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CNN, HBO MaxLegendary US singer Dionne Warwick 2025 Inductee Class in the Rock & Roll Hall of FameThe news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster. In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2025 Building Abundant Success!!2025 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Long Description: Listen to an interview with the legendary vocalist Dionne Warwick. She'll be performing in Central Indiana later this month. Warwick rose to prominence in the early 1960s, after catching the attention of the songwriter and producer Burt Bacharach. During the 1960s, Warwick became the primary voice for Bacharach's chart-topping compositions, co-written with lyricist Hal David. Songs like “Don't Make Me Over,” “Walk on By,” “I Say A Little Prayer,” “I'll Never Fall in Love Again” and many others, dominated the charts. That success led Warwick to become one of the most-charted vocalists of all time, with 80 singles hitting the Billboard charts. Warwick has won 6 Grammy awards, among many other notable accolades. Last month, she was inducted into the Rock & Roll Hall of Fame.
God is speaking and moving swiftly. I don't usually do Podcast back to back, so I pray this blesses who this is for and that you will see how He speaks in various ways. Do not box Him. Song (Don't Make Me Over) https://youtu.be/YzeUz9tTR3g?si=4PZsmZteZhnADI4y You can view ALL things Sacred Silhouette at https://linktr.ee/sacredsilhouette Thank you for listening, please share with anyone you think it will bless. Tonya Denise
To mark the third anniversary of A Journey Through Stock Aitken Waterman, former PWL remixer Tony King joins us to share his story of going from Phil Harding's assistant to being responsible for a Billboard Hot 100 smash hit thanks to his remix of "Don't Make Me Over" by Sybil. Tony recounts the "weird" way he landed a job at PWL and how his first task was to remix "Packjammed (With The Party Posse)" by Stock Aitken Waterman — in a matter of hours. He also talks about some of his early remixes on tracks by Kylie Minogue and The Reynolds Girls. We follow Tony's journey into the '90s and how crucial his partnership with Asha Elfenbein was to the development of his remix ability. He also weighs in on the changes at PWL in the '90s, including the departure of Matt Aitken and the proliferation of dance sub-labels and European licensing deals.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com
A Devotional on Ezekiel 36:26, 27 26 A new heart also will I give you, and a new spirit will I put within you: and I will take away the stony heart out of your flesh, and I will give you an heart of flesh. 27 And I will put my spirit within you, and cause you to walk in my statutes, and ye shall keep my judgments, and do them. Make Me Over - https://www.youtube.com/watch?v=rIV2TkLNfaA
A Devotional on Ezekiel 27:36-38 34 In the time when thou shalt be broken by the seas in the depths of the waters thy merchandise and all thy company in the midst of thee shall fall. 35 All the inhabitants of the isles shall be astonished at thee, and their kings shall be sore afraid, they shall be troubled in their countenance. 36 The merchants among the people shall hiss at thee; thou shalt be a terror, and never shalt be any more. Make Me Over - https://www.youtube.com/watch?v=rIV2TkLNfaA
In this conversation, Sonia Alleyne speaks to Dave Wooley, a director, producer, author, and serial entrepreneur. They discuss his recent documentary, Dionne Warwick: Don't Make Me Over, and his experiences working with legendary musicians. Wooley shares his journey from starting a business at nine years old to becoming a successful entrepreneur. He emphasizes the importance of believing in oneself, overcoming fear, and taking risks. Wooley also talks about the challenges of making the documentary and the trust he built with Dionne Warwick. He encourages listeners to follow their dreams and not give up.
Notre 1ère invitée s'appelle Laryssa Kim.Basée à Bruxelles, Laryssa Kim est une chanteuse et compositrice italo-congolaise. Son premier album, Contezza, est sorti en 2024 sur le label City Tracks. Contezza représente le chemin de la prison mentale à la libération, vers un amour mature vaste et inconditionnel pour la vie, pour soi-même et pour les autres. Ses premières incursions dans la musique ont eu lieu à Rome où elle écrivait et se produisait avec des musiciens de reggae et des DJ. Une période qui lui a permis de consolider ses forces instinctives à travers le live. En 2008, elle déménage à Amsterdam et s'immerge dans la danse contemporaine et le théâtre. Basée à Bruxelles depuis 2013, Laryssa a confirmé son intérêt pour l'électroacoustique en complétant un programme de master au Conservatoire Royal de Mons en composition musicale acousmatique.On pénètre dans « Contezza » comme on sombre dans un sommeil duveteux. Durant ces trois premières pistes, Laryssa Kim nous emmène donc aux confins de sa contezza, un mot italien ancien et éculé signifiant « conscience ». Jouant avec les langues comme avec les sons, comme autant d'artefacts invisibles témoignant de ses origines italo-congolaises, Laryssa se meut dans l'hybride et les contrastes.Carrefour où se rencontrent Brian Eno, Enya et Erykah Badu, Contezza est donc affaire de voyage intérieur. Le résultat d'un repli qui, comme pour la majorité des humains en 2020, survient avec la pandémie de Covid-19. Certaine de devoir mettre un terme à sa carrière, Laryssa profite surtout de cette pause forcée pour approfondir sa connaissance des pratiques de méditation et sa curiosité pour l'ésotérisme, l'astrologie, la magie, les oracles chinois. Tout en gardant farouchement les pieds sur terre, Laryssa s'autorise à jouer avec les signes et les sens. Instinctivement, c'est d'amour qu'elle veut parler sur ce nouvel album. L'amour et ses déceptions, mais aussi ce qu'il peut nous apprendre sur nous-mêmes, lorsqu'il s'évanouit comme un rêve, comme une marée faite de plaisirs et d'angoisses, miroirs de nos failles les plus mystérieuses. À l'instar des grands maîtres d'une esthétique clair-obscur, par-delà bien et mal, que sont David Lynch et Miyazaki. Très vite, elle conçoit l'album comme un processus rituel, magique : un exorcisme par la beauté lui permettant d'éloigner un mauvais œil qu'elle suspecte lui coller à la peau. Loin de donner des leçons, Laryssa invite humblement à l'introspection créative, à l'invention perpétuelle de soi, sans répit, au gré du jeu et de l'ouverture aux détails infinis du quotidien. Comme le bourdonnement du frigo ou l'horloge des toilettes de sa mère, à Rome, qui trouvent une nouvelle place dans les mini-univers oniriques de la contezza de Laryssa, à la fois ancienne et tournée vers les techniques de composition les plus contemporaines. Une exploration spirituelle en soi-même que Laryssa envisage à la manière d'un Jodorowski : profonde et fondamentalement ludique à la fois, loin des certitudes et des dogmes dangereux…Morceaux interprétés au grand studio- L'Attente Live RFI- Blue Velvet, extrait de l'album- Ma Chi Sei Live RFI. Line Up : Laryssa Kim, voix, machines.Son : Mathias Taylor & Jérémie Besset.