembro original y líder. Uriah Heep , Surgió a finales de los años sesenta, de las raíces de Spice, banda en la que militaban el mítico vocalista David Byron, y el guitarrista Mick Box, primeros fundadores del grupo. Uriah Heep se convirtió en una verdadera banda pionera del género "Hard rock", aunque destacó por la heterogeneidad de su música, a caballo entre el Hard rock, el estilo progresivo y la épica, en dos de sus álbumes más conocidos: los ya mencionados Demons & Wizards y The Magician's Birthday, a la postre influencias claras para bandas como Helloween y otras seguidoras del rock épico. Se caracterizó, entre otras cosas, por sus constantes cambios de alineación, en la cual el único miembro permanente ha sido el guitarrista Mick Box. En el año 1970, cambiaron su nombre de Spice a Uriah Heep, influenciados por un peculiar personaje de una de las más universales obras de Charles Dickens: David Copperfield. Fue en ese año cuando entraría a formar parte de la banda Ken Hensley, proveniente de la banda psicodélica The Gods, quien se convertiría con el paso del tiempo en verdadera alma, y compositor principal de casi todas las canciones del grupo en su época dorada. Hensley se ocuparía de los teclados, y en ocasiones de la slide guitar. También puso la voz a uno de los mayores éxitos por aquel entonces, "Lady in black". Box, Byron y Hensley se convertirían en los pilares fundamentales de la banda, asistiendo a constantes cambios en el bajo y batería, hasta que en el año 1972 ingresan Gary Thain (bajo) y Lee Kerslake (batería). Hasta entonces habían publicado tres álbumes: Very 'eavy, Very 'humble, en 1970, que supuso un magnífico debut, pero que la crítica defenestró con el argumento de que era una copia descarada de Deep Purple, algo incierto que se podía explicar porque en aquellos tiempos los dos conjuntos llegaron a compartir salas de ensayo, y se dejaron influenciar por el sonido predominante de los teclados de Jon Lord. En poco menos de un año, se resarcieron ante crítica y público con la publicación de Salisbury (1971) y Look at Yourself (1971), disco este último en el que encontraron su sonido característico, como afirmarían más tarde. Las ventas comenzaron a dispararse tanto en su país de origen como en el extranjero, encontrando en países como Alemania, Países Bajos o Japón sus más fieles seguidores. Entonces llegó 1972, con las nuevas y, a la postre, definitivas incorporaciones que enriquecieron el sonido de la banda. La publicación de Demons & Wizards en 1972 les llevó a lo más alto, un disco redondo que bien podría haber sido un trabajo conceptual, ya que sus temas giraban casi en su totalidad en torno a temas alegóricos y llenos de fantasía épica. En este álbum está incluido su mayor hit, "Easy Livin'". Este trabajo encontró la continuidad perfecta en The Magician's Birthday, que salió a la venta a los pocos meses de publicarse el anterior, y que les proveyó de fama definitiva en todo el mundo. El sonido de este último es más progresivo y sigue la temática de álbum conceptual, que comenzó el anterior. La portada de Roger Dean, artista en alza que ya trabajaba con bandas como Yes, contribuyó a realzar, desde el arte gráfico, el trabajo impecable de la grabación. Durante 1973 grabaron el disco Sweet Freedom que supuso otro trabajo redondo, y del cual se desprenden varios clásicos de la banda que se escuchan hasta nuestros días. Ya en 1974, luego de la gira de la cual lanzaron el disco en vivo Uriah Heep Live 1973, grabaron Wonderworld, donde comienzan a alejarse gradualmente del sonido progresivo, apostando por un hard rock más simple y directo. Justamente este disco representaría el último que grabaran con el extinto bajista neozelandés Gary Thain, puesto que sería despedido a principios de 1975, para ser reemplazado por el exbajista y cantante de King Crimson, John Wetton. Ya con Wetton en la banda, lanzan en 1975 Return to Fantasy, un disco donde también hay clásicos, aunque se comienza a notar una baja en el rendimiento general de la banda. En diciembre de 1975, el bajista Gary Thain muere de sobredosis por heroína. En 1976 graban High & Mighty, que sin dudas representa el mayor fracaso de la banda en los 70, debido a las tensiones internas y a que prescindieron de Gerry Bron, su productor habitual, para producirlo ellos mismos. Si bien es sabido que la crítica no suele reconocer en este un buen trabajo, tiene algunos temas destacables, como el clásico "One Way or Another" (que cantase John Wetton), o la balada "Weep in Silence". En medio de la gira de presentación del disco, David Byron fue despedido, a partir de este momento Byron se dedicó a su carrera como solista, hasta su fallecimiento, acaecido en 1985. La banda a mediados de los años 1970, con John Wetton Tras la salida de Byron, Uriah Heep, experimentó diferentes cambios en sus formaciones y en su estilo musical. Más allá, de su Rock progresivo, bien conocido y de su aporte a lo que se llamaría el Hard rock y heavy metal, poco después de la salida de Byron, el grupo modifica su estética y su música, dejando entrever un cambio de rumbo hacia un sonido más comercial, al estilo del AOR con toques de Música disco. Es así como, a finales de 1976, los reemplazos de John Wetton y David Byron, se conforman con la entrada de un bajista procedente de la banda de David Bowie, y el cantante de Lucifer's Friend; ellos eran Trevor Bolder (el bajista que más tiempo estuvo activo en la banda) y John Lawton. Los fanes tardaron en aceptar dicha formación y estilo, de cariz algo comercial, aunque la calidad de sus composiciones los hace ser bien recordados por todos. Los discos Firefly, Innocent Victim y Fallen Angel constituyen la cadena de tres grabaciones de estudio con Lawton y Bolder, más el disco en vivo Live in Europe 1979. Sin embargo, los egos personales de Lawton y Hensley chocaban demasiado, y se opta por despedir a Lawton, dejando otra vez, para 1980, a la banda sin cantante. Es allí cuando los Heep se vieron en la necesidad de conseguir reemplazante, tanto de vocalista como de batería, ya que por diferencias con la producción, el baterista Lee Kerslake había dejado el grupo, marchando a tocar para Ozzy Osbourne. Para 1980 llegan los reemplazos, con John Sloman ex-Lone Star a los vocales y Chris Slade, ex-Manfred Mann's Earth Band a la batería. Esta formación solo grabaría un disco, Conquest (1980), que no sería muy bien recibido por la crítica especializada, pero que sirvió al menos para actualizar el sonido de la banda, y mantenerla viva. Varios de los temas de este disco, fueron probados y grabados con el anterior cantante, John Lawton, entre los cuales se puede destacar "Feelings", "Fools" o "Been Hurt", que también formarían parte de un disco que no fue editado en su momento, luego lanzado como un disco pirata, titulado Ten Miles High. Las diferencias musicales entre la banda y Ken Hensley se acentúan, y este último deja el grupo a mitad de la gira, por lo que los Heep, sin su compositor principal, deben continuar y reclutan para esto -temporalmente- a un viejo conocido de Sloman, Gregg Dechert. Con él graban el sencillo "Think It Over / My Joanna Needs Tunning". A finales de año, Sloman, Slade, Dechert y Bolder (que se iría a tocar en Wishbone Ash) dejan a Mick Box solo, dando así por terminada la primera etapa de Uriah Heep. Durante 1981, Box ofreció algunos conciertos como solista, pero las cartas de diferentes fanes alrededor del mundo, expresando cuan importante era para sus vidas Uriah Heep, le dan a Box la energía necesaria para recomenzar con aquella banda mítica. Es así como recluta al prestigioso bajista (ex-Rainbow) Bob Daisley, y juntos deciden ir a visitar al primer cantante de la banda, David Byron, para ofrecerle nuevamente ese puesto, el cual este rechaza. Aun así, contratan al cantante del grupo Trapeze, Peter Goalby y junto con ellos, vuelve Lee Kerslake e ingresa el tecladista John Sinclair El primer trabajo con esta formación sería Abominog (1982), un disco redondo donde prácticamente todos los temas son clásicos (más una reversión del tema "Think It Over"), y sirven para colocar a Heep con un nuevo sonido, más duro, y cercano a la NWOBHM, no obstante el marcado regusto comercial de ciertos temas. Con este disco y formación, Uriah Heep vuelve a recobrar algo de fama: el siguiente álbum, Head First, seguiría por esa senda con temas muy bien logrados como "Red Lights", "Stay on Top" o "Lonely Nights" que es un cover de Bryan Adams. Para 1985, Bob Daisley decide abandonar la banda amistosamente, y vuelve el bajista Trevor Bolder, para grabar el último disco de la "era Goalby", Equator, que sería sin dudas, para todos los fanes, uno de los discos más flojos de la historia de Uriah Heep (incluso más flojo que High & Mighty y Conquest), se podría rescatar la canción que abre el disco, llamada "Rockarama", como único corte destacado. A fin de año, el agotamiento en la voz de Peter Goalby hace que los Heep pierdan al cantante, y al tecladista al mismo tiempo, una vez más. Luego de convocar al teclista Phil Lanzon, en 1986 deciden probar con el cantante Steff Fontaine, pero a pesar de su buena voz, su actitud hace que sea despedido. De este modo, llega el que hasta el día de hoy es el cantante que más ha durado en la banda: Bernie Shaw, quien procedía del grupo NWOBHM Praying Mantis. Con el primer disco de estudio con Shaw, Raging Silence (1989) tendrían cierto éxito, sobre todo con el viejo clásico de la banda Argent "Hold Your Head Up", y con un tema escrito por Peter Goalby, "Blood Red Roses". Cabe destacar que, hacia fines de los 80, Uriah Heep se convertiría en la primera banda de rock occidental en aprovechar la política conocida como glásnost, en la aún vigente Unión Soviética: gracias a un conocido productor húngaro, lograron dar el primer recital tras la Cortina de Hierro; en Moscú llenaron el Estadio Olímpico Luzhnikí varias noches, el total de gente que presenció los shows ascendió a 180.000 personas. Luego de estos logros, ya en la era del CD, en los 90 y en los 2000, las ediciones de nuevos álbumes de estudio se fueron tornando cada vez más espaciadas (Different World (1991), Sea of Light (1995), Sonic Origami (1998), Wake the Sleeper (2008), Into the Wild (2011), etc, pero la banda se mantiene constantemente en giras por Europa, y tienen mucho éxito, quizás no el de su época dorada, pero sí mucho más del que tenían en los años 80. En el año 2002 es editado un CD en vivo: The Magician's Birthday Party, grabado con Ken Hensley y John Lawton, quienes se reunieron momentáneamente con Heep para la ocasión, mientras que en el 2006, por problemas de salud, abandona la banda el veterano baterista Lee Kerslake, dando paso a otro ex-Ozzy para ocupar la batería, en este caso Rusell Gilbrook. En el mismo año, el grupo rumano de rock "Iris" edita un disco para rememorar sus 25 años de existencia e incluyen una colaboración con Mick Box y Bernie Shaw, con la canción "Lady in Black" cantando de forma bilingüe (rumano y inglés). Del mismo modo en 2011 se publican Into the Wild, y el directo Live in Armenia, este último en formato doble CD/DVD. Por su parte, en el año 2013 se conoce la triste noticia del fallecimiento del bajista Trevor Bolder, y en 2014 es lanzado el 23º álbum de estudio del grupo, titulado Outsider. Bolder sería reemplazado por Davey Rimmer en mayo de 2013, con quien editarían un nuevo álbum de estudio en 2018, Living the Dream. Uriah Heep mantiene una cantidad significativa de seguidores en Alemania, los Países Bajos, Escandinavia, los Balcanes, Japón, Rusia y en Europa del Este en general, donde aún tocan en estadios. No obstante, y aunque en la actualidad siguen gozando de buena reputación, sus grandes obras aparecen en la década de los setenta, más específicamente en la primera mitad de la década, durante aquellos años su nombre figuró casi a la par junto a los de Black Sabbath, Deep Purple o Led Zeppelin, formando el cuarteto de máximos referentes del Rock duro británico.Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Uriah Heep. es una banda de rock británica con tintes progresivos, formada en Londres en 1969, la cual es considerada como "uno de los grupos más populares de principios de los 70. La banda lanzó varios álbumes muy exitosos comercialmente a principios de los años 1970, como Demons & Wizards (1972), The Magician's Birthday (1972), o Uriah Heep Live (1973), pero su audiencia declinó en los 80, al punto de convertirse esencialmente en un grupo de culto, en los Estados Unidos y en Europa, principalmente. Uriah Heep fue la primera banda de occidente en tocar en la Rusia soviética, bajo la política de Gorbachov, llamada glásnost. Han vendido 40 millones de copias en todo el mundo. Constantes cambios en la banda han dejado al guitarrista Mick Box como único miembro original y líder. Uriah Heep , Surgió a finales de los años sesenta, de las raíces de Spice, banda en la que militaban el mítico vocalista David Byron, y el guitarrista Mick Box, primeros fundadores del grupo. Uriah Heep se convirtió en una verdadera banda pionera del género "Hard rock", aunque destacó por la heterogeneidad de su música, a caballo entre el Hard rock, el estilo progresivo y la épica, en dos de sus álbumes más conocidos: los ya mencionados Demons & Wizards y The Magician's Birthday, a la postre influencias claras para bandas como Helloween y otras seguidoras del rock épico. Se caracterizó, entre otras cosas, por sus constantes cambios de alineación, en la cual el único miembro permanente ha sido el guitarrista Mick Box. En el año 1970, cambiaron su nombre de Spice a Uriah Heep, influenciados por un peculiar personaje de una de las más universales obras de Charles Dickens: David Copperfield. Fue en ese año cuando entraría a formar parte de la banda Ken Hensley, proveniente de la banda psicodélica The Gods, quien se convertiría con el paso del tiempo en verdadera alma, y compositor principal de casi todas las canciones del grupo en su época dorada. Hensley se ocuparía de los teclados, y en ocasiones de la slide guitar. También puso la voz a uno de los mayores éxitos por aquel entonces, "Lady in black". Box, Byron y Hensley se convertirían en los pilares fundamentales de la banda, asistiendo a constantes cambios en el bajo y batería, hasta que en el año 1972 ingresan Gary Thain (bajo) y Lee Kerslake (batería). Hasta entonces habían publicado tres álbumes: Very 'eavy, Very 'humble, en 1970, que supuso un magnífico debut, pero que la crítica defenestró con el argumento de que era una copia descarada de Deep Purple, algo incierto que se podía explicar porque en aquellos tiempos los dos conjuntos llegaron a compartir salas de ensayo, y se dejaron influenciar por el sonido predominante de los teclados de Jon Lord. En poco menos de un año, se resarcieron ante crítica y público con la publicación de Salisbury (1971) y Look at Yourself (1971), disco este último en el que encontraron su sonido característico, como afirmarían más tarde. Las ventas comenzaron a dispararse tanto en su país de origen como en el extranjero, encontrando en países como Alemania, Países Bajos o Japón sus más fieles seguidores. Entonces llegó 1972, con las nuevas y, a la postre, definitivas incorporaciones que enriquecieron el sonido de la banda. La publicación de Demons & Wizards en 1972 les llevó a lo más alto, un disco redondo que bien podría haber sido un trabajo conceptual, ya que sus temas giraban casi en su totalidad en torno a temas alegóricos y llenos de fantasía épica. En este álbum está incluido su mayor hit, "Easy Livin'". Este trabajo encontró la continuidad perfecta en The Magician's Birthday, que salió a la venta a los pocos meses de publicarse el anterior, y que les proveyó de fama definitiva en todo el mundo. El sonido de este último es más progresivo y sigue la temática de álbum conceptual, que comenzó el anterior. La portada de Roger Dean, artista en alza que ya trabajaba con bandas como Yes, contribuyó a realzar, desde el arte gráfico, el trabajo impecable de la grabación. Durante 1973 grabaron el disco Sweet Freedom que supuso otro trabajo redondo, y del cual se desprenden varios clásicos de la banda que se escuchan hasta nuestros días. Ya en 1974, luego de la gira de la cual lanzaron el disco en vivo Uriah Heep Live 1973, grabaron Wonderworld, donde comienzan a alejarse gradualmente del sonido progresivo, apostando por un hard rock más simple y directo. Justamente este disco representaría el último que grabaran con el extinto bajista neozelandés Gary Thain, puesto que sería despedido a principios de 1975, para ser reemplazado por el exbajista y cantante de King Crimson, John Wetton. Ya con Wetton en la banda, lanzan en 1975 Return to Fantasy, un disco donde también hay clásicos, aunque se comienza a notar una baja en el rendimiento general de la banda. En diciembre de 1975, el bajista Gary Thain muere de sobredosis por heroína. En 1976 graban High & Mighty, que sin dudas representa el mayor fracaso de la banda en los 70, debido a las tensiones internas y a que prescindieron de Gerry Bron, su productor habitual, para producirlo ellos mismos. Si bien es sabido que la crítica no suele reconocer en este un buen trabajo, tiene algunos temas destacables, como el clásico "One Way or Another" (que cantase John Wetton), o la balada "Weep in Silence". En medio de la gira de presentación del disco, David Byron fue despedido, a partir de este momento Byron se dedicó a su carrera como solista, hasta su fallecimiento, acaecido en 1985. La banda a mediados de los años 1970, con John Wetton Tras la salida de Byron, Uriah Heep, experimentó diferentes cambios en sus formaciones y en su estilo musical. Más allá, de su Rock progresivo, bien conocido y de su aporte a lo que se llamaría el Hard rock y heavy metal, poco después de la salida de Byron, el grupo modifica su estética y su música, dejando entrever un cambio de rumbo hacia un sonido más comercial, al estilo del AOR con toques de Música disco. Es así como, a finales de 1976, los reemplazos de John Wetton y David Byron, se conforman con la entrada de un bajista procedente de la banda de David Bowie, y el cantante de Lucifer's Friend; ellos eran Trevor Bolder (el bajista que más tiempo estuvo activo en la banda) y John Lawton. Los fanes tardaron en aceptar dicha formación y estilo, de cariz algo comercial, aunque la calidad de sus composiciones los hace ser bien recordados por todos. Los discos Firefly, Innocent Victim y Fallen Angel constituyen la cadena de tres grabaciones de estudio con Lawton y Bolder, más el disco en vivo Live in Europe 1979. Sin embargo, los egos personales de Lawton y Hensley chocaban demasiado, y se opta por despedir a Lawton, dejando otra vez, para 1980, a la banda sin cantante. Es allí cuando los Heep se vieron en la necesidad de conseguir reemplazante, tanto de vocalista como de batería, ya que por diferencias con la producción, el baterista Lee Kerslake había dejado el grupo, marchando a tocar para Ozzy Osbourne. Para 1980 llegan los reemplazos, con John Sloman ex-Lone Star a los vocales y Chris Slade, ex-Manfred Mann's Earth Band a la batería. Esta formación solo grabaría un disco, Conquest (1980), que no sería muy bien recibido por la crítica especializada, pero que sirvió al menos para actualizar el sonido de la banda, y mantenerla viva. Varios de los temas de este disco, fueron probados y grabados con el anterior cantante, John Lawton, entre los cuales se puede destacar "Feelings", "Fools" o "Been Hurt", que también formarían parte de un disco que no fue editado en su momento, luego lanzado como un disco pirata, titulado Ten Miles High. Las diferencias musicales entre la banda y Ken Hensley se acentúan, y este último deja el grupo a mitad de la gira, por lo que los Heep, sin su compositor principal, deben continuar y reclutan para esto -temporalmente- a un viejo conocido de Sloman, Gregg Dechert. Con él graban el sencillo "Think It Over / My Joanna Needs Tunning". A finales de año, Sloman, Slade, Dechert y Bolder (que se iría a tocar en Wishbone Ash) dejan a Mick Box solo, dando así por terminada la primera etapa de Uriah Heep. Durante 1981, Box ofreció algunos conciertos como solista, pero las cartas de diferentes fanes alrededor del mundo, expresando cuan importante era para sus vidas Uriah Heep, le dan a Box la energía necesaria para recomenzar con aquella banda mítica. Es así como recluta al prestigioso bajista (ex-Rainbow) Bob Daisley, y juntos deciden ir a visitar al primer cantante de la banda, David Byron, para ofrecerle nuevamente ese puesto, el cual este rechaza. Aun así, contratan al cantante del grupo Trapeze, Peter Goalby y junto con ellos, vuelve Lee Kerslake e ingresa el tecladista John Sinclair El primer trabajo con esta formación sería Abominog (1982), un disco redondo donde prácticamente todos los temas son clásicos (más una reversión del tema "Think It Over"), y sirven para colocar a Heep con un nuevo sonido, más duro, y cercano a la NWOBHM, no obstante el marcado regusto comercial de ciertos temas. Con este disco y formación, Uriah Heep vuelve a recobrar algo de fama: el siguiente álbum, Head First, seguiría por esa senda con temas muy bien logrados como "Red Lights", "Stay on Top" o "Lonely Nights" que es un cover de Bryan Adams. Para 1985, Bob Daisley decide abandonar la banda amistosamente, y vuelve el bajista Trevor Bolder, para grabar el último disco de la "era Goalby", Equator, que sería sin dudas, para todos los fanes, uno de los discos más flojos de la historia de Uriah Heep (incluso más flojo que High & Mighty y Conquest), se podría rescatar la canción que abre el disco, llamada "Rockarama", como único corte destacado. A fin de año, el agotamiento en la voz de Peter Goalby hace que los Heep pierdan al cantante, y al tecladista al mismo tiempo, una vez más. Luego de convocar al teclista Phil Lanzon, en 1986 deciden probar con el cantante Steff Fontaine, pero a pesar de su buena voz, su actitud hace que sea despedido. De este modo, llega el que hasta el día de hoy es el cantante que más ha durado en la banda: Bernie Shaw, quien procedía del grupo NWOBHM Praying Mantis. Con el primer disco de estudio con Shaw, Raging Silence (1989) tendrían cierto éxito, sobre todo con el viejo clásico de la banda Argent "Hold Your Head Up", y con un tema escrito por Peter Goalby, "Blood Red Roses". Cabe destacar que, hacia fines de los 80, Uriah Heep se convertiría en la primera banda de rock occidental en aprovechar la política conocida como glásnost, en la aún vigente Unión Soviética: gracias a un conocido productor húngaro, lograron dar el primer recital tras la Cortina de Hierro; en Moscú llenaron el Estadio Olímpico Luzhnikí varias noches, el total de gente que presenció los shows ascendió a 180.000 personas. Luego de estos logros, ya en la era del CD, en los 90 y en los 2000, las ediciones de nuevos álbumes de estudio se fueron tornando cada vez más espaciadas (Different World (1991), Sea of Light (1995), Sonic Origami (1998), Wake the Sleeper (2008), Into the Wild (2011), etc, pero la banda se mantiene constantemente en giras por Europa, y tienen mucho éxito, quizás no el de su época dorada, pero sí mucho más del que tenían en los años 80. En el año 2002 es editado un CD en vivo: The Magician's Birthday Party, grabado con Ken Hensley y John Lawton, quienes se reunieron momentáneamente con Heep para la ocasión, mientras que en el 2006, por problemas de salud, abandona la banda el veterano baterista Lee Kerslake, dando paso a otro ex-Ozzy para ocupar la batería, en este caso Rusell Gilbrook. En el mismo año, el grupo rumano de rock "Iris" edita un disco para rememorar sus 25 años de existencia e incluyen una colaboración con Mick Box y Bernie Shaw, con la canción "Lady in Black" cantando de forma bilingüe (rumano y inglés). Del mismo modo en 2011 se publican Into the Wild, y el directo Live in Armenia, este último en formato doble CD/DVD. Por su parte, en el año 2013 se conoce la triste noticia del fallecimiento del bajista Trevor Bolder, y en 2014 es lanzado el 23º álbum de estudio del grupo, titulado Outsider. Bolder sería reemplazado por Davey Rimmer en mayo de 2013, con quien editarían un nuevo álbum de estudio en 2018, Living the Dream. Uriah Heep mantiene una cantidad significativa de seguidores en Alemania, los Países Bajos, Escandinavia, los Balcanes, Japón, Rusia y en Europa del Este en general, donde aún tocan en estadios. No obstante, y aunque en la actualidad siguen gozando de buena reputación, sus grandes obras aparecen en la década de los setenta, más específicamente en la primera mitad de la década, durante aquellos años su nombre figuró casi a la par junto a los de Black Sabbath, Deep Purple o Led Zeppelin, formando el cuarteto de máximos referentes del Rock duro británico.Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