► Album Contezza (City Tracks 2024). Puis nous recevons l'artiste québécoise Terez Montcalm pour la sortie de Step OutEn plus de trente ans de carrière, la Québécoise Thérèse Montcalm (Térez à la scène) publie enfin son dixième album Step Out. Elle a pris le temps pour le concevoir, puisque son prédécesseur date de neuf ans déjà. Et comme elle aime surprendre, après avoir alterné disques en français («Risque», «Parle Pas Si Fort», «Quand On S'Aime»…) et en anglais, oscillant tour à tour entre jazz, rock et chanson («Voodoo», «Songs For Shirley Horn»), c'est en compagnie du fameux guitariste français Jean-Marie Ecay (et sous l'égide du producteur Régis Ceccarelli, fils d'André, dit «Dédé», ainsi que de l'ingénierie du célèbre Dominique Blanc-Francard) qu'elle nous revient pour un album cédant cette fois la part belle à cette bonne vieille soul intemporelle. S'ouvrant sur la même rhythm pattern que le «What's Going On» de Marvin Gaye (qu'évoque également «Holding On»), la plage titulaire démontre que le temps n'a pas de prise sur le timbre rauque, puissant et écorché de la grande Térez. La guitare d'Ecay et les arrangements de Ceccarelli s'appuient fermement sur le groove qu'y imprime la paire rythmique que constituent les excellents Laurent Vernerey (Laurent Voulzy, Jean-Louis Aubert, Albin de la Simone… basse) et Nicolas Viccaro (batterie). Au registre des covers particulièrement bien senties, on distinguera celles du «She's Not There» des Zombies (également repris en son temps par Santana), du «Be My Baby» de Spector via les Ronettes (en deux versions, une langoureuse et une exaltée), du «Don't Make Me Over» de David et Bacharach (tel qu'adapté chez nous par les Surfs sous le titre «T'en Vas Pas Comme Ça»), ainsi que du «Reach Out I'll Be There» des Four Tops (dont Claude François fit ce «J'attendrai» qu'elle interprète également ici d'une poignante manière), du «T.R.O.U.B.L.E» de Leiber et Stoller via Elvis et du «Lady Day And John Coltrane» du regretté Gil Scott-Heron (avec le trombone de Philippe Georges).Morceaux interprétés au grand studio- J'attendrai Live RFI- Lady Day, extrait de l'album- Be my Baby Live RFI voir clip. Line Up : Terez Montcalm, guitare-voix, Jean-Marie Ecay à la guitare. Son : Benoît Letirant & Mathias Taylor.► Album Step out (Spectra Music / Side Street Music / L'autre Dist. 2024).Concert 26 mars 2024 au studio de l'Ermitage.
Notre 1ère invitée s'appelle Laryssa Kim.Basée à Bruxelles, Laryssa Kim est une chanteuse et compositrice italo-congolaise. Son premier album, Contezza, est sorti en 2024 sur le label City Tracks. Contezza représente le chemin de la prison mentale à la libération, vers un amour mature vaste et inconditionnel pour la vie, pour soi-même et pour les autres. Ses premières incursions dans la musique ont eu lieu à Rome où elle écrivait et se produisait avec des musiciens de reggae et des DJ. Une période qui lui a permis de consolider ses forces instinctives à travers le live. En 2008, elle déménage à Amsterdam et s'immerge dans la danse contemporaine et le théâtre. Basée à Bruxelles depuis 2013, Laryssa a confirmé son intérêt pour l'électroacoustique en complétant un programme de master au Conservatoire Royal de Mons en composition musicale acousmatique.On pénètre dans « Contezza » comme on sombre dans un sommeil duveteux. Durant ces trois premières pistes, Laryssa Kim nous emmène donc aux confins de sa contezza, un mot italien ancien et éculé signifiant « conscience ». Jouant avec les langues comme avec les sons, comme autant d'artefacts invisibles témoignant de ses origines italo-congolaises, Laryssa se meut dans l'hybride et les contrastes.Carrefour où se rencontrent Brian Eno, Enya et Erykah Badu, Contezza est donc affaire de voyage intérieur. Le résultat d'un repli qui, comme pour la majorité des humains en 2020, survient avec la pandémie de Covid-19. Certaine de devoir mettre un terme à sa carrière, Laryssa profite surtout de cette pause forcée pour approfondir sa connaissance des pratiques de méditation et sa curiosité pour l'ésotérisme, l'astrologie, la magie, les oracles chinois. Tout en gardant farouchement les pieds sur terre, Laryssa s'autorise à jouer avec les signes et les sens. Instinctivement, c'est d'amour qu'elle veut parler sur ce nouvel album. L'amour et ses déceptions, mais aussi ce qu'il peut nous apprendre sur nous-mêmes, lorsqu'il s'évanouit comme un rêve, comme une marée faite de plaisirs et d'angoisses, miroirs de nos failles les plus mystérieuses. À l'instar des grands maîtres d'une esthétique clair-obscur, par-delà bien et mal, que sont David Lynch et Miyazaki. Très vite, elle conçoit l'album comme un processus rituel, magique : un exorcisme par la beauté lui permettant d'éloigner un mauvais œil qu'elle suspecte lui coller à la peau. Loin de donner des leçons, Laryssa invite humblement à l'introspection créative, à l'invention perpétuelle de soi, sans répit, au gré du jeu et de l'ouverture aux détails infinis du quotidien. Comme le bourdonnement du frigo ou l'horloge des toilettes de sa mère, à Rome, qui trouvent une nouvelle place dans les mini-univers oniriques de la contezza de Laryssa, à la fois ancienne et tournée vers les techniques de composition les plus contemporaines. Une exploration spirituelle en soi-même que Laryssa envisage à la manière d'un Jodorowski : profonde et fondamentalement ludique à la fois, loin des certitudes et des dogmes dangereux…Morceaux interprétés au grand studio- L'Attente Live RFI- Blue Velvet, extrait de l'album- Ma Chi Sei Live RFI. Line Up : Laryssa Kim, voix, machines.Son : Mathias Taylor & Jérémie Besset.► Album Contezza (City Tracks 2024). Puis nous recevons l'artiste québécoise Terez Montcalm pour la sortie de Step OutEn plus de trente ans de carrière, la Québécoise Thérèse Montcalm (Térez à la scène) publie enfin son dixième album Step Out. Elle a pris le temps pour le concevoir, puisque son prédécesseur date de neuf ans déjà. Et comme elle aime surprendre, après avoir alterné disques en français («Risque», «Parle Pas Si Fort», «Quand On S'Aime»…) et en anglais, oscillant tour à tour entre jazz, rock et chanson («Voodoo», «Songs For Shirley Horn»), c'est en compagnie du fameux guitariste français Jean-Marie Ecay (et sous l'égide du producteur Régis Ceccarelli, fils d'André, dit «Dédé», ainsi que de l'ingénierie du célèbre Dominique Blanc-Francard) qu'elle nous revient pour un album cédant cette fois la part belle à cette bonne vieille soul intemporelle. S'ouvrant sur la même rhythm pattern que le «What's Going On» de Marvin Gaye (qu'évoque également «Holding On»), la plage titulaire démontre que le temps n'a pas de prise sur le timbre rauque, puissant et écorché de la grande Térez. La guitare d'Ecay et les arrangements de Ceccarelli s'appuient fermement sur le groove qu'y imprime la paire rythmique que constituent les excellents Laurent Vernerey (Laurent Voulzy, Jean-Louis Aubert, Albin de la Simone… basse) et Nicolas Viccaro (batterie). Au registre des covers particulièrement bien senties, on distinguera celles du «She's Not There» des Zombies (également repris en son temps par Santana), du «Be My Baby» de Spector via les Ronettes (en deux versions, une langoureuse et une exaltée), du «Don't Make Me Over» de David et Bacharach (tel qu'adapté chez nous par les Surfs sous le titre «T'en Vas Pas Comme Ça»), ainsi que du «Reach Out I'll Be There» des Four Tops (dont Claude François fit ce «J'attendrai» qu'elle interprète également ici d'une poignante manière), du «T.R.O.U.B.L.E» de Leiber et Stoller via Elvis et du «Lady Day And John Coltrane» du regretté Gil Scott-Heron (avec le trombone de Philippe Georges).Morceaux interprétés au grand studio- J'attendrai Live RFI- Lady Day, extrait de l'album- Be my Baby Live RFI voir clip. Line Up : Terez Montcalm, guitare-voix, Jean-Marie Ecay à la guitare. Son : Benoît Letirant & Mathias Taylor.► Album Step out (Spectra Music / Side Street Music / L'autre Dist. 2024).Concert 26 mars 2024 au studio de l'Ermitage.
CNN, HBO MaxLegendary US singer Dionne Warwick has announced she will perform at eight special shows in the UK.The news came shortly after the 82-year-old star became one of the latest recipients of a Kennedy Center Honor, alongside comedian Billy Crystal and actor Queen Latifah.The Don't Make Me Over tour will begin its UK leg at Gateshead's The Glasshouse on Sunday 5 May, 2024, with tickets going on sale via Ticketmaster. In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
New York Tawk, host, Elyse DeLucci (@ElyseDeLucci) welcomes you into her Upper East Side living room talking: how to get STINK out of your jeans, plastic surgery-back in the day, bread addiction, TV Tawk: Air, American Nightmare & Dionne Warwick: Don't Make Me Over, AND MORE! LOVE TO LOVE YA! SUBSCRIBE TO MY YT CHANNEL: https://www.youtube.com/channel/UCrl_... Follow Elyse on Instagram: https://www.instagram.com/elysedelucci/?hl=en
A Devotional on Jeremiah 18:1-6 1 The word which came to Jeremiah from the Lord, saying, 2 Arise, and go down to the potter's house, and there I will cause thee to hear my words. 3 Then I went down to the potter's house, and, behold, he wrought a work on the wheels. 4 And the vessel that he made of clay was marred in the hand of the potter: so he made it again another vessel, as seemed good to the potter to make it. 5 Then the word of the Lord came to me, saying, 6 O house of Israel, cannot I do with you as this potter? saith the Lord. Behold, as the clay is in the potter's hand, so are ye in mine hand, O house of Israel. Make Me Over - https://www.youtube.com/watch?v=rIV2TkLNfaA
Chuck Edwards - "Bullfight" Roy Gaines - "Isabella" The Falcons & Band - "Swim" Barrett Strong - "You Knows What to Do" Tommy Ridgley - "What'cha Gonna Do" Tiny Topsy - "Miss You So" June Bug Bailey - "Louisiana Twist" Music behind DJ: The Majestics - "Oasis" Ford Eaglin - "My Head Is Spinning" Mickey and Sylvia - "Bewildered" The Cookies - "In Paradise" King Carl - "I'm Just a Lonely Man" Jimmy Ray Hunter and the Del Rays - "The Girl That Radiates the Charm" Shaine "Mr. Enthusiasm" - "Call Me Sweet Things" The Vows - "Buttered Popcorn" Sugar Pie Desanto - "Soulful Dress" Music behind DJ: The Exotics - "Boogaloo Investigator" Junior Walker & The All Stars - "Shake & Fingerpop" The Tempests - "Would You Believe" Al King - "Hi Cost of Living" Ernestine Thompson - "Just One More Time" The Sweet and Innocent - "Express Your Love" Lynn Collins - "Don't Make Me Over" https://www.wfmu.org/playlists/shows/134712
Although she had been signed to PWL in the UK for a while and scored a couple of hits with remakes of "Don't Make Me Over" and "Walk On By", Sybil went into the studio with Stock Aitken Waterman in 1990 to record soulful ballad "Make It Easy On Me". The American singer/songwriter joins us to discuss starting out with US label Next Plateau in 1986, her string of club hits that caught the attention of PWL, those Bacharach & David covers with Tony King's pivotal remix work and what it was like working with SAW themselves. Earlier in the episode, Matt Aitken helps us unpack "Wow Wow Na Na" by Grand Plaz and "Ole Ole Ole" by LA Mood — two SAW-produced dance tracks that were released anonymously. And as we reach Jason Donovan's final single from Between The Lines, "I'm Doin' Fine", we hear from him and his tour backing singer Dannielle Gaha about life — and love! — on the road.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
The next 15 songs in our definitive-comeback-song season storm the booth! Sometimes the song is coming back to the podcast from a previous season; sometimes our lunch is coming back on us thanks to cynical bongo glurge; and sometimes we're wondering if there's a portrait of Jeff Lynne in an attic somewhere? Execrable album-only tracks, the supergroup conundrum, market forces' inability to control a film soundtrack, how you score the montage during The Big Game, and our joint memoir, Morbid Tales Of Disgruntlement (To A Bossa Nova Beat). Throw on a gold lamé tunic and some fuzzy slippers, dunk those Russell Stovers in a vodka mart, and tell Alexa to crank this all-new MASTAS ep! Our intro is an LL Byrne J mash-up, and our outro is Michelle Branch. For more information/to become a patron of the show, visit patreon.com/mastas. SHOW NOTES Not sure what's going on here? Start at the beginning! Episode 242: Tracy Chapman, "Fast Car" The "Got My Mind Set On You" video More on The Harder They Come Our cousin pod, Listen To Sassy, also seeks justice for Cher Stevie Wonder burns it down on The Ed Sullivan Show at just 13 years old Record Of The Year Showdown, Episode 3: 1991-2006 Dionne Warwick: Don't Make Me Over on Prime Episode 193: Nelly, "Ride Wit Me"