A dive into the song Lonely Nights (Bryan Adams Cover) by Uriah Heep   Show website (http://www.scotthaskin.com/uriah_heep_podcast/)   New BMG Boxed Set – Every Day Rocks: https://uriahheep.lnk.to/EveryDayRocksPC   Facebook: https://www.facebook.com/UriahHeepPodcast   Twitter: @HeepPodcast   Instagram: @UriahHeepPodcast   Email: UriahHeepPodcast@gmail.com   Episode: 15-3 Song: Lonely Nights (Bryan Adams Cover) Air date: 8-16-2021   Performers: Lead Vocals: Peter Goalby Guitar, Vocals: Mick Box Bass, Vocals: Bob Daisley Drums: Lee Kerslake Keyboards, Vocals: John Sinclair   Lyrics: Will you risk your reputation I don't know You just don't know What you're saying anymore You know beggars Can't be choosers And it's fair We may win, we may be loosers I don't care, no no no   Oh baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night   I hear every word you're saying They're all lies But with every breath you're taking You're thinking of Ways to say goodnight   Oh baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night   Baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night Come on over Come and save me   Oh baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night   Oh baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night   Oh baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night   Oh baby, I just can't stand Another lonely night So come on over and save me Save me from another lonely night     Thanks to: My Graphic Artist Scott Ladzinski www.Audionamix.com – I will not do a podcast without Instant Dialog Cleaner!   My friends in the #DeepDivePodcastNetwork: Nate and John at the Deep Purple Podcast (http://deeppurplepodcast.com/) The Simple Man at Skynnred Reconsydrd Podcast (https://podcasts.apple.com/us/podcast/skynyrd-reconsydyrd-podcast/id1448425288?mt=2) Terry T-Bone Mathley at TBone's Prime Cuts (https://www.tbpcpodcast.com/) Rhy at the Sabbath Bloody Podcast (https://podcasts.apple.com/ie/podcast/sabbath-bloody-podcast/id1344032555?ign-mpt=uo%3D4&mt=2) Paul, Joe and David at the At The Lap of the Pods (https://podcasts.apple.com/gb/podcast/in-the-lap-of-the-pods-queen-podcast/id1517814055)   Also, check out https://gottahearemall.com/ for well researched information on Deep Purple and Emmerson, Lake and Palmer/Powell   Check out Ace The Music Man on Stitcher here (https://www.stitcher.com/show/ace-the-music-man) Or YouTube here (https://www.youtube.com/channel/UCszH87xfnXp-MfZNsUSFjtg)   #UriahHeep #UriahHeepTheBand #MickBox #KenHensley #DavidByron #LeeKerslake #PaulNewton #GaryThain #MarkClarke #LeeKerslake #KenHensley #AlexNapier #JohnLawton #JohnWetton #TrevorBoulder #PeterGoalby #BobDaisley #RussellGilbrook #DaveyRimmer #PhilLanzon #BernieShaw #LivingTheDream #HardRock #RockandRoll #TheWizard #LadyInBlack #EasyLivin #Stealin #DeepDivePodcastNetwork #DemonsandWizards #TheMagiciansBirthday