What's new, Pussycat?!! This latest episode of Fire and Water Records pays tribute to the countless, popular hits of the late, great music composer and producer Burt Bacharach. Join Ryan Daly and special guest host Shawn Myers from Batman Family Reunion as they share their favorite Bacharach-composed songs from the scores of successful collaborations with legendary singers such as Dionne Warwick, Dusty Springfield, Elvis Costello, and more! Track list "Close to You" performed by The Carpenters "The Look of Love" performed by Dusty Springfield "Twenty-Four Hours from Tulsa" performed by Gene Pitney "Always Something There to Remind Me" performed by Naked Eyes "There's Always Something There to Remind Me" performed by Sandie Shaw "A House is Not a Home" performed by Dame Shirley Bassey "Don't Make Me Over" performed by Dionne Warwick "Are You There (With Another Girl)?" performed by Deacon Blue "Arthur's Theme (Best That You Can Do)" performed by Christopher Cross "I Say a Little Prayer (Love to Infinity Radio Mix)" performed by Diana King "God Give Me Strength" performed by Elvis Costello and Burt Bacharach "Do You Know the Way to San Jose?" performed by Dionne Warwick "I Say a Little Prayer" performed by Dionne Warwick Check out Dionne Warwick performing "I Say a Little Prayer" with Boy George right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!
What's new, Pussycat?!! This latest episode of Fire and Water Records pays tribute to the countless, popular hits of the late, great music composer and producer Burt Bacharach. Join Ryan Daly and special guest host Shawn Myers from Batman Family Reunion as they share their favorite Bacharach-composed songs from the scores of successful collaborations with legendary singers such as Dionne Warwick, Dusty Springfield, Elvis Costello, and more! Track list "Close to You" performed by The Carpenters "The Look of Love" performed by Dusty Springfield "Twenty-Four Hours from Tulsa" performed by Gene Pitney "Always Something There to Remind Me" performed by Naked Eyes "There's Always Something There to Remind Me" performed by Sandie Shaw "A House is Not a Home" performed by Dame Shirley Bassey "Don't Make Me Over" performed by Dionne Warwick "Are You There (With Another Girl)?" performed by Deacon Blue "Arthur's Theme (Best That You Can Do)" performed by Christopher Cross "I Say a Little Prayer (Love to Infinity Radio Mix)" performed by Diana King "God Give Me Strength" performed by Elvis Costello and Burt Bacharach "Do You Know the Way to San Jose?" performed by Dionne Warwick "I Say a Little Prayer" performed by Dionne Warwick Check out Dionne Warwick performing "I Say a Little Prayer" with Boy George right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!
CNN, HBO Max, Amazon Prime She's BACK!! In 2023, we saw the debut of her Documentary that aired on CNN New Year's Day featuring Legendary Music Icons like the late Burt Bachrach, Jerry Blavat, Chuck Jackson, as well as Berry Gordy, Quincy Jones, & Smokey Robinson. You can see it now on HBO Max, & Amazon Prime. She is making stops in Hawaii and Vancouver on her One Last Time tour — she won't say whether it's truly her last — tweeting (or “twoting,” as she calls it) to her more than half a million followers,On a Saturday Night LIVE's spoof "The Dionne Warwick Show", with NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Please! Download and SHARE the podcast! Thank You! The Music Authority Podcast... listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! Follow the show on TWITTER JimPrell@TMusicAuthority! Please, are you listening? Please, are you sharing the podcast? Please, has a podcast mention been placed into your social media? How does and can one listen in? Let me list the ways...*Podcast - https://themusicauthority.transistor.fm/ The Music Authority Podcast! Special Recorded Network Shows, too! Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! April 11, 2023, Tuesday, paragraph three…@The Masticators - 24 Fine Afternoon [Complete Masticators!] (Futureman Records) (Lisa Mychols Music)@Watts - The Mess Is The Makeup [March Madness 2023 Audio Jukebox] (Rum Bar Records)Matweeds - 07 Kiss [Hooligans In The Vestibule] (Rum Bar Records)@Continental - 02 State O' Maine [Hello] (Rum Bar Records)AJ Rosales - 06 - Heaven [Manifestations]Michael Harrison - 02 Livin The Blues [Livin the Blues]First Class + Coach - Sure [Neon Hip]Peter Green - Don't Need The Rain [Velvet Blues]Beebe Gallini - My Way Of Thinking [Rebel Rousers] (Rum Bar Records)@Cindy - Playboy [Why Not Now?]The Decibels - 03 - There's Just Something About You [When Red Lights Flash] (koolkatmusik.com)Ransom and the Subset - 05 - Bring Him Home [Perfect Crimes] (Futureman Records)Joe Normal - 09 Ya Gotta Open Your Heart [Public Works] (New Jersey Phonograph)Rich Arithmetic - 11 Make Me Over (for Eric & Tracy) [Shifting Gears]Poi Dog Pondering - 06_The Rome Song [Keep On Loving Each Other]@Bubble Gum Orchestra - Gonna Find Myself [Sugar Notes BGO 14]Hemmit - Thank You [Straight Outta Nowhere]
Discussed ths episode: The Quiet Girl, Party Down, Ant-Man & the Wasp: Quantumania, Cunk on Earth, Poker Face, The Mandalorian S3, Oscar Nominated Animated Shorts (“Ice Merchants”), Don't Make Me Over, How to Sell a Haunted House, Hell Bent, I Have some questions for you, Creed III, Stolen youth, School spirits, M3GAN The company you keep, Hello tomorrow , Wolfpack, Perfect match, Vanderpump Rules