“Your Hit Parade” was an American radio and television music program that was broadcast from 1935 to 1959. It was sponsored by American Tobacco's Lucky Strike cigarettes. During this 24-year run, the show had 19 orchestra leaders and 52 singers or groups.Not surprisingly, listeners were informed that the "Your Hit Parade survey checks the best sellers on sheet music and phonograph records, the songs most heard on the air and most played on the automatic coin machines, an accurate, authentic tabulation of America's taste in popular music." However, the exact procedure of this "authentic tabulation" remained a secret. Here are23hits from 1954. Enjoy. *****Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712**** or by email at dannymemorylane@gmail.com*****In this episode you'll hear:1)     Crazy 'Bout Ya Baby by The Crew Cuts2)     Mr. Sandman by The Chordettes3)     Thirteen Women (And Only One Man In Town) by Bill Haley & His Comets4)     Muskrat Ramble by The McGuire Sisters5)     The Gal That Got Away by Frank Sinatra (with Nelson Riddle & His Orchestra)6)     Love Me by Connie Russell (with Red Callender's Combo)7)     Hernando's Hideaway by Archie Bleyer & His Orchestra8)     Happy Days and Lonely Nights by The Fontane Sisters9)     Sway by Dean Martin10) This Old House by Rosemary Clooney11) I Need You Now by Eddie Fisher12) Joey by Betty Madigan13) Skokiaan (South African Song) by The Four Lads (with The Neal Hefti Orchestra)14) Stormy Blues by Billie Holiday15) The Man with the Banjo by The Ames Brothers16) Let Me Go, Lover! by Joan Weber With Jimmy Carroll & His Orchestra17) They Were Doin' the Mambo by Vaughn Monroe18) If I Give My Heart To You by Doris Day (with The Mellomen & The Frank DeVol Orchestra)19) Hey There by Sammy Davis Jr. (with The Sy Oliver Orchestra)20) Little Things Mean A Lot by Kitty Kallen21) Three Coins In The Fountain by The Four Aces (Featuring Al Alberts)22) Teach Me Tonight by Dinah Washington23) Smile by Nat King Cole 

This week Jim and Mike talk with Damien and Mike from the Orlando, FL based band Felicity!  We discuss being more than just “a band” in the COVID/post-COVID era of independent music, not just pranks on your peers but your fans, going viral, changing your musical style, delicious whiskeys, yearning to get back out on the road and much much more!   Find everything Felicity at www.wearefelicity.com   And all their social medias:   Facebook: http://www.Facebook.com/wearefelicity Instagram: http://www.Instagram.com/wearefelicity Twitter: http://www.Twitter.com/wearefelicity TicToc: http://www.tictoc.com/wearefelicity   Don't forget to listen to their brand new single “Lonely Nights” on all streaming music platforms now! Want some visual Bacon is My Podcast? Check out this episode and all others on Strangerhood TV on YouTube. www.strangerhoodtv.com and make sure to check out all the other great content on the channel! Don't forget that we are officially #poweredbypoddecks so don't forget to go to www.poddecks.com and use the promo code BACON for an additional 10% off your order!   #podcast #baconismypassion #strangerhoodtv #youtubechannel #youtubepodcast #cravingstrange #somethingheavy #betterthanradio #baconismypodcast #poweredbypoddecks

I will Run this Through These Sad and Dark Times and im doing a Special episode a real serious one I won't say when but it's coming:)

IT'S TIME for the 111th installment of #TBKoW. The #GoodBrothers bust it wide open by catching up, running some ads for 98.7 The Bull, and butcher Collegiate hand signals. We then get to brass tax by discussing #UFC262 and the possible upcoming fights in both #MMA and #Boxing, thoughts on the #Israel and #Palestine conflict, the #gas shortage in the South and impending energy crisis, a hacker group hacked an #American #pipeline and held it hostage for a ransom, #inflation rising throughout the country, issues w/ #unemployment and people allegedly not wanting to go back to work, the #BidenAdministration potentially restarting wall building at the #SouthernBorder, a #Russian pipeline that got Biden's backing, #DeSantis pardoned everyone that received a #COVID violation, #ChrissyTeigen finally caught being a bad person, #Peloton having to recall treadmills for killing children, the #KentuckyDerby winner possibly pissed hot, #Alabama signs a daylight savings time bill, researchers in #Poland have found the first known pregnant #mummy, #Ellen decides to end her daytime show, an update on the #DeshaunWatson #sexualassault allegations, #TimTebow making his return to the #NFL at TE, Ohio women fight at a #Walmart w/ one women using ground beef as a weapon, a #Florida couple's Hummer catches fire, and our thoughts on the Chick-Fil-A sauce shortage and who is potentially to blame. Song: “Sad Day, Lonely Nights” by The Black Keys Show support for our #Network by picking up some #Merch (http://bit.ly/TBKoWShop). If you pick up some merch, DM us pictures to be featured on our Show IG Page. FOLLOW us on #TheGram (https://www.instagram.com/bestkindofworst/) OR #Twitter (http://www.twitter.com/bestkindofworst). SUBSCRIBE to us on Apple Podcast (http://bit.ly/TBKoWApplePodcast) SUBSCRIBE to us on #YouTube (http://bit.ly/TBKoWTube) SUBSCRIBE to us on #SOUNDCLOUD (https://soundcloud.com/thebestkindofworst) SUBSCRIBE to us on #SPOTIFY (http://bit.ly/TBKoWPod) LIKE US on Facebook. Only if you wish cause, well, FaceBook is the worst. You can also listen and subscribe to us on many third-party podcasting apps (Stitcher, iHeartRadio, OverCast,...).

New Black Keys Album Full Of Songs They Covered In The Hill Country Blues Genre. Decent Project. RATE: 6/10 Favorites: Crawling Kingsnake, Going Down South, Louise, Sad Days, Lonely Nights, Do The Romp Least Favorites: Crawling Kingsnake (Edit) Keep On Craving My Lil Junkies

용기란 자신이 두려워하는 것을 하는 것이다. 즉 두려움이 없으면 용기도 없다. 에디 리켄베커 - 1890년 10월 8일 - 1973년 7월 23일

Show #388   Domenic Cicala - I Want Out  (Come On Over) Sara Petite - Feeling Like An Angel  (Rare Bird)  Western Terrestrials - Space Cowboy's Got The Blues (Back in the Saddle of a Fever Dream) Anthony Presti - Fight the Good Fight  (Different Places) (mic break) Olivia Ellen Lloyd- Loose Cannon  (Loose Cannon)  Adeem the Artist - I Wish You Would've Been A Cowboy  (Cast Iron Pansexual) Jackson Emmer -  I Don't Want This (Job Interview Song)  (Alpine Coda) Elizabeth Cook - Stanley by God Terry  (Aftermath) Jim Keller -  Easy Rider (By No Means) (mic break) David Huckfelt - Better To See The Face (Room Enough, Time Enough)   Charley Crockett - Midnight Run  (10 for Slim: Charley Crockett Sings James Hand) Bottle Rockets - Knotty Pine (Bit Logic) Rachel Brooke -  Great Mistake (The Loneliness in Me)  Jason Ringenberg - Before Love and War (Rhinestoned)  (mic break) Gene Taylor Blues Band with Dave Alvin - Drunk (Those Lonely, Lonely Nights)

Bryan Adams, Mickey Curry, and loneliness.

Loreena is faced with a dilemma. It’s the Fall, time is no longer clear. What is time anyway? Anyway... Location: 512 E 5th street, Boris’ Pawnshop, the little church on E 7th.Characters: Loreena, Boris, Judy the Landlord.Featured Song: Starting to Think I’m Going Crazy …………………………………1993 by finkleDirected by Jonathan SilversteinAll voices, music, sound, noise, and silence created and compiled by finklePublishing Assistance by Garrett SchultzKeen Company Artistic Director: Jonathan SilversteinThe Hear/Now Audio Consultant: Garrett SchultzThe Hear/Now Theme Composer: Billy RecceTranscriptions: Inclusive Communication Services, Inc. (available online)Keen Company is an award winning Off-Broadway theater championing identification and connection. Sign-up for a Hear/Now Season Membership, make a tax-deductible gift, and join us on social media at www.keencomapany.org.

Welcome to the Sad Girlz Club Bobcast episode! This one has been in the works for a long, long time, as we were initially supposed to talk back in April of 2020 during La Escalera Fest - which was cancelled due to covid. Well, here we are and let me say, this one was worth the wait. Shelby, Eric and I talked recently, on the evening of Biden’s victory over the current shitbag in the White House. Don’t worry, I didn’t start celebrating until AFTER the interview started. This is a family Bobcast, after all. What you’ll get in this most un-sad episode is an interview with Shelby and Eric, plus four Sad Girlz Club songs! We talk politcs, Sacramento, who would be Scooby Doo and who would be Shaggy and more! The Sad Girlz Club songs in order of appearance are - Back Around, Pedestal, Lonely Nights and Ex-Men.

Dr Aimee Lonely Days And Lonely Nights 11.22.20 by WCPT 820 AM

It’s April 23 1993. Location: On the radio and Loreena’s apartment. Loreena has a story to tell, does she tell it?…………………………………1993 by finkleDirected by Jonathan SilversteinAll voices, music, sound, noise, and silence created and compiled by finklePublishing Assistance by Garrett SchultzKeen Company Artistic Director: Jonathan SilversteinThe Hear/Now Audio Consultant: Garrett SchultzThe Hear/Now Theme Composer: Billy RecceTranscriptions: Inclusive Communication Services, Inc. (available online)Keen Company is an award winning Off-Broadway theater championing identification and connection. Sign-up for a Hear/Now Season Membership, make a tax-deductible gift, and join us on social media at www.keencomapany.org.

Stephanie Bonham Carter is with us today to talk about erotic novels because she's just reviewed a lingerie subscription service from Lonely Nights that includes an erotic novel in the box, along with some sexy lingerie and a scented massage oil candle. Stephanie also reads an excerpt from the novel that came with her subscription box in today’s episode.instagram.com/stephaniebonhamcarter/- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -The world’s No.1 daily review website for lingerie, hosiery and so much more. Every day our presenters inspire, delight and inform you. Join our website: https://www.lingerielowdown.com/join/ There’s no-one better to give you the lowdown than our personally selected team of over 80+ presenters from 12 countries across the world (adding more every month) who won’t hold back in giving you their honest, impartial and 100% trustworthy opinions and advice direct from their homes.We INSPIRE you, no matter of your age, gender, body shape, size or ethnicity to look good and feel great in the choices you make when purchasing lingerie, hosiery and underwear.We DELIGHT you with informative video reviews filmed direct from our presenters homes, bringing you the personal touch.We INFORM you to brands that you may not of tried before, show how to style these products in ways that you may not have tried – we make the mistakes so you don’t have to.Whether you’re a loved one looking to treat their partner or an individual looking for inspiration to feel sexy in your lingerie and to empower yourself to know it’s OK to do so, we have you covered – or uncovered!Join our website today to access 3,000+ in-depth reviews featuring over 380 brands, with many now published in glorious 4K quality featuring lingerie, hosiery, swimwear, sportswear, sleepwear as well as body jewellery, kink and bondage clothing too. Brought to you by our incredibly diverse team of beautiful reviewers. Publishing 120+ brand new and exclusive reviews every month for our members, and remember that once published, we never delete any content.Membership starts from as little as £7.99 per month.https://www.lingerielowdown.com/join/- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -Follow us on social media :YouTube main channel : http://www.youtube.com/c/LingerieLowdownYouTube second channel (age restricted previews) : http://www.youtube.com/c/LingerieLowdownDigestInstagram : http://www.instagram.com/lingerie.lowdownTwitter : http://www.twitter.com/LingerieLowdownFacebook : https://www.facebook.com/the.real.lowdownTumblr : https://lingerielowdown.tumblr.com/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -Support the show (https://www.lingerielowdown.com/support/)

音楽情報サイト『リアルサウンド』による、imdkmと姫乃たまがMCを務めるオリジナルPodcast番組『TALK LIKE BEATS』。 今回（#25、#26、#27）のゲストは「TENDRE」こと河原太朗。imdkmが体調不良ということで、ゲストMCには#1、#2、#3以来のtofubeatsが登板。今回は「『LIFE LESS LONELY』で示した“歌とグルーヴ”のこれから」と題して、TENDREの最新作『LIFE LESS LONELY』をフィーチャー。河原が考える近年の“グルーヴの変化”や、プレイヤーとしても多くの経験を積んできた彼にとっての「歌の役割」、時代と共に変化する世界と自身の音楽性や、昨今の情勢を受けて作った歌詞や楽曲、グルーヴを出すための作詞法、姫乃の発言を起点に“祈り”についての概念と音楽の関係について考える時間や、tofubeatsが分析する河原の日本語詞へのこだわり、河原が制作中にtofubeatsの楽曲を聴いて分析したことなど、それぞれの発言から「作ること」についてじっくりと考えるひとときとなりました。 〈Source〉 TENDRE『LIFE LESS LONELY』（https://open.spotify.com/album/4FXqVJp9IAauLvJgMY1OVc?si=PEik7YmPQGSK7i120_c-RA） tofubeats「LONELY NIGHTS」（https://open.spotify.com/track/40It4gOs70ssV0IFMRuul1?si=Ho3CNNxvSc-eWOLqf7lYbg）

It’s February 1993. We’re in Loreena’s apartment in 512 E 5th. Loreena’s apartment, Feb 1993. Loreena lives on the second floor. At the top she is hanging out with Steven and helping him get ready for the Gender Fuck Ball. Then a ritual is disrupted and other things happen.…………………………………1993 by finkleDirected by Jonathan SilversteinAll voices, music, sound, noise, and silence created and compiled by finklePublishing Assistance by Garrett SchultzKeen Company Artistic Director: Jonathan SilversteinThe Hear/Now Audio Consultant: Garrett SchultzThe Hear/Now Theme Composer: Billy RecceTranscriptions: Inclusive Communication Services, Inc. (available online)Keen Company is an award winning Off-Broadway theater championing identification and connection. Sign-up for a Hear/Now Season Membership, make a tax-deductible gift, and join us on social media at www.keencomapany.org.