Hosts Jim DeRogatis and Greg Kot talk with musician Chris Connelly about his new tribute to German singer Nico, best known for her work with the Velvet Underground. The hosts also pay tribute to Burt Bacharach and hear feedback from listeners on recent episodes. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Chris Connelly, "Ripcord, Ripcord," Eulogy to Christa, Easy Action, 2022The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967The Shirelles, "Baby It's You," Baby It's You, Scepter, 1962Elvis Costello and Burt Bacharach, "Toledo," Painted from Memory, Mercury, 1998Sonny Rollins, "Alfie's Theme," Alfie, Impulse!, 1966Dionne Warwick, "Don't Make Me Over," Presenting Dionne Warwick, Scepter, 1963Chris Connelly, "Union Square West," Eulogy to Christa, Easy Action, 2022Nico, "Janitor of Lunacy," Desertshore, Reprise, 1970Nico, "Julius Caesar (Memento Hodie)," The Marble Index, Elektra, 1968Chris Connelly, "Andy, Incidentally," Eulogy to Christa, Easy Action, 2022Chris Connelly, "A Slow Jones In New York," Eulogy to Christa, Easy Action, 2022Chris Connelly, "Eulogy To Lenny Bruce," Eulogy to Christa, Easy Action, 2022Chris Connelly, "Vegas," Eulogy to Christa, Easy Action, 2022Chris Connelly, "Hanging Gardens," Eulogy to Christa, Easy Action, 2022Christopher Tin, "Baba Yetu (feat. Soweto Gospel Choir)," Calling All Dawns, Tin Works, 2009Day Wave, "Loner," Pastlife, Pias, 2022The Lord, "The End of Absence (feat. Petra Haden)," Devotional (feat. Petra Haden), Southern Lord, 2022Sasami, "The Greatest," Squeeze, Domino, 2022
DO pay some attention to the man behind the curtain - in Wicked, he's played by Richard Kline and he's brimming with hilarious anecdotes and intriguing stories, spanning six show biz decades, and going strong!Richard Kline played Jack Tripper's pal, Larry Dallas in Three's Company. And he's the only cast member besides John Ritter to appear on the show and both of its spin-offs. Richie fills us in on the backstage skinny, the controversies, the antics, the friendships, the female co-stars' struggles, the roughhousing with Ritter, the trip to Vegas with Don Knots and he tops it off with a spot on Norman Fell impression.Richie goes on to talk about his first love, theater, including his Broadway moments with Wicked and Waitress, his life on the road in touring companies and his acting workshops.Richard Kline is Media Path family, having directed the Fritz Coleman one-man shows that Weezy produced, It's Me, Dad and The Reception so fair warning: reminiscing does ensue.We round things out with some Three's Company Trivia and a discussion on the disturbing nature of this year's Oscar frontrunners!Plus, Fritz recommends Women Talking (2022) in theaters and Weezy's pick is Dionne Warwick: Don't Make Me Over, the documentary currently streaming on HBO Max and Amazon Prime.Path Points of Interest:Richard Kline on WikipediaRichard Kline on IMDBRichard Kline - Acting WorkshopsWomen Talking Don't Make Me Over on PrimeDon't Make Me Over on HBOShelter PartnershipBroadway RisingBroadway HD
A Devotional on 2 Chronicles 29:20, 27, 28 20 Then Hezekiah the king rose early, and gathered the rulers of the city, and went up to the house of the Lord. 27 And Hezekiah commanded to offer the burnt offering upon the altar. And when the burnt offering began, the song of the Lord began also with the trumpets, and with the instruments ordained by David king of Israel. 28 And all the congregation worshipped, and the singers sang, and the trumpeters sounded: and all this continued until the burnt offering was finished. Make Me Over - https://www.youtube.com/watch?v=rIV2TkLNfaA
We remember composer and arranger Burt Bacharach, who died last week at 94. Bacharach, along with lyricist Hal David, created dozens of pop hits of the '60s and early '70s. He was known for his rhythmically sophisticated and catchy pop songs, like The Look of Love, Do You Know the Way to San Jose, Walk on By, Anyone Who Had a Heart, Don't Make Me Over, Raindrops Keep Falling on My Head, I Say a Little Prayer, and Alfie. We'll listen back to two of our interviews. One with Bacharach and lyricist Hal David. The other with Bacharach and Elvis Costello. They wrote many songs together.
We remember composer and arranger Burt Bacharach, who died last week at 94. Bacharach, along with lyricist Hal David, created dozens of pop hits of the '60s and early '70s. He was known for his rhythmically sophisticated and catchy pop songs, like The Look of Love, Do You Know the Way to San Jose, Walk on By, Anyone Who Had a Heart, Don't Make Me Over, Raindrops Keep Falling on My Head, I Say a Little Prayer, and Alfie. We'll listen back to two of our interviews. One with Bacharach and lyricist Hal David. The other with Bacharach and Elvis Costello. They wrote many songs together.
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support
Loving is one of the most challenging things I have ever had to do! Believing that I would overcome insecurities, self hate, guilt, shame, fear, loneliness, debt, never having enough money to support my son , was so far-fetched. I have experienced being on the main-line of battles on the battlefield called LIFE. Life may have be a cake walk for some, but a battle for me. I am here to tell you, you can, you will, you must WIN! Ebony D. Radio Show Host has a powerful message about winning in the battle called LIFE. Follow Ebony D on instagram @iamebonyd, Facebook @Iamebonydavis, Website: Ebonyddavis.com Join Ebony D's Make Me Over”21 Day Mind, Body and Heart Transformation Challenge Feb1st. Visit Ebonyddavis.com for more information
A Devotional on 1 Chronicles 26:1, 6, 7 1 Concerning the divisions of the porters: Of the Korhites was Meshelemiah the son of Kore, of the sons of Asaph. 6 Also unto Shemaiah his son were sons born, that ruled throughout the house of their father: for they were mighty men of valour. 7 The sons of Shemaiah; Othni, and Rephael, and Obed, Elzabad, whose brethren were strong men, Elihu, and Semachiah. Make Me Over - https://www.youtube.com/watch?v=rIV2TkLNfaA
On this December 31 edition of the WBGO Journal, host Doug Doyle chats with Dave Wooley, director of the new doc "Dionne Warwick: Don't Make Me Over", Jon Kalish reports on a new memoir highlighting the ties of a Bronx family to Jewish mobsters and film critic Harlan Jacobson gives us his best of 2022
Miraculously, Andrew lures icon, 100 million+ record seller and 5 time Grammy-winner Dionne Warwick to the show. Warwick, the subject of the new CNN documentary, Dionne Warwick: Don't Make Me Over, brings her famous wry candor to the following topics: how Burt Bacharach blew it by bolting, what Isaac Hayes did right and Barbra Streisand did wrong, why she very nearly quit the business to teach in the seventies just before recording her biggest hits. Finally learn who really writes those funny tweets. PLUS: did she really hate Lisa Rinna as much as it appeared on her season of The Celebrity Apprentice?
Dave Wooley is the producer, writer and co-director of Dionne Warwick: Don’t Make Me Over, a documentary feature film. He joins Steve Dale, in for Bob Sirott, to share many of his own anecdotes on the legendary journey of Dionne Warwick ahead of his film’s premiere on January 1st at 9pm CST on CNN.
Dave Wooley is the producer, writer and co-director of Dionne Warwick: Don’t Make Me Over, a documentary feature film. He joins Steve Dale, in for Bob Sirott, to share many of his own anecdotes on the legendary journey of Dionne Warwick ahead of his film’s premiere on January 1st at 9pm CST on CNN.
CNN, Award-Winning Director, The long awaited award winning documentary chronicling the life and career of music legend Dionne Warwick will finally make its way to television. “Dionne Warwick: Don't Make Me Over” airs on New Year's Day - Sunday, January 1st, 2023 – at 9 pm ET/PT on CNN. “Dionne Warwick: Don't Make Me Over” was five years in the making, according to filmmaker Dave Wooley, who wrote and solely produced the documentary. Wooley also directed the film alongside veteran David Heilbroner (of “Say Her Name: The Life & Death of Sandra Bland”). “Working on Ms. Warwick's documentary is a dream come true. “To see the movie come to fruition and most importantly, for Ms. Warwick to receive such accolades during her lifetime is gratifying,” explains Wooley, who earned the following honors for the movie – First Runner Up at the Toronto International Film Festival (category: People's Choice Award for Documentaries), Best Feature Film: Black Harvest Film Festival - Gene Siskel Film Center, Audience Award: Best Non Fiction- Montclair Film Festival, Annapolis Film Festival: Audience Award as well as the Audience Award: Bronze Lens and a 90% critics' rating from Rotten Tomatoes. Wooley, who also co-authored Ms. Warwick's autobiography, “My Life as I See It”, wants viewers to realize there's more to the singing icon than the several classic hits she enjoyed (“Walk On By”, “I Say A Little Prayer”, “Do You Know The Way To San Jose”, “Then Came You”, “That's What Friends Are For”). “I want folks to learn about Ms. Warwick's legacy and as a transformational leader,” explains Wooley. “We focus on her work and commitment to Civil Rights in the 1960's and how she stood up and stared down at Jim Crow racism. Then we move on into the 1980's with the AIDS epidemic and her ambassadorship on the US commission to address this matter, which led to Ms. Warwick to prompt then-President Ronald Reagan to speak directly on the issue.”The documentary, which also features Elton John, Stevie Wonder, Bill Clinton, Snoop Dogg, Burt Bacharach, Carlos Santana and Alicia Keys among others, was privately screened at the Apollo Theater in NYC's Harlem – the very venue where Ms. Warwick began her long storied solo career. Wooley explains how the icon reacted when seeing the film. “Upon viewing, Ms. Warwick said to me, ‘Dave, you put your foot in that (film)'. That meant so much to me because I put my entire being into making the doc. It's indeed an honor.”© 2022 All Rights Reserved© 2022 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Steve Dale is joined by Dave Wooley, the writer, producer and one of the directors of the upcoming documentary feature film Dionne Warwick: Don’t Make Me Over premiering on CNN. The film tells the story of her incredible legacy and her achievements reaching far beyond her musical endeavors. You can catch the film as it […]
Sybil Lynch, known simply as Sybil, is an American R&B and pop singer–songwriter. Sybil gained notable success in her career with songs during the mid-1980s into the mid-1990s. She is the cousin of former En Vogue singer Maxine Jones. Sybil signed to Next Plateau Records in the United States (with a licensing deal with Champion Records in the United Kingdom) and began recording in 1986 with the release of her first single "Falling in Love". The record reached the top 30 on the Dance charts and began a successful career for Sybil, releasing her debut album Let Yourself Go a year later, which was a minor hit. Sybil achieved worldwide crossover hits with her cover versions of Dionne Warwick's hits "Don't Make Me Over" and "Walk On By", which were released in 1989 and 1990, respectively. The former became Sybil's biggest hit in the US, peaking at 20, and was a 1 hit in New Zealand. "Walk On By" is still, to date, the highest charting position for this Burt Bacharach/Hal David classic in the UK, peaking at 6 closely followed by Gabrielle (7). Sybil's self-titled second album became her biggest-selling album in the US. She signed with PWL Records for the UK market for this album, where it was titled Walk On By. Sybil would be signed to PWL Records until 1998. #rnb #rnbpodcast #rnbmusic #newjackswing #hiphop #hiphopmusic #DJCassidy #PassTheMic #HalftimeChat Halftime Chat is hosted by Mental Health Psychotherapist Nnamdi E.S. Okoye. Dropping New Interviews and Music Every Week! =============================== Want to Donate or support the production of Halftime Chat?
She's BACK!! On Saturday Night LIVE's spoof "The Dionne Warwick Show", with NEW Compilations of Music. It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! On November 26, 2021, Warwick released the single "Nothing's Impossible" a duet featuring Chance the Rapper. Two charities are being supported by the duet: SocialWorks, a Chicago-based nonprofit that Chance founded to empower the youth through the arts, education and civic engagement, and Hunger: Not Impossible, a text-based service connecting kids and their families in need with prepaid, nutritious, to-go meals from local restaurants.Dionne was also named Smithsonian Ambassador of Music!!Additionally, Warwick began a highly anticipated concert residency in Las Vegas on April 4, 2019Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick's career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records.Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health.She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don't Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl's in Love With You,” “I'll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together.Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I'll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald.Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966.Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state.Warwick's recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes.Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston's mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires.Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label.Known as the artist who “bridged the gap,” Warwick's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I'll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.”In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I'll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards.Warwick's 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That's What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support.Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children's books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster.Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children's hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations' Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.”Celebrating 50 years in entertainment, and the 25th Anniversary of “That's What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That's What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR's Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame.On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli.Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David.Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today's greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol.Warwick's pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com© 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBAS
It's Paul and Krystal, back again to discuss "Don't Make Me Over", episode 24 of Season 4 of Roseanne, in which the girls take Roseanne out for Mother's Day, but have ulterior motives. Paul and Krystal also digress about music, comedy, and a party they went to. Take care, Cornballs! Follow us: [Subscribe and Review on iTunes!] [CreamedCornPod on Facebook!] [CreamedCornPod on Twitter!] [CreamedCornPod on Instagram!] [Krystal's Medium Articles] [Krystal's Twitter!] [Krystal's Instagram!] [Krystal Evans Comedy!] [Paul's Twitter!] [Paul McDaniel Comedy!] [Our theme song is by Tom Urie. Follow him on Twitter!]