Alex Mogo y el Historiador de los 2 Mundos conducen este especial de Historias del Mundo donde viajamos a varias épocas y distintos lugares contando con la participación de la audiencia, además de otras sorpresas. Emitimos cada jueves a las 20:00 hora española. Estamos en redes sociales: Facebook: Mesokosmos Historia Instagram: @mesokosmoshistoria Twitter: @mesokosmos2019 iVoox: Mesokosmos Historia Linkedin: Mesokosmos Historia Mail: mesokosmoshistoria@gmail.com Accede a mapas e imágenes en el blog: www.historiadordelos2mundos.blogspot.com Puedes patrocinar el podcast desde 1,49 € a través de la pestaña azul de APOYAR. HISTORIAS DEL MUNDO Capítulo: 22; Especial: 1; Temporada: 1 Si te gustó deja un like y/o comentario Como es habitual estuvo en los mandos técnicos Alex Mogo. Atribuciones musicales. 1 – Last Dawn by Ross Bugden -- https://soundcloud.com/rossbugden 2 - Wait for You by INOSSI -- https://soundcloud.com/inossi 3 – 4 - Little Things by Niwel -- https://soundcloud.com/niwel-516897768 5 - Lonely Nights by Eric Godlow -- https://soundcloud.com/eric-godlow 6 – 7 – Toe Jam by Diamond Ortiz 8 – Kevin Macleod – Sardana 9 – Tangos by Men in Beat 10 - Still Awake by Ghostrifter Official https://soundcloud.com/ghostrifter-official 11 – Sub Urban by Cradles 12 - Hanging Lanterns by Kalaido 13 - Spaceship by jlsmrl https://soundcloud.com/jlsmrl 14 - Midnight Stroll [Relaxing Study Music] by Ghostrifter Official https://soundcloud.com/ghostrifter-official Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Jeff and Jeremy play a voting themed mind funk, the intern votes for the first time, and Know the Show with Seth Blackburn!

BOOTS & SADDLE - May 12, 2020 1. Waiting for a Sunny Day - The Country Side Of Harmonica Sam (Broken Bottle, Broken Heart - 2019) 2. Don't Have That Last Drink - Zephaniah OHora (B sides -2020) 3. Taxi Cab Driver - David Price (The Rice Records Story: David Price, Vol. 1) 4. It's a Long Way from Heaven (to the World That You're Living In) - Amber Digby (The World You're Living In - 2013) 5. Looking out My Window - Slow Leaves (Shelf Life - 2020) 6. End of the Road - Dick Curless (The Long Lonesome Road - 1968) 7. Pretty Little Lights of Town - Red Meat (We Never Close - 2007) 8. Achin' Takin' Place - Jason James (Seems Like Tears Ago - 2019) 9. Big Big Love - Mariel Buckley (Motorhome - 2014) 10. The Hired Man - Matt Robertson (The Songs of Francis Gardner - 2020 11. Dim Lights, Thick Smoke - Joe Maphis (Single - 1953) 12. Bill Woods From Bakersfield - Merle Haggard (Let Me Tell You About a Song - 1972)  13. No Help Wanted - Bill Woods & His Orange Blossom Playboys (Single - 1953) 14. I Forget You Everyday - Redd Volkaert (No Stranger To A Tele - 2001) 15.  If This Is Just a Game - Emily Nenni (Long Game - EP - 2020) 16. You Was for Real - Doug Sahm (The Return of Wayne Douglas - 2000) 17. The Writing On The Wall - The Mavericks (Music For All Occasions - 1995) 18. Sois Heureux - Jeannine Perreault (Le Bonheur Est Chez Toi) 19. She Belongs To Me - Bob Dylan (Bringing it All Back Home - 1965) 20. Ramblin' Man - Hank Williams (Single - 1953)  21. Snake Charmer - Angela Perley (4:30 - 2019) 22. Wall to Wall Heartaches - Wynn Stewart (Wynn Stewart - 1962) 23. The Little Folks (Original Little Darlin' Records Recording) - Johnny Paycheck [On His Way (Original Little Darlin' Records Recordings)] 24. Goin' Home - Vernon Oxford (Woman, Let Me Sing You a Song - 1966) 25. Lee County Blues - B.B Palmer (Lee County's Finest - 2019) 26. Nursing My Broken Heart - Ezra Lee (Cryin' At The Wheel - 2020) 27. Busy Not Crying - Robbie Fulks (South Mouth - 1997) 28. Funny Thing About You Leaving - Blake Berglund (Single - 2016) 29. Champion - Jesse Daniel (Rollin' On - 2020) 30. Why Don't You let Me Go - Goldie Hill (Single - 1955) 31. Long Tall Sally - Little Richard (Single - 1956)  32. You Win Again - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 33. Lonely Nights in Austin - Ags Connolly (Wrong Again - 2019)

*Note-We apologize for some lingering audio issues. They are not present during the music play, only when we talk. Mike has promised to remedy the issue this week. Thanks for your patients & understanding. Playing The Harder Side of Blues & Edgy Southern Rock - Searching for Newer & Emerging Artists and Music around the world for you. If it’s not Genuine, Raw & Gritty; it ain't Cowboy’s Juke Joint! Live Show Sunday's 8:00 -11:00 PM EST on www.cowboysjukejoint.com & www.rotrradio.com 1. Black Mirrors - (The Mess) 2. Bone Jack - (War) 3. White Lightning - (Steal Your Girl) 4. Kaleo - (No Good) 5. Them Dirty Roses - (Molly) 6. Deadshit Johnson - (Bang You Like A Dunny Door) 7. Sons Of Dogs - (The Lie) 8. The Gamut - (On My Way) 9. Black Mountain Prophet - (Mercy) 10. Bullets & Bourbon - (Backyard Woman) 11. Louisiana Swamp Donkey - (Red Worm) 12. Le Garage - (Bang Bang) @le_garage_nl 13. Juke Jones - (Go Back To Your Used To Be) 14. The Knotties - (Soul Fiend) 15. Bubba Ho-Tep - (V.O.T.A) 16. Eagle Eye Williamson - (LIQUID COURAGE) 17. The Dead Show Dealers - (Murder Ballad 25) 18. Forty Feet Tall - (Two Shots (From Killing Gunther)) 19. Eric Johanson - (Hammer on the Stone) 20. Black River Delta - (Gun for You) 21. Mama Siberian Street Band - (My dream) 22. The Dirty Diary - (Broken Guitar String Blues) 23. Monocle Stache - (The Way I Died) 24. Mark Porkchop Holder - (Sad Days and Lonely Nights) 25. Cache Creek - (Rebel Never Dies) 26. R.L. Burnside - (Goin' Down South) 27. Paul Buchanan's Voodoo Preachers - (Some Kind Of Voodoo) 28. Little Priest - (Deep Blue Sea) 29. Hogjaw - (County Line (Live)) 30. Sea Mouse - (Tesseract) 31. Heathen Apostles - (Death Bell Blues)

Let's enjoy some brand-new music and the power of human connection. Reflections at the beginning on some current events, too. To me, this is all of what radio is about -- community, inspiration, fun, and realness. Thanks for tuning in, sending you much love

Thanks to #stayathome all of us have done our fair share of streaming this year. As I have been searching for new television shows to binge my mind keeps coming back to Stranger Things.WHERE IS SEASON 4?Clearly, the cast and crew could not have planned for a global pandemic, but every time the banner graphic of Millie Bobbie Brown, Noah Schnapp, and the neon Starcourt Mall pop up on my Netflix account with the words, "Season 4 Coming Soon" I cannot help but get excited!! Today on 'Still With You' I am taking all of my Hawkins, Indiana energy and talking with three of my favorite junior high friends about our love for the series. In this episode we serve you all the Scoops Ahoy insights of the show as we swap favorite moments, interesting facts, plus our theories and predictions for Season 4. When it hits we are ready! In honor of it being back-to-school season I thought it would be fun to mix it up with quick conversation about one of our most beloved drama.If you have an empty Netflix queue we feel you! We would love have you join our Stranger Things hang and share your thoughts and theories about the show. Feel free to leave a comment below and share this episode with a friend. We would love to hear from you! *Disclaimer: This podcast episode does include major spoilers if you have not watched this Netflix Original Series. Plus, we (as in myself and my girl gang guests) do not condone nor approve of every action presented in this show. We do not share all of its beliefs and values, but we are fans of it's frame work in creative storytelling! Official show notes available atwww.kohliebrowning.comSWY Podcast Surveywww.surveymonkey.com/r/TGT62YHMusic, "Lonely Nights" by Silent Partner"Fioj" by Text Me Records

Thanks to #stayathome all of us have done our fair share of streaming this year. As I have been searching for new television shows to binge my mind keeps coming back to Stranger Things.WHERE IS SEASON 4?Clearly, the cast and crew could not have planned for a global pandemic, but every time the banner graphic of Millie Bobbie Brown, Noah Schnapp, and the neon Starcourt Mall pop up on my Netflix account with the words, "Season 4 Coming Soon" I cannot help but get excited!! Today on 'Still With You' I am taking all of my Hawkins, Indiana energy and talking with three of my favorite junior high friends about our love for the series. In this episode we serve you all the Scoops Ahoy insights of the show as we swap favorite moments, interesting facts, plus our theories and predictions for Season 4. When it hits we are ready! In honor of it being back-to-school season I thought it would be fun to mix it up with quick conversation about one of our most beloved drama.If you have an empty Netflix queue we feel you! We would love have you join our Stranger Things hang and share your thoughts and theories about the show. Feel free to leave a comment below and share this episode with a friend. We would love to hear from you! *Disclaimer: This podcast episode does include major spoilers if you have not watched this Netflix Original Series. Plus, we (as in myself and my girl gang guests) do not condone nor approve of every action presented in this show. We do not share all of its beliefs and values, but we are fans of it's frame work in creative storytelling! Official show notes available atwww.kohliebrowning.comSWY Podcast Surveywww.surveymonkey.com/r/TGT62YHMusic, "Lonely Nights" by Silent Partner"Fioj" by Text Me Records

Thanks to #stayathome all of us have done our fair share of streaming this year. As I have been searching for new television shows to binge my mind keeps coming back to Stranger Things.WHERE IS SEASON 4?Clearly, the cast and crew could not have planned for a global pandemic, but every time the banner graphic of Millie Bobbie Brown, Noah Schnapp, and the neon Starcourt Mall pop up on my Netflix account with the words, "Season 4 Coming Soon" I cannot help but get excited!! Today on 'Still With You' I am taking all of my Hawkins, Indiana energy and talking with three of my favorite junior high friends about our love for the series. In this episode we serve you all the Scoops Ahoy insights of the show as we swap favorite moments, interesting facts, plus our theories and predictions for Season 4. When it hits we are ready! In honor of it being back-to-school season I thought it would be fun to mix it up with quick conversation about one of our most beloved drama.If you have an empty Netflix queue we feel you! We would love have you join our Stranger Things hang and share your thoughts and theories about the show. Feel free to leave a comment below and share this episode with a friend. We would love to hear from you! *Disclaimer: This podcast episode does include major spoilers if you have not watched this Netflix Original Series. Plus, we (as in myself and my girl gang guests) do not condone nor approve of every action presented in this show. We do not share all of its beliefs and values, but we are fans of it's frame work in creative storytelling! Official show notes available atwww.kohliebrowning.comSWY Podcast Surveywww.surveymonkey.com/r/TGT62YHMusic, "Lonely Nights" by Silent Partner"Fioj" by Text Me Records

When busy and lonely materialize in human form... --- 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/voicedvolumes/message Support this podcast: https://anchor.fm/voicedvolumes/support

 Crank Playthings 177 00:00 - Music for cello, hem, flute and cats - Wellington Amancio 05:54 - unprocessed (speakers 1 & 2)b - cinchel 22:45 - Earl Grey and Honey - Damp Howl 35:59 - Navagahs Hoepel 75 - Corner Escapist 40:23 - ! - Superjack! 53:56 - callous - VALENCY 8K

Ilang beses inulit ng Tita nyo ang episode na ito dahil palagi syang may nalilimutang ichika. Sa dami nga ng gusto nyang sabihin tungkol dito, pasalamat talaga tayo at hindi ito naging full day seminar o symposium. Heto na nga ang review ng Tita nyo sa series na dahilan ng kanyang mga biglang pagsigaw ng "Lonely Nights" kahit gabi na or habang nag na-number 2 sa banyo.

In this episode, I chat with Banele Khoza about his artistic and curatorial practice. This is the final episode in a series on Unframed called "Artists in Isolation” which profiles South African artists during the lockdown period of the COVID-19 pandemic. As we, in South Africa enter Level 3 of lockdown, we end this series but will continue producing content that keeps the art community connected and inspired. Banele Khoza (*1994) is a Swaziland-born and South African-based visual artist. He firstly enrolled at the London International School of Fashion in Johannesburg, but soon realized his passion was drawing. Khoza holds a BTechin Fine Arts from Tshwane University of Technology, Pretoria. In 2017 he won the prestigious Gerard Sekoto Award and with it a three-month residency at the CitéInternationale des Arts in Paris. His solo exhibitions include Temporary Feelings at the Pretoria Art Museum (2016); Lonely Nights at Lizamore Gallery(2017) LOVE? at Smith Studio in Cape Town (2018). Khoza also headlined the solo exhibition titled LGBTQI+: Banele Khoza as part of the Curatorial Lab at Zeitz MOCAA (2018). In 2018 he curated A Letter to my 22 Year Old Self, a group show presented to launch his fundraising activities which will give grants to art students dealing with economic hardship at SA universities. In 2019 Khoza opened `'Seeking Love`' a museum touring show around South Africa and has been awarded the M&G 200 Young South Africans. Khoza is the co-curator with Nicole Siegenthaler of Art Joburg: Gallery Lab. Enjoy listening to my conversation with Banele Khoza.

Unframed — In this episode, I chat with Banele Khoza about his artistic and curatorial practice. This is the final episode in a series on Unframed called "Artists in Isolation” which profiles South African artists during the lockdown period of the COVID-19 pandemic. As we, in South Africa enter Level 3 of lockdown, we end this series but will continue producing content that keeps the art community connected and inspired. Banele Khoza (*1994) is a Swaziland-born and South African-based visual artist. He firstly enrolled at the London International School of Fashion in Johannesburg, but soon realized his passion was drawing. Khoza holds a BTechin Fine Arts from Tshwane University of Technology, Pretoria. In 2017 he won the prestigious Gerard Sekoto Award and with it a three-month residency at the CitéInternationale des Arts in Paris. His solo exhibitions include Temporary Feelings at the Pretoria Art Museum (2016); Lonely Nights at Lizamore Gallery(2017) LOVE? at Smith Studio in Cape Town (2018). Khoza also headlined the solo exhibition titled LGBTQI+: Banele Khoza as part of the Curatorial Lab at Zeitz MOCAA (2018). In 2018 he curated A Letter to my 22 Year Old Self, a group show presented to launch his fundraising activities which will give grants to art students dealing with economic hardship at SA universities. In 2019 Khoza opened `'Seeking Love`' a museum touring show around South Africa and has been awarded the M&G 200 Young South Africans. Khoza is the co-curator with Nicole Siegenthaler of Art Joburg: Gallery Lab. Enjoy listening to my conversation with Banele Khoza.

Jack Mack and The Heart Attack Horns (Standin' Before The King); Lena and The Slide Brothers (Train To Catch); Brooks Williams (Jump That Train); Junior Kimbrough (Sad Days, Lonely Nights); Lonesome Sundown with Clarence Garlow (It Ain't Right); Al Smith (You Wanta Do Me Wrong); Jessie Mae Hemphill (Go Back To Your Used To Be); Zakiya Hooker (Hang On For A While); Hip Linkchain (Gambler's Blues); Arbee Stidham (Walking Blues); Mark Wenner (Walking By Myself); Guy Davis (Black Coffee); Zora Young (Blues Falling Down Like Rain); Homesick Mac and Sam Mitchell (Statesboro Blues); Norman Beaker (What We Do For The Blues); Long Tall Deb (Married To The Blues).

Alexandra McCue returns to bring us another industry insider interview. Today she's chatting to Francessca Wingfield, the founder of Lonely Nights which is a new UK based lingerie subscription service with a unique twist. It's about time to feel empowered! Become who you want to be, and not the expected.https://lonelynights.co.uk/- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -The world’s No.1 daily review website for lingerie, hosiery and so much more. Every day our presenters inspire, delight and inform you. Join our website: https://www.lingerielowdown.com/join/ There’s no-one better to give you the lowdown than our personally selected team of over 80+ presenters from 12 countries across the world (adding more every month) who won’t hold back in giving you their honest, impartial and 100% trustworthy opinions and advice direct from their homes.We INSPIRE you, no matter of your age, gender, body shape, size or ethnicity to look good and feel great in the choices you make when purchasing lingerie, hosiery and underwear.We DELIGHT you with informative video reviews filmed direct from our presenters homes, bringing you the personal touch.We INFORM you to brands that you may not of tried before, show how to style these products in ways that you may not have tried – we make the mistakes so you don’t have to.Whether you’re a loved one looking to treat their partner or an individual looking for inspiration to feel sexy in your lingerie and to empower yourself to know it’s OK to do so, we have you covered – or uncovered!Join our website today to access 3,000+ in-depth reviews featuring over 380 brands, with many now published in glorious 4K quality featuring lingerie, hosiery, swimwear, sportswear, sleepwear as well as body jewellery, kink and bondage clothing too. Brought to you by our incredibly diverse team of beautiful reviewers. Publishing 120+ brand new and exclusive reviews every month for our members, and remember that once published, we never delete any content.Membership starts from as little as £7.99 per month.https://www.lingerielowdown.com/join/- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -Follow us on social media :YouTube main channel : http://www.youtube.com/c/LingerieLowdownYouTube second channel (age restricted previews) : http://www.youtube.com/c/LingerieLowdownDigestInstagram : http://www.instagram.com/lingerie.lowdownTwitter : http://www.twitter.com/LingerieLowdownFacebook : https://www.facebook.com/the.real.lowdownTumblr : https://lingerielowdown.tumblr.com/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -Support the show (https://www.lingerielowdown.com/support/)

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things:  Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on “Short Shorts” by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I’ve also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I’ve used two main books on the British side of things:  Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and talks about the problems between the musicians’ unions. This three-CD set provides a great overview of Otis’ forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. “First-wave rockabilly is *so* January through August 1956, we’re into late 1958 and everything’s prototype soul now, granddad!” But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that’s definitely the case for Johnny Otis. While he didn’t have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote “Lonely, Lonely Nights” for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We’re going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It’s still seen as that by some people, but it’s also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it’s a word that is considered acceptable and correct for white people to use when talking about people who identify that way — which, to be clear, not all Americans of Mexican descent do, by any means — but I’m very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when “Lonely Lonely Nights” came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, “Lonely, Lonely Nights”] But it turned out shortly afterwards that Herrera wasn’t exactly what he seemed. Police came to Otis’ door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera’s career — and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family — his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller’s Day Off. Katz’s comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of “Sixteen Tons”, making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, “Sixteen Tons”] Even though Katz’s music was about as far from Otis’ as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis’ career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She’d been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington’s record “Harbor Lights”: [Excerpt: Dinah Washington, “Harbor Lights”] When she’d proved she could sing that, Robey signed her, hoping that he’d have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope — “I’m Gonna Play the Honky Tonks” went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, “I’m Gonna Play the Honky Tonks”] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace’s “My Song”, which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn’t do anything much commercially: [Excerpt: Marie Adams, “My Song” Like many of Peacock’s artists who weren’t selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn’t, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace’s death, “In Memory”: [Excerpt: Marie Adams, “In Memory”] But that did so poorly that it’s never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis — who always had an ear for great singing — kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I’m fat myself and absolutely fat-positive. Fat isn’t a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I’ve seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams’* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren’t singing, and they remained with Otis’ show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was “Ma! He’s Making Eyes At Me”, a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, “Ma! She’s Making Eyes at Me”] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams’ pronunciation of “mama”) than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: “Ma, He’s Making Eyes At Me”] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I’ve not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians’ Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble’s band wasn’t, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he’d had to employ British musicians, and when Lonnie Donegan had toured the US on the back of “Rock Island Line”‘s success, he was backed by Johnny Burnette and the Rock and Roll Trio — Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton’s band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I’m sure you can see the basic idea. The union was making sure that Armstrong wasn’t taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis’ manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis’ band. They came back to the US, and cut a follow-up to “Ma, He’s Making Eyes at Me”, with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, “Bye Bye Baby”] That’s an example of what Johnny Otis meant when he said later that he didn’t like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on “Ma! He’s Making Eyes At Me” — it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, “What Do You Want To Make Those Eyes At Me For?”] Sadly, it sank without a trace — at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] We’ll be hearing more from Ford’s co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat’s Whisker, where they were popular enough that the audience were packed in like sardines — the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn’t dance properly, and so a new dance developed among the customers, and spread — a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released “Six-Five Hand Jive” in March 1958: [Excerpt: Don Lang and His Frantic Five, “Six-Five Hand Jive”] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he’d just had a big hit — and namechecking those other dances, like the Walk and the Stroll — could lead to a hit followup to “Ma He’s Making Eyes At Me”. The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing “Hambone”, the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley’s song “Bo Didlley”. Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm — though he would always claim, for the rest of his life, that he’d heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, “Willie and the Hand Jive”] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of “Willie and the Hand Jive” in 1959: [Excerpt: Cliff Richard and the Shadows, “Willie and the Hand Jive”] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous — or infamous — Shadows Walk had developed. But while “Willie and the Hand Jive” didn’t have any success in the UK, in the US it became Otis’ only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the “hand jive” was a reference to masturbation — even though on Otis’ TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether “Willie and the Hand Jive” had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like “Willie Did The Cha-Cha”: [Excerpt: Johnny Otis, “Willie Did The Cha-Cha”] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made — as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family — while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we’ll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn’t so much social integration, which he believed impossible in the short term due to white racism, as economic equality — he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I’ll quote from the book here: “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness — Otis gives over thirty pages of the book to the voices of black witnesses of the riots — talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they’d been shooting tin cans. Some is, more than fifty years later, out of date or “of its time”, but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis’ main occupation, he hadn’t stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don “Sugarcane” Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like “Holiday in Berlin”: [Excerpt: The Mothers of Invention, “Holiday in Berlin, Full Blown”] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn’t like it at all. Given what I know of Estrada that’s a good thing. Otis’ teenage son Shuggie also played with Zappa, playing bass on “Son of Mr. Green Genes” from Zappa’s Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. “Cold Shot” by the New Johnny Otis Show featured a core band of just three people — Otis himself on piano and drums, Delmar “Mighty Mouth” Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father’s band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since “Willie and the Hand Jive”, more than a decade earlier, “Country Girl”: [Excerpt: The Johnny Otis Show, “Country Girl”] Around the same time, that trio also recorded another album, called “For Adults Only”, under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won’t be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour — Otis wanted to preserve bits of black folklore. Songs like “The Signifying Monkey” had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they’d always stripped out the sexual insults that make up much of the piece’s appeal. Otis would in later years laugh that he’d received accusations of obscenity for “Roll With Me Henry” and for “Willie and the Hand Jive”, but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. “Cold Shot” caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis’ later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie “Cleanhead” Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, “Good Rocking Tonight”] That performance was released as a live album, and Clint Eastwood featured footage of that show — the band performing “Willie and the Hand Jive” — in his classic film Play Misty For Me. It was probably the greatest example of Otis’ belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible — Marie Adams, for example, rejoined the band in 1972 — with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church — but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