Ransom | Lil TeccaBoyz | Jesy Nelson f. Nicki MinajWarning | Megan Thee StallionPipe Up | Megan Thee StallionI Like Dat | T-Pain & KehlaniFriends - 96 | WhodiniFriends | Teyana TaylorWhat They Want | AzjahBaddie Baddie | Feek BoiNo Limit | G-Eazy Feat. ASAP Rocky & Cardi BRNB | Young Dolph FT. Megan Thee StallionBorn To Roll | Masta Ace IncorporatedSicko Mode vs. Born To Roll | Travis Scott ft Drake, Juicy J & Swae Lee vs. Masta Ace IncorporatedDMX - Ruff Ryders' Anthem | Starboy | The Weeknd feat. Daft PunkControlla | Drake feat. Wyclef, Edley Shine & Kingpen Slimbaby don't cry |Jay_Z-Can_I_Get_A |The Light | CommonGood Love | KlymaxxDon't Make Me Over | Sybil Walk On By | SybilCare | midwxstDJ YAN - Baby Baby Baby | TLCYou're Makin Me High | DJ Jeff / Toni BraxtonCrushed Up | FuturePopstar | DJ Khaled feat. DrakeI Feel It Coming | The Weeknd feat. Daft PunkWelcome To Atlanta | Jermaine Dupri feat. LudacrisMs. New Booty | Bubba Sparxxx ft Ying Yang Twins & Mr. ColliparkLike Glue | Sean PaulUnforgettable | French Montana ft Mariah Carey & Swae LeeGoing Back To Cali | The Notorious B.I.G.No Diggity | BlackstreetI Want To Be Your Man | Zapp & Roger
The first dispatch from the Toronto Internation Film Festival 2021 film festival is here! The films reviewed include Petite Maman, Mothering Sunday, Jockey, Dionne Warwick: Don't Make Me Over, and Encounter. Website: itsthepicturespodcast.com itsthepictures.substack.com Download the episode today and tweet at John and Max (@itsthepicpod). Like the show? Review us on iTunes! We are also available on Stitcher. Opening: the Morning by Vidian (c) copyright 2018 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/Vidian/58453 Ft: Ciggiburns, Aussens@iter, vo1k1 Closing: Pixie Pixels (featuring Kara Square) by spinningmerkaba (c) copyright 2016 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/jlbrock44/53778 Additional comments? Email us: itsthepictures@gmail.com
Producer, writer, promoter, and drummer Dave Wooley talks about his musical beginnings and experiences promoting boxing to music. Most known for producing Mike Tyson's The Knock Out and his latest work on Dionne Warwick: Don't Make Me Over. Facebook:Dave Wooley Instagram:Dave_Wooley Episode Contributor: Host: Ricardo Holt Producer: Heather D.Harris @dave_wooley http://linktr.ee/march5musicpodcast http://march5music.simplecast.com Learn more about your ad choices. march5musicpodcast@gmail.com Podcast available: Apple Podcast, Google podcast, Amazon Music, Spotify, iHeart Radio, Pandora, Breaker, Deezer, Audible, Ganna, JioSaavn
A wide-ranging chat with the legendary Dionne Warwick. Colin talks to the singer who charted 69 times on the US Billboard Hot 100 singles chart with hits like Walk On By, Don’t Make Me Over and Heartbreaker about her life, the people who inspired her and taking time to reflect. Midnight Meets is part of Colin Murray’s BBC Radio 5 Live show which is on Monday to Wednesday 10.30pm to 1am - or available whenever you want via the free BBC Sounds app.
Brian Griffin is racist, let's talk about that while we dig into S04E04, "Don't Make Me Over," a Spotify for racists, Jimmy Fallon statutory rape of Meg, and Sean's future career as YouTuber lawyer. The intro was made by Crony, find him on Spotify: open.spotify.com/artist/1oGpXOOzKR0kvZphBLttkm and Soundcloud: @fuckyouimcrony Thanks to @crownified on twitter for the thumbnail. Find us on twitter @waterslap and @binchgod! --- Send in a voice message: https://anchor.fm/familyguyfunnycast/message Support this podcast: https://anchor.fm/familyguyfunnycast/support
Whitney Houston - You Give Good Love Sheila E. - Hold Me Janet Jackson - Funny How Time Flies (When You're Having Fun) Stephanie Mills - Home The Bangles - Eternal Flame Sade - Is It A Crime Sister Nancy - Bam Bam Regina Belle - Baby Come To Me Anita Baker - Angel Barbra Streisand - Woman In Love Patti Austin - Baby, Come To Me Sade - The Sweetest Taboo Joyce Sims - Come Into My Life (Original Club Version) Stephanie Mills - Something In The Way (You Make Me Feel) Paula Abdul - Straight Up Sybil - Don't Make Me Over Grace Jones - Don't Cry - It's Only The Rhythm Stevie Nicks - Edge Of Seventeen Grace Jones - Ladies And Gentleman: Miss Grace Jones Janet Jackson - That's The Way Love Goes Tina Turner - What's Love Got to Do with It Tina Turner - We Don't Need Another Hero (Thunderdome) Sade - Paradise Stephanie Mills - (You're Puttin') A Rush On Me (Remix Version) Princess - Say I'm Your No. 1 Chaka Khan - Ain't Nobody Tracy Chapman - Fast Car Edie Brickell & New Bohemians - What I Am Neneh Cherry - Buffalo Stance Stephanie Mills - Two Hearts Sade - Hang On To Your Love Diana Ross - I'm Coming Out Bananarama - Cruel Summer The Pointer Sisters - Dare Me Grace Jones - Pull Up To The Bumper Joyce Sims - (You Are My) All And All The Pointer Sisters - Automatic Karyn White - Secret Rendezvous Jody Watley - Don't You Want Me Chaka Khan - I Know You, I Live You (Reprise) Chaka Khan - I Know You, I Live You
The team is back this week discussing the more levels to Toni Braxton’s Seven Whole Days and break up songs in the new millennium. Then they discuss: How they just found out that Sybil’s “Don’t Make Me Over” was a remake from Dionne Warrick and how shocked they were when they found out certain songs were remakes Building a new R&B group from pieces of other 90s R&B groups Breaking down the Ashanti vs Keyshia Cole upcoming Verzuz and how it is the battle between two cousins. One from the suburbs and one from the city Subscribe to the show on any podcast catcher or streaming service Follow us on twitter @straightolc, IG at @SOLCNetwork email the show at ionlylistento90smusic@gmail.com or straightolc@gmail.com. Hit the Voicemail at 641-715-3900 Ext. 769558