Note: This is a new version because I uploaded the wrong file originally   Episode seventy-one of A History of Rock Music in 500 Songs continues our look at British music TV by looking at the first time it affected American R&B, and is also our final look at Johnny Otis. Patreon backers also have a ten-minute bonus episode available, on "Short Shorts" by the Royal Teens, a group whose members went on to be far more important than one might expect.  Also, this is the first of hopefully many podcasts to come where Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Much of the information on Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz.  I've also referred extensively to two books by Otis himself, Listen to the Lambs, and Upside Your Head! Rhythm and Blues on Central Avenue. I've used two main books on the British side of things:  Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg's Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I've read on music at all, and talks about the problems between the musicians' unions. This three-CD set provides a great overview of Otis' forties and fifties work, both as himself and with other artists. Many of the titles will be very familiar to listeners of this podcast.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so we come to our last look at Johnny Otis, one of those people who has been turning up throughout the early episodes of the podcast. Indeed, he may continue to appear intermittently until at least the late sixties, as an influence and occasional collaborator. But the days of his influence on rock and roll music more or less came to an end with the rise of the rockabillies in the mid fifties, and from this point on he was not really involved in the mainstream of rock and roll. But in one of those curious events that happens sometimes, just as Otis was coming to the end of the run of hits he produced or arranged or performed on for other people, and the run of discoveries that changed music, he had a rock and roll hit under his own name for the first and only time. And that hit was because of the Six-Five Special, the British TV show we talked about last week: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] The way this podcast works, telling stories chronologically and introducing new artists as they come along, can sometimes make it seem like the music business in the fifties was in a constant state of revolution, with a new year zero coming up every year or two. "First-wave rockabilly is *so* January through August 1956, we're into late 1958 and everything's prototype soul now, granddad!" But of course the majority of the podcast so far has looked at a very small chunk of time, concentrating on the mid 1950s, and plenty of people who were making hits in 1955 were still having very active careers as of 1958, and that's definitely the case for Johnny Otis. While he didn't have that many big hits after rockabilly took over from R&B as the predominant form of rock and roll music, he was still making important records. For example, in 1957 he produced and co-wrote "Lonely, Lonely Nights" for Little Julian Herrera and the Tigers, which became a local hit, and which he thought at the time was the first big record to feature a Chicano singer. We're going to talk about the Chicano identity in future episodes of the show, but Chicano (or Chicana or Chicanx) is a term that is usually used for Americans of Mexican origin. It can be both an ethnic and a cultural identifier, and it has also been used in the past as a racial slur. It's still seen as that by some people, but it's also the chosen identifier for a lot of people who reject other labels like Hispanic or Latino. To the best of my knowledge, it's a word that is considered acceptable and correct for white people to use when talking about people who identify that way -- which, to be clear, not all Americans of Mexican descent do, by any means -- but I'm very happy to have feedback about this from people who are affected by the word. And Little Julian Herrera did identify that way, and he became a hero among the Chicano population in LA when "Lonely Lonely Nights" came out on Dig Records, a label Otis owned: [Excerpt: Little Julian Herrera and the Tigers, "Lonely, Lonely Nights"] But it turned out shortly afterwards that Herrera wasn't exactly what he seemed. Police came to Otis' door, and told him that the person he knew as Julian Herrera was wanted on charges of rape. And not only that, his birth name was Ron Gregory, and he was of Jewish ethnicity, and from a Hungarian-American family from Massachusetts. Apparently at some point he had run away from home and travelled to LA, where he had been taken in by a Mexican-American woman who had raised him as if he were her own son. That was pretty much the end of Little Julian Herrera's career -- and indeed shortly after that, Dig Records itself closed down, and Otis had no record contract. But then fate intervened, in the form of Mickey Katz. Mickey Katz was a comedian, who is now probably best known for his famous family -- his son is Joel Grey, the star of Cabaret, while his granddaughter, Jennifer Grey, starred in Dirty Dancing and Ferris Bueller's Day Off. Katz's comedy consisted of him performing parodies of currently-popular songs, giving them new lyrics referencing Jewish culture. A typical example is his version of "Sixteen Tons", making it about working at a deli instead of down a mine: [Excerpt: Mickey Katz, "Sixteen Tons"] Even though Katz's music was about as far from Otis' as one can imagine, Katz had been a serious musician before he went into comedy, and when he went to see Otis perform live, he recognised his talent as a bandleader, and called his record label, urging them to sign him. Katz was on Capitol, one of the biggest labels in the country, and so for the first time in many years, Otis had guaranteed major-label distribution for his records. In October 1957, Capitol took the unusual step of releasing four Johnny Otis singles at the same time, each of them featuring a different vocalist from his large stable of performers. None did especially well on the American charts at the time, but one, featuring Marie Adams and the Three Tons of Joy, would have a major impact on Otis' career. Marie Adams was someone who had been on the R&B scene for many years, and had been working with Otis in his show since 1953. She'd been born Ollie Marie Givens, but dropped the Ollie early on. She was a shy woman, who had to be pushed by her husband to audition for Don Robey at Peacock Records. Robey had challenged her to sing along with Dinah Washington's record "Harbor Lights": [Excerpt: Dinah Washington, "Harbor Lights"] When she'd proved she could sing that, Robey signed her, hoping that he'd have a second Big Mama Thornton on his hands. And her first single seemed to confirm him in that hope -- "I'm Gonna Play the Honky Tonks" went to number three on the R&B chart and became one of the biggest hit records Peacock had ever released: [Excerpt: Marie Adams, "I'm Gonna Play the Honky Tonks"] But her later career with Peacock was less successful. The follow-up was a version of Johnny Ace's "My Song", which seems to have been chosen more because Don Robey owned the publishing than because the song and arrangement were a good fit for her voice, and it didn't do anything much commercially: [Excerpt: Marie Adams, "My Song" Like many of Peacock's artists who weren't selling wonderfully she was handed over to Johnny Otis to produce, in the hopes that he could get her making hits. Sadly, he couldn't, and her final record for Peacock came in 1955, when Otis produced her on one of many records recorded to cash in on Johnny Ace's death, "In Memory": [Excerpt: Marie Adams, "In Memory"] But that did so poorly that it's never had an official rerelease, not even on a digital compilation I have which has half a dozen other tributes to Ace on it by people like Vanetta Dillard and Linda Hayes. Adams was dropped by her record label, but she was impressive enough as a vocalist that Otis -- who always had an ear for great singing -- kept her in his band, as the lead singer of a vocal trio, the Three Tons of Joy, who were so called because they were all extremely fat. (I say this not as a criticism of them. I'm fat myself and absolutely fat-positive. Fat isn't a term of abuse in my book). There seems to be some debate about the identity of the other two in the Three Tons of Joy. I've seen reliable sources refer to them as two sisters, Sadie and Francine McKinley, and as *Adams'* two sisters, Doris and Francine, and have no way of determining which of these is correct. The three of them would do synchronised dancing, even when they weren't singing, and they remained with Otis' show until 1960. And so when Capitol came to release its first batch of Johnny Otis records, one of them had vocals by Marie Adams and the Three Tons of Joy. The song in question was "Ma! He's Making Eyes At Me", a vaudeville song which dated back to 1921, and had originally sounded like this: [Excerpt: Billy Jones, "Ma! She's Making Eyes at Me"] In the hands of the Otis band and the Three Tons of Joy, it was transformed into something that owed more to Ruth Brown (especially with Marie Adams' pronunciation of "mama") than to any of the other performers who had recorded versions of the song over the decades: [Excerpt: Johnny Otis and his Orchestra with Marie Adams and the Three Tons of Joy: "Ma, He's Making Eyes At Me"] In the US, that did nothing at all on the charts, but for some reason it took off massively in the UK, and went to number two on the pop charts over here. It was so successful, in fact, that there were plans for a Johnny Otis Show tour of the UK in 1958. Those plans failed, because of something I've not mentioned in this podcast before, but which radically shaped British music culture, and to a lesser extent American music culture, for decades. Both the American Federation of Musicians and their British equivalent, the Musicians' Union, had since the early 1930s had a mutual protectionist agreement which prevented musicians from one of the countries playing in the other. After the Duke Ellington band toured the UK in 1933, the ban came into place on both sides. Certain individual non-instrumental performers from one country could perform in the other, but only if they employed musicians from the other country. So for example Glenn Miller got his first experience of putting together a big band because Ray Noble, a British bandleader, had had hits in the US in the mid thirties. Noble and his vocalist Al Bowlly were allowed to travel to the US, but Noble's band wasn't, and so he had to get an American musician, Miller, to put together a new band. Similarly, when Johnnie Ray had toured the UK in the early fifties, he'd had to employ British musicians, and when Lonnie Donegan had toured the US on the back of "Rock Island Line"'s success, he was backed by Johnny Burnette and the Rock and Roll Trio -- Donegan was allowed to sing, but not allowed to play guitar. In 1955, the two unions finally came to a one-in-one-out agreement, which would last for the next few decades, where musicians from each country could tour, but only as a like-for-like swap. So Louis Armstrong was allowed to tour the UK, but only on condition that Freddie Randall, a trumpet player from Devon, got to tour the US. Stan Kenton's band toured the UK, while the Ted Heath Orchestra (which was not, I should point out, led by the Prime Minister of the same name) toured the US. We can argue over whether Freddie Randall was truly an adequate substitute for Louis Armstrong, but I'm sure you can see the basic idea. The union was making sure that Armstrong wasn't taking a job that would otherwise have gone to a British trumpeter. Similarly, when Bill Haley and the Comets became the first American rock and roll group to tour the UK, in 1957, Lonnie Donegan was allowed to tour the US again, and this time he could play his guitar. The Three Tons of Joy went over to the UK to appear on the Six-Five Special, backed by British musicians and to scout out some possible tour venues with Otis' manager, but the plans fell through because of the inability to find a British group who could reasonably do a swap with Otis' band. They came back to the US, and cut a follow-up to "Ma, He's Making Eyes at Me", with vocals by Marie and Johnny Otis: [Excerpt: Johnny Otis and Marie Adams, "Bye Bye Baby"] That's an example of what Johnny Otis meant when he said later that he didn't like most of his Capitol recordings, because he was being pushed too far in a commercial rock and roll direction, while he saw himself as far closer in spirit to Count Basie, Lionel Hampton, or Louis Jordan than to Elvis Presley or Buddy Holly. The song is just an endless litany of the titles of recentish rock and roll hits, with little to recommend it. It made the top twenty in the UK, mostly on the strength of people having bought the previous single. The record after that was an attempt to capitalise on "Ma! He's Making Eyes At Me" -- it was another oldie, this time from 1916, and another song about making eyes at someone. Surely it would give them another UK hit, right?: [Excerpt: Marie Adams, "What Do You Want To Make Those Eyes At Me For?"] Sadly, it sank without a trace -- at least until it was picked up by Emile Ford and the Checkmates, who released a soundalike cover version, which became the last British number one of the fifties and first of the sixties, and was also the first number one hit by a black British artist and the first record by a black British person to sell a million copies: [Excerpt: Emile Ford and the Checkmates, "What Do You Want To Make Those Eyes At Me For?"] We'll be hearing more from Ford's co-producer on that record, a young engineer named Joe Meek, later in the series. But Otis had another idea for how to crack the British market. While the Three Tons of Joy had been performing on Six-Five Special, they had seen the British audiences doing a weird dance that only used their arms. It was a dance that was originally popularised by a British group that was so obscure that they never made a record, and the only trace they left on posterity was this dance and three photos, all taken on the same night by, of all people, Ken Russell. From those photos, the Bell Cats were one of the many British bands trying to sound like Bill Haley and the Comets. Their regular gig was at a coffee house called The Cat's Whisker, where they were popular enough that the audience were packed in like sardines -- the venue was so often dangerously overcrowded that the police eventually shut it down, and the owner reopened it as the first Angus Steak House, an infamous London restaurant chain. In those Bell Cats performances, the audience were packed so tightly that they couldn't dance properly, and so a new dance developed among the customers, and spread -- a dance where you only moved your hands. The hand jive. That dance spread to the audiences of the Six-Five Special, so much that Don Lang and his Frantic Five released "Six-Five Hand Jive" in March 1958: [Excerpt: Don Lang and His Frantic Five, "Six-Five Hand Jive"] Oddly, despite Six-Five Special not being shown in Sweden, that song saw no less than three Swedish soundalike cover versions, from (and I apologise if I mangle these names) Inger Bergrenn, Towa Carson, and the Monn-Keys. The Three Tons of Joy demonstrated the hand jive to Otis, and he decided to write a song about the dance. There was a fad for dance songs in 1958, and he believed that writing a song about a dance that was popular in Britain, where he'd just had a big hit -- and namechecking those other dances, like the Walk and the Stroll -- could lead to a hit followup to "Ma He's Making Eyes At Me". The dance also appealed to Otis because, oddly, it was very reminiscent of some of the moves that black American people would do when performing "Hambone", the folk dance-cum-song-cum-game that we discussed way back in episode thirty, and which inspired Bo Diddley's song "Bo Didlley". Otis coupled lyrics about hand-jiving to the Bo Diddley rhythm -- though he would always claim, for the rest of his life, that he'd heard that rhythm from convicts on a chain gang before Diddley ever made a record: [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Surprisingly, the record did nothing at all commercially in the UK. In fact, its biggest impact over here was that it inspired another famous dance. Cliff Richard cut his own version of "Willie and the Hand Jive" in 1959: [Excerpt: Cliff Richard and the Shadows, "Willie and the Hand Jive"] His backing band, the Shadows, were looking for a way to liven up the visual presentation of that song when they performed it live, and they decided that moving in unison would work well for the song, and worked out a few dance steps. The audience reaction was so great that they started doing it on every song. The famous -- or infamous -- Shadows Walk had developed. But while "Willie and the Hand Jive" didn't have any success in the UK, in the US it became Otis' only top ten pop hit, and his first R&B top ten hit as a performer in six years, reaching number nine on the pop charts and number one on the R&B charts. This was despite several radio stations banning it, as they assumed the "hand jive" was a reference to masturbation -- even though on Otis' TV shows and his stage performances, the Three Tons of Joy would demonstrate the dance as Otis sang. As late as the nineties, Otis was still having to deal with questions about whether "Willie and the Hand Jive" had some more lascivious meaning. Of course, with him now being on a major label, he had to do follow-ups to his big hit, like "Willie Did The Cha-Cha": [Excerpt: Johnny Otis, "Willie Did The Cha-Cha"] But chart success remained elusive, and nothing he did after this point got higher than number fifty-two on the pop charts. The music industry was slowly moving away from the kind of music that Otis had always made -- as genres got narrower, his appreciation for all forms of black American music meant that he no longer appealed to people who wanted one specific style of music. He was also becoming increasingly involved in the civil rights movement, writing a weekly newspaper column decrying racism, helping his friend Mervyn Dymally who became the joint first black person elected to statewide office in the USA since the reconstruction, and working with Malcolm X and others. He had to deal with crosses burning on his lawn, and with death threats to his family -- while Otis was white, his wife was black. The result was that Otis recorded and toured only infrequently during the sixties, and at one point was making so little as a musician that his wife became the main breadwinner of the family while he was a stay-at-home father. After the Watts riots in 1965, which we'll talk about much more when we get to that time period, Otis wrote the book Listen to the Lambs, a combination political essay, autobiography, and mixture of eyewitness accounts of the riots that made a radical case that the first priority for the black community in which he lived wasn't so much social integration, which he believed impossible in the short term due to white racism, as economic equality -- he thought it was in the best interests, not only of black people but of white people as well, if black people were made equal economic participants in America as rapidly as humanly possible, and if they should be given economic and political control over their own lives and destinies. The book is fierce in its anger at systemic racism, at colonialism, at anglocentric beauty standards that made black people hate their own bodies and faces, at police brutality, at the war in Vietnam, and at the systemic inequalities keeping black people down. And over and again he makes one point, and I'll quote from the book here: "A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference". Just to remind you, the word he uses there was the correct word for black people at the time he was writing. Some of the book is heartrending, like the description from a witness -- Otis gives over thirty pages of the book to the voices of black witnesses of the riots -- talking about seeing white police officers casually shoot black teenagers on the street and make bullseye signals to their friends as if they'd been shooting tin cans. Some is, more than fifty years later, out of date or "of its time", but the sad thing is that so many of the arguments are as timely now as they were then. Otis wrote a follow-up, Upside Your Head, in the early nineties inspired by the LA riots that followed the Rodney King beating, and no doubt were he alive today he would be completing the trilogy. But while politics had become Otis' main occupation, he hadn't stopped making music altogether, and in the late sixties he was contacted by Frank Zappa, who was such a fan of Otis that he copied his trademark beard from Otis. Otis and Zappa worked together in a casual way, with Otis mostly helping Zappa get in touch with musicians he knew who Zappa wanted to work with, like Don "Sugarcane" Harris. Otis also conducted the Mothers of Invention in the studio on a few songs while Zappa was in the control room, helping him get the greasy fifties sound he wanted on songs like "Holiday in Berlin": [Excerpt: The Mothers of Invention, "Holiday in Berlin, Full Blown"] Apparently while they were recording that, Otis was clapping his hands in the face of the bass player, Roy Estrada, who didn't like it at all. Given what I know of Estrada that's a good thing. Otis' teenage son Shuggie also played with Zappa, playing bass on "Son of Mr. Green Genes" from Zappa's Hot Rats album. Zappa then persuaded a small blues label, Kent Records, which was owned by two other veterans of the fifties music industry, the Bihari brothers, to sign Otis to make an album. "Cold Shot" by the New Johnny Otis Show featured a core band of just three people -- Otis himself on piano and drums, Delmar "Mighty Mouth" Evans on vocals, and Shuggie playing all the guitar and bass parts. Shuggie was only fifteen at the time, but had been playing with his father's band since he was eleven, often wearing false moustaches and sunglasses to play in venues serving alcohol. The record brought Otis his first R&B hit since "Willie and the Hand Jive", more than a decade earlier, "Country Girl": [Excerpt: The Johnny Otis Show, "Country Girl"] Around the same time, that trio also recorded another album, called "For Adults Only", under the name Snatch and the Poontangs, and with a cover drawn by Otis in a spot-on imitation of the style of Robert Crumb. For obvious reasons I won't be playing any of that record here, but even that had a serious sociological purpose along with the obscene humour -- Otis wanted to preserve bits of black folklore. Songs like "The Signifying Monkey" had been performed for years, and had even been recorded by people like Chuck Berry and Willie Dixon, but they'd always stripped out the sexual insults that make up much of the piece's appeal. Otis would in later years laugh that he'd received accusations of obscenity for "Roll With Me Henry" and for "Willie and the Hand Jive", but nobody had seemed bothered in the slightest by the records of Snatch and the Poontangs with their constant sexual insults. "Cold Shot" caused a career renaissance for Otis, and he put together a new lineup of the Johnny Otis Show, one that would feature as many as possible of the veteran musicians who he thought deserved exposure to a new audience. Probably the highest point of Otis' later career was a 1970 performance at the Monterey Jazz Festival, where his band featured, along with Johnny and Shuggie, Esther Phillips, Big Joe Turner, Eddie "Cleanhead" Vinson, Roy Milton, Pee Wee Crayton, Ivory Joe Hunter, and Roy Brown: [Excerpt: The Johnny Otis Show featuring Roy Brown, "Good Rocking Tonight"] That performance was released as a live album, and Clint Eastwood featured footage of that show -- the band performing "Willie and the Hand Jive" -- in his classic film Play Misty For Me. It was probably the greatest example of Otis' belief that all the important strands of black American music shared a commonality and could work in combination with each other. For the next few decades, Otis combined touring with as many of his old collaborators as possible -- Marie Adams, for example, rejoined the band in 1972 -- with having his own radio show in which he told people about black musical history and interviewed as many old musicians as he could, writing more books, including a cookbook and a collection of his art, running an organic apple juice company and food store, painting old blues artists in a style equally inspired by African art and Picasso, and being the pastor of a Pentecostal church -- but one with a theology so broadminded that it was not only LGBT-affirming but had Buddhist and Jewish congregants. He ran Blues Spectrum Records in the seventies, which put out late-career recordings by people like Charles Brown, Big Joe Turner, and Louis Jordan, some of them their last ever recordings. And he lectured in the history of black music at Berkeley. Johnny Otis died in 2012, aged ninety, having achieved more than most of us could hope to achieve if we lived five times that long, and having helped many, many more people to make the most of their talents. He died three days before the discovery of whom he was most proud, Etta James, and she overshadowed him in the obituaries, as he would have wanted.

'Lonely' ... the word alone can be confronting. The feeling of loneliness can bring our mood down or it can cause us to indulge in unhealthy behaviours ... all things that affect our sleep. This practice moves us from confronting to comforting - ensuring that you have a sense of togetherness within so that you can experience a calm and lovely sleep ... and move on in your life with understanding that you can dissolve your lonely thinking and feelings. This short episode introduces the victorious breath - Ujjayi breathing technique creates a warm vibrational sensation that encourages a sense of togetherness - it calms, and generates an internal cuddle. INCLUDES: Voice, To find out more about me: www.jordanmartin.biz (Ensure you are listening to this episode in a safe and comfortable environment. Do not listen to this podcast whilst driving, when caring for others, or when operating machinery).

Lonely Nights, Brokenness, Heartbreak

Himmlischer Superhit: Alma: Lonely Nights

GOOGLE "dance djcarl 2019" DJ Carl© Dance Music Playlist: 01. Jax Jones f. Ella Henderson – This is Real 02. Pink – Can We Pretend 03. Zac Brown Band – Someone I Used To Know (V) 04. Lizzo – Good As Hell 05. Diplo & Jonas Brothers – Lonely (P) 06. Post Malone – Circles (P) 07. 7L – So Deep 08. StoneBridge f. DiscoVer. – Not Alone 09. Arlissa – Running 10. Janet Jackson – All For You 11. Eric Prydz – Call On Me 12. Dirty Werk, DJ Bam Bam & Steve Smooth – No Letting Go 13. Taylor Swift – The Archer (P)(P) 14. David Bowie – Let's Dance 15. Michael Jackson – Thriller Create an mp3 music DJ Carl© mix - http://bit.ly/2A5Fkkb (V)=Voiceover (S)=Shoutout (P)=Promo

Download and listen to this album and more on: www.mixcloud.com/mike-alfred/ or www.youtube.com/channel/UCiA_zmmUGl9BEdMUo_wc7TQ For bookings, news and updates, visit me at www.DJDaddyWheels.com Follow and like on Instagram, Facebook and Twitter @DJDaddyWheels and don't forget to subscribe above for new mix tape updates. Download our mobile app to listen to all our latest mixes on the go! Google Play: https://goo.gl/dCHpL2 Apple App: https://goo.gl/nc2b1t FAIR USE DISCLAIMER I do not own copyright for this copyrighted material, but under Section 107 United States Copyright Law as noted by the United States Copyright Office (Copyright Act 1976), allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. This mix that I created and uploaded contains copyrighted material solely for comment and criticism, and is a completely non-profit project. TRACKLIST 1 BEAUTIFUL LADY - GYPTIAN 2 AFRICAN QUEEN - 2FACE IDIBIA 3 LOVE ONE OF A KIND - ISASHA 4 YOUR BEAUTIFUL - ROGER ROBIN 5 TOMORROW ANOTHER DAY - COLLIE BUDDZ 6 GOT THIS FEELING - JAH CURE 7 COMING OVER - CHUCK FENDER 8 BEST OF ME - SPECTACULAR 9 MISS YOU SO MUCH - TURBULANCE 10 ONE AND ONLY - GYPTIAN 11 CAN'T GET OVER YOU - DAVILLE 12 FALLING FOR YOU - WAYNE WONDER 13 BROOKLYN N JAMAICA - MORGAN HERITAGE 14 COME AROUND - COLLIE BUDDZ/BUSTA RHYMES 15 DRIVER - BUJU BANTON 16 FUNNYMAN - JR REID 17 FIRE WILL BE BURNING - CHUCK FENDER 18 MAMA DON'T CRY - GYPTIAN 19 YOUTHS SO COLD - RICHIE SPICE 20 GIVE JAH THANKS - SUNDAY 21 PICTURE OF SELASIA - KHARL KILL

BANG! @southernvangard #radio Ep212! We got you covered this week folks, albeit a tad late. Doe was on the move for fam and work at the beginning of the week, and American Airlines pulled a fast one on him that caused a delay in dropping the episodes this week. Nonetheless, we’re still bringing you that Twice A Week goodness, just all in one day! Tons of new joints and trash talk from Doe & Meeks can be found in Ep212, and we have an interview session with white-hot producer JR Swiftz that dropped the same day! Make sure you put both in your playlists for this weekend and soak in that #SmithsonianGrade #TwiceAWeek #WeAreTheGard // southernvangard.com // @southernvangard on #applepodcasts #stitcherradio #soundcloud #mixcloud #youtube // #hiphop #rap #undergroundhiphop #boombap #DJ #mixshow #interview #podcast #ATL #WORLDWIDE #RIPCOMBATJACK Recorded live June 19, 2019 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on #applepodcasts #soundcloud #youtube #spotifypodcast #googlepodcasts #stitcherradio #mixcloud #SmithsonianGrade #TwiceAWeek #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks Talk Break Inst. - "Refrigerator P" - Small Professor "Grand Rising" - B Dot & JR Swiftz "Split" - B Dot & JR Swiftz "Brothers" - B Dot & JR Swiftz "Still Bars" - Finale ft. Ty Farris & Marv Won (prod. by JR Swiftz) "Broken Femur" - Flee Lord ft. Conway (prod. JR Swiftz) Talk Break Inst. - "Word To Mother" - Small Professor "Giannis" - Freddie Gibbs & Madlib "Unpredictable" - Drasar Monumental "Then" - Cut Beetlez & The Good People "Taxi" - Your Old Droog ft. Quelle Chris "Lonely Nights" - $wank & King Draft "Lyte'Cha" - Libretto & Buscrates ft. Ke Turner "Don't Get It Twisted" - Josh Alias of (Urbvn Architects NYC) "HaHaHa" - J57 ft. Exile, Blu, Blame One, Johaz (prod. J57) Talk Break Inst. - "Refrigerator P (Peaky Blinders Remix)" - Small Professor "Tip-Off" - Spoda (prod. Wavy Da Ghawd) "A Team Swing" - Agallah ft. Jess Jamez & Dinco D "Purge Night" - RJ Payne (prod. Daringer) "Chao$ Real…" - Ca$ablanca X The Architect "Token of My Affection" - Nems (prod. Jazzsoon) "Rilla Music" - Bubu The Prince ft. Nems (prod. SyerSO) "Hand of God" - Bozack Morris & J. Scienide ft. Ty Farris Talk Break Inst. - "P's Theme Interlude" - Small Professor

Ditto

기다릴 줄 알라. 성급함에 밀리지 않고 정열을 잠재울 줄 알 때 인내의 위대한 정신이 드러난다. 무엇보다 그대 자신의 주인이 되라. 그러면 다른 것도 지배하게 될 것이다. 길고 긴 시간을 거쳐야만 그대는 사물의 중심에 도달한다. 여기 위대한 말 한마디가 있다. "시간과 나는 또 다른 시간 그리고 또 다른 나와 겨루고 있다." 원주 : 이것은 스페인 왕 필립 2세가 한 말로 전해진다.

Episode 29 finds us in Portugal for the 1989 release of Italian masterpiece/Predator rip-off Robowar. Find out if the film’s “star” Reb Brown does one of his patented screams-while-shooting-an-assault-rifle (spoiler: he sure does). This movie is not to be missed. Then we try to pump some life into Aerosmith‘s 1989 effort Pump by talking about how generic and terrible it is and how much Casey loves it. Our guest this week is Modern Superior‘s own Bruce Douglas (of Lonely Nights with Bruce Douglas). Bruce has a breadth of knowledge about terrible movies and he uses it to help us make sense of this senseless Robowar. --- Send in a voice message: https://anchor.fm/time-bandits/message

We get down and dirty into the 2nd leg of the Golden Swing, a Euro stop in the Netherlands and the tournament most likely to be moved to a new city. Kelly channels his inner Bernie Sanders and rants about the disappearance of the middle class of tennis outright prices, while Andy tries to make a case for an outright who pulled out of the tournament while we were recording.

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Host Sama'an Ashrawi shares a bonus mix based on songs from the Khruangbin episode of The Nostalgia Mixtape. Music from Sudan, Morocco, Algeria, Niger, Libya, Egypt, Lebanon, Palestine, Iran, India, plus a few dub tracks as well as some American rockabilly, blues, Jamaican soul, and Canadian disco. Listen to the Khruangbin interview on the Nostalgia Mixtape here: https://soundcloud.com/nostalgiatapes/the-khruangbin-episode Check the footnotes here: http://bit.ly/TNMKhruangbin Tracklist: 00:00 -- "Nar" by Alsarah & The Nubatones 02:50 -- "Besaha" by Kareem Isaaq (of The Devil's Anvil) 04:04 -- "Son Moi" by Chaz Bundick (Toro y Moi) Meets The Mattson 2 05:22 -- "Agadez" (live) by Bombino 06:46 -- "Thanks A Lot" by The Sea-ders 08:16 -- "People Everywhere (Still Alive)" by Khruangbin 10:27 -- "Ayetheri A L'afjare" by El-Abranis 11:24 -- "Helelyos" by Zia Atabi 15:21 -- "Zifaf Filfada" by Nama Samith 16:49 -- "Bin Bin" (live on GMTX) by Khruangbin 17:58 -- "Khuda Bhi Aasman Se" by Mohammed Rafi (movie: Dharti) 19:02 -- "Jab Jab Teri Surat Dekhun" - Sapna Mukherjee, Mahesh Gadhvi (movie: Janbaaz) 20:41 -- "Laila O Laila" by Amit Kumar, Kanchan (movie: Qurbani) 21:51 -- "Laila O Laila" - Shah Rukh Khan, Sunny Leone, Pawni Pandey, Ram Sampath (movie: Raees) 22:29 -- "Jimmy" by M.I.A. 23:58 -- "Jimmy Jimmy Ajaa Ajaa" by Parvati Khan (movie: Disco Dancer) 24:54 -- "Gud Naal Ishq Mitha" by Malaika Arora Khan, Jas Arora, Bally Sagoo & Malkit Singh 25:58 -- "Gonna Get Over You" by France Joli 29:01 -- "Let Love Flow On" by Sonya Spence 31:27 -- "Khalas" by Ziad Rahbani, Monica Asly 33:41 -- "Ayonha" by Hamid El Shaeri 35:50 -- "U.F.O." by Jim Sullivan 37:21 -- "From The Moon" by The News (written by Elias Rahbani) 38:33 -- "Shakin' All Over" by The Guess Who 39:27 -- "Baby Please Don't Go" by Them 40:29 -- "Rock Around The Clock" by Bill Haley & His Comets 41:50 -- "Baby Please Don't Go" (reprise) by Them 42:36 -- "Jailhouse Rock" by Queen (live at the Summit, Houston, TX. 1977.) 46:38 -- "No Particular Place To Go" by Chuck Berry 47:38 -- "Hi Heel Sneakers" by Tommy Tucker 49:04 -- "Little Bitty Pretty One" by Thurston Harris 50:33 -- "Rip It Up" by Little Richard 51:38 -- "Whatchya Say (I Don't Know)" by Albert Collins 52:39 -- "There's Been Some Lonely, Lonely Nights" by Johnny "Guitar" Watson 53:54 -- "At The Hop" by Danny & The Juniors 55:12 -- "Touch Me" by Tia Carrere (from Wayne's World) 56:46 -- "Crazy Little Thing Called Love" by Queen 58:49 -- "Sid Redad" by Fadoul 1:00:30 -- "I Got You" by Simon C. Edwards & His Soul Set 1:03:06 -- "Undecidedly" by The Sea-Ders 1:04:31 -- "Dance Maria" by Khruangbin (Elias Rahbani cover) 1:05:41 -- "Ramallah" by Anatolia 1:06:37 -- "Ya Kullo Ya Balash" by Stormtrap 1:08:08 -- "Gole Yakh" by Kourosh Yaghmaei 1:10:29 -- "Moon" by Deradoorian 1:11:46 -- "Ma Be Ham Nemiresim" by Khruangbin (Googoosh cover) 1:13:17 -- "Mosem-e Gol" by Parva 1:16:28 -- "Mandela Dub" by Peter Youthman 1:19:47 -- "People Everywhere (Still Alive)" by Khruangbin (Vuelo Dub)

The Bucket Hat Boys (Ty and Jesse) talk about these trending topics from the week: Movie Review: Creed 2 and Fantastic Beasts: Crimes of Grindelwald Thanksgiving review/ don't experiment with recipes for big events. Dwight Howard (scandal?) and poor reaction on the internet. Incels are reporting premium Snapchats. and more. Songs of the week: Jaden Smith- "Plastic" Njomza- "Lonely Nights" Key Glock- "Dope"

Join Karrar and Manahil as they delve deep into the world of podcasting

Hello! Last month I finished 2 tracks. Dearly Beloved and Lonely Nights, you can stream it on every platform. Also follow me on Spotify, it will help me a LOT! Also I created a Vero account, you can add me and have a chat with me. Just search for Bamf and talk to me. Tell me what do you think about the show, if I you want some other tracks here, whatever you want. Do you have a pet? Send a picture! I love animals. So see you next time! Bye!

Hello! Last month I finished 2 tracks. Dearly Beloved and Lonely Nights, you can stream it on every platform. Also follow me on Spotify, it will help me a LOT! Also I created a Vero account, you can add me and have a chat with me. Just search for Bamf and talk to me. Tell me what do you think about the show, if I you want some other tracks here, whatever you want. Do you have a pet? Send a picture! I love animals. So see you next time! Bye!

Follow ⟪ π ṽ ş ⟫ // Pueblo Vista ► pueblovista.net. The internet is awesome, but you can't download love. Only beat-tapes; call them Pueblo Vista Mixtapes. I have been doing mixtapes for as long as I can remember; 15 years minimum. Back in the good old days of analog DJing, a dj mix could only be recorded live. God knows how many takes I had to do before achieving perfection. Lo-Fi Pueblo Vista mixtapes though, thats something entirely different. There might not be “real” mixing involved, however the mood is key. That’s where harmonic sequencing comes in handy. You can google that. The sound of Pueblo Vista is an eloquent amalgamation of carefully curated, relaxing and soothing vibes. Perfect for background music, study, relaxation, chill, sleep or that cozy morning coffee.

Episode Notes In this week's episode the guys discuss who's sitting in week 17, sneaky starts, bold predictions, and play a soundboard game. Lonely Nights by J.D. Beats: https://youtu.be/addTD37DxS0Stupead - Alright Majestic Color: https://youtu.be/ve56hK35d3E41 Minutes of Spy Music - Instrumental Spy Themes https://youtu.be/XZBp0VvuUhQThis podcast is powered by Pinecast.

Episode Notes The guys struggle with words and discuss injury replacements for the championship, naughty or nice matchups, and preparation for Week 17.Lonely Nights by J.D. Beats: https://youtu.be/addTD37DxS0Stupead - Alright Majestic Color: https://youtu.be/ve56hK35d3EThis podcast is powered by Pinecast.

Episode Notes In this week's episode the guys discuss who to replace your injured quarterback with, players to bet on in this week's playoff match ups and breakdown why they are bullish on Jordy Nelson and Aaron Rodgers.Lonely Nights by J.D. Beats: https://youtu.be/addTD37DxS0Stupead - Alright Majestic Color: https://youtu.be/ve56hK35d3EThis podcast is powered by Pinecast.

Episode Notes In this week's episode the guys talk about who you should start this week, defenses with good playoff schedules, late season adds, and to flex or not to flex.Lonely Nights by J.D. Beats: https://youtu.be/addTD37DxS0Stupead - Alright Majestic Color: https://youtu.be/ve56hK35d3EThis podcast is powered by Pinecast.

Episode Notes In this week's episode the guys discuss news, injuries, the New York Giant's crazy decision and who has been riding the struggle bus the past few weeks. Lonely Nights by J.D. Beats: https://youtu.be/addTD37DxS0Stupead - Alright Majestic Color: https://youtu.be/ve56hK35d3EThis podcast is powered by Pinecast.

In this episode Tara and Johnny discuss Johnny's search for love, their backgrounds in acting, Tara's obsession with the Food Network and more.

My first round of golf in 4 years & a senior citizen altercation on the course (2:55) Bee Gees tribute/Bee Gees - “Lonely Days, Lonely Nights" vs. The Pet Shop Boys - “Opportunites” (13:25) Trumpcare (17:45) Warnings about Michael Flynn (26:40) FBI Director James Comey fired (35:45) Bill Maher - The lesser of two evils (1:31:25) We have joined the BS Podcast Network (1:37:10) No new Tool album in 2017 (1:39:20)

This episode was pre-recorded for airing on KWTF Sonoma County Radio for November 16, 2015. In this episode, we get deep into our loneliness. Songs Played: All is Loneliness by Janis JoplinIs She Lonesome Now? by TarnationThe End of the Rainbow by Richard & Linda ThompsonA Widow's Toast by Neko CaseSolitary Move by Anna TernheimLone by Chelsea WolfeThat's How Strong My Love Is by Otis ReddingBrave & Strong by Sly & The Family StoneNervous Lonely Night by Jessica Lea MayfieldLong Distance Drunk by Modest MouseThinking About Tomorrow by Beth OrtonKeep the Streets Empty for Me by Fever RayTwo Sides of Lonely by The Lone BellowLonesome Graveyard by Michael Hurley Please subscribe and rate! Thank you.

This episode was pre-recorded for airing on KWTF Sonoma County Radio for November 16, 2015. In this episode, we get deep into our loneliness. Songs Played: All is Loneliness by Janis JoplinIs She Lonesome Now? by TarnationThe End of the Rainbow by Richard & Linda ThompsonA Widow's Toast by Neko CaseSolitary Move by Anna TernheimLone by Chelsea WolfeThat's How Strong My Love Is by Otis ReddingBrave & Strong by Sly & The Family StoneNervous Lonely Night by Jessica Lea MayfieldLong Distance Drunk by Modest MouseThinking About Tomorrow by Beth OrtonKeep the Streets Empty for Me by Fever RayTwo Sides of Lonely by The Lone BellowLonesome Graveyard by Michael Hurley Please subscribe and rate! Thank you.

        show#506        09.07.13                                               Lonesome... very lonesome......        1. Finis Tasby - Lonesome Bedroom Blues - 2009 - from Live at Ground Zero, Vol.   1 (3:57)        2. Al Kooper - The Heart Is A Lonely Hunter - 1982 - from Championship Wrestling (4:22)        3. Eddie Hinton - Hymn For Lonely Hearts - 2000 - from Dear Y'all: The Songwriting Sessions (4:18)        4. Lonnie Brooks - Cold Lonely Nights - 2003 - from Crucial Chicago Blues (5:41)        5. Junior Watson - Lonesome Train - 1994 - from Long Overdue (4:32)        6. Kid Ramos - Mean Ol' Lonesome Train - 2001 10 09 - from Greasy Kid's Stuff (2:56)        7. Rick Holmstrom • John "Juke" Logan • Stephen Hodges - Lone Wolf - 2010 - from "Twist-O-Lettz" (5:14)              Spinner's Section:        lonely, lonesome & alone         8. Bobby Blue Bland: loneliness hurts (2:43) (Ain't Nothing You Can Do, Duke, 1964)         9. Dr. John: those lonely lonely nights (2:31) (Gumbo, Atlantic, 1972)        10. Maria Muldaur: all to myself alone (5:51) (Meet Me Where They Play The Blues, Telarc, 1999)        11. Richard Leo Johnson: first night alone (1:47) (The Legend Of Vernon McAlister, Cuneiform, 2006)        12. David Burgin: lonesome (2:55) (Wild Child, Flying Fish, 1984)        13. Oscar Woods: lone wolf blues [1936] (3:09) (Out Came The Blues, Ace Of Hearts, 1964)        14. James Brown: I walked alone [1956] (2:43) (Please Please Please, King, 1958) Sing, 1988)        15. Big Al & the Heavyweights: why can't we be alone (4:40) (Hey Hey Mardi Grass, self-release, 1998)        16. Mikey Jr.: lonesome cabin (5:02) (The New York City Sessions, 8th Train, 2004)        17. The Electric Kings: blue & lonesome (4:36) (Not For Sale, MW, 1995)        18. Blue Bishops: lonely riverside (3:56) (Deep, self-release, 2002)        19. John Juke Logan: lonely freedom (2:47) (Juke Rhythm, Sky Ranch, 1995)         Back To Beardo:        20. Nick Curran - Lonely Nights - 2000 - from Fixin' Your Head (3:56)        21. Hazmat Modine - I've Been Lonely for So Long - 2011 - from Cicada (4:19)        22. The Band - Lonesome Suzie - 1968 - from Music From Big Pink (4:01)        23. Neil Young & the Bluenotes - Hello Lonely Woman - 1988 - from The World 4/18/1988 Late Show (4:44)        24. Darrel Nulisch - Far Too Lonely - 2009 - from Just For You (2:49)        25. Sean Costello - Those Lonely, Lonely Nights - 2000 - from Cuttin' In (2:40)        26. Willy Mabon - Lonesome Blue Water - 1963 - from Chicago 1963 (2:56)        27. Kenny & Moe - I'm All Alone - - from Early 50's Black Radio R & B Singles (2:26)        28. Tommy Castro - Lonesome and Then Some - 2007 - from Painkiller (4:44)        29. Johnny Shines/Robert Lockwood, Jr. - Lonesome Whistle - 2003 - from Box of the Blues Disc 1 (3:45)        30. Tom Hambridge - Upside Of Lonely - 2011 - from Boom! (4:22)        31. The Jelly Roll Kings - So Lonesome - 1997 - from Off Yonder Wall (5:43)        21. Steve Nardella - Loneliness of a Star - 1993 - from Daddy Rollin' Stone (2:19)        22. Jimmy Carl Black - Lonesome Cowboy Burt - 1971 - from 200 Motels (4:05)

Welcome to Episode 409 of the Radio Orphans Podcast.This episode contains the following independent musicfor your listening pleasure:"The Network" by The Reaktion.Alternative rock from Canada."Good Side" by Greta Gaines.Adult alternative from Tennessee."Lonely Nights" from Southside Chiefs. Rock from Ohio."Anita's Last Dance" by Presley Johnson.Indie rock from the UK."Crash" by Mother Redcap.Indie rock from New Jersey. "Never Far From The Surface" by A Man Called Son.Indie rock from Australia."Born Knowing" from Radio Orphans.Experimental rock from Minneapolis byyour hosts the Radio Orphans.We thank you for listening!

Big Band Serenade presents Ruth Etting 1928-1935  The music in this program is listed in order of play;1) "Love Me Or Leave Me" 19282) "Now That You're Gone" 19313) "Mean To Me" 19294) "Ten Cents A Dance" 19305) "Button Up Your Overcoat" 19296) "Holding My Honey's hand" 19327) "Happy Days and Lonely Nights" 19288) "When We're Alone" 19329) "Now I'm In Love" 192910) "Life Is A Song" 193511) "Nevertheless"12) "Back In Your Own Back Yard" 1928

Brought to you in part by AMD Live! In this show: The concept of working hard and achieving perfection. How my dad’s extremely crummy childhood affected mine, how I carried some of the hurt into adulthood, and God’s call to perfection. What does it mean? Music: Harrison Kennedy…”Make A Difference” Brandon Sollins…”Lonely Nights” Matt Brady…”My...