ABOUT DIONNE'S 80th BIRTHDAY/CHRISTMAS FUNDRAISERThis year of 2020 held many great moments for the legendary Lifetime Achievement Grammy Award winner Dionne Warwick - her appearance on Fox TV's The Masked Singer as well as dropping by the Verzus online special with Gladys Knight and Patti Labelle being two examples.On Saturday, Dec. 12 2020, at 7 p.m. EST/4 p.m. Pacific time, Ms. Warwick will be hosting a dual live online event as she celebrates the holiday season and a milestone - her 80th birthday. "For years, I'd hold a Christmas and birthday dinner at my home," she explained in a recent interview. "But since we can't do that this time around due to the pandemic, we'll be bringing the party to fans as a live stream event. I want to show folks that I'm still here and kicking!"On the heels of her album, The Voices of Christmas, Ms. Warwick will be joined by many guests who participated in the holiday recording - Johnny Mathis, the Oak Ridge Boys w/John Rich, Billy Ray Cyrus and Aloe Blacc, to name a few. In addition, entertainers and celebrities from around the world will send birthday and Christmas greetings.Portions of the proceeds from the live stream event will benefit Hunger Not Impossible - a text-based service that connects kids and families in need with prepaid, nutritious, to-go meals from nearby restaurants. "Every year, there are families that cannot afford to even buy basic foods for their children - and it's worse near the holiday season," Ms. Warwick stated, "With this event, we'll be able to help this wonderful organization with its efforts to feed folks."Hunger Not Impossible website - www.notimpossible.comFor information regarding Dionne Warwick's celebration, go to www.officialdionnewarwick.comDIONNE WARWICK BIO (FROM BIOGRAPHY.COM)Dionne Warwick sang in a gospel trio before recording her first hit songs, including "Walk on By" and "I Say a Little Prayer." After a lull in her career in the 1970s, her album Dionne (1979) sold a million copies. She went on to release the albums Heartbreaker (1982) and How Many Times Can We Say Goodbye? (1983). In 2012, Warwick celebrated her 50th anniversary in the music business with the album Now.Born Marie Dionne Warrick on December 12, 1940, in East Orange, New Jersey, Dionne Warwick has enjoyed a tremendously long career as a singer. She comes from a gospel musical background as the daughter of a record promoter and a gospel group manager and performer. As a teenager, Warwick started up her group, the Gospelaires, with her sister, Dee Dee, and aunt Cissy Houston.After finishing high school in 1959, Warwick pursued her passion at the Hartt College of Music in Hartford, Connecticut. She also landed some work with her group singing backing vocals for recording sessions in New York City. During one session, Warwick met Burt Bacharach. Bacharach hired her to record demos featuring songs written by him and lyricist Hal David. A record executive liked Warwick's demo so much that Warwick got her own record deal.In 1962, Warwick released her first single, "Don't Make Me Over." It became a hit the following year. A typo on the record led to an accidental name. Instead of "Dionne Warrick," the label read "Dionne Warwick." She decided to keep the new moniker and went on to greater chart success. In 1964, Warwick had two Top 10 singles with "Anyone Who Had a Heart" and "Walk On By"-both penned by Bacharach and David. "Walk On By" was also her first No. 1 R&B hit.: More hits, including many written by Bacharach and David, followed as the 1960s progressed. "Message to Michael" made the Top 10 in 1966, and her version of "I Say A Little Prayer" climbed as high as the No. 4 spot the following year. Warwick also found great success with her contributions to movie soundtracks. The theme song for the 1967 film Alfie, starring Michael Caine, was a solid success for her, as was "Valley of the Dolls," from the 1968 movie of the same name.In 1968, Warwick had other hits, including her trademark tune "Do You Know the Way to San Jose," which earned Warwick her first Grammy Award. That same year, Warwick made history as the first African-American woman to perform for Queen Elizabeth II in England.Warwick reached the top of the pop charts for the first time in 1974 with "Then Came You," which she recorded with the Spinners. But then Warwick suffered a career slump for several years. In 1979, she made a triumphant return to the charts with the ballad "I'll Never Love This Way Again." She also soon became a fixture on television with the music program Solid Gold, which she hosted in the early 1980s. Warwick also had several successful collaborative efforts. In 1982, she made the charts with "Friends In Love" with Johnny Mathis, and "Heart Breaker" with Barry Gibb.Around this time, Warwick scored one of the biggest hits of her career with "That's What Friends Are For." Stevie Wonder, Elton John and Gladys Knight also appeared on this 1985 No. 1 hit, which was an AIDS charity single written by Bacharach and Carole Bayer Sager. "Love Power," her duet with Jeffrey Osbourne two years later, marked her next major hit.Warwick encountered some challenges beginning in the 1990s. It was revealed in the late 1990s that she had a lien against her for unpaid taxes. In 2002, she was arrested in a Miami airport for possession of marijuana. She lost her sister, Dee Dee, in 2008, and her cousin, Whitney Houston, four years later. Despite these personal losses, Warwick continued to perform and to record new music.In 2012, Warwick celebrated her 50th year in music with the album Now. The recording features songs written by Bacharach and David. She once explained her longevity to Jet magazine, saying, "I really attribute it to remaining who I am and not jumping ship, being completely cognizant of what the people ... are accustomed to hearing from me."Warwick has two sons, David and Damon Elliot, from her marriage to actor and musician William David Elliot. She has worked with both of her sons on different projects over the years.For more interviews visit: www.iamrefocusedradio.comPodcast Sponsors:Rockafellas Barber Shop San AntonioRico Rodriguez (Owner)www.facebook.com/Rockafellas-Barber-Shop-105026620034718/?ref=page_internal1733 BabcockSan Antonio, Texas 78229Phone: (210) 782-5188The Dear Agency specializes in helping you understand your coverage BEFORE you need it!We offer all lines of personal and commercial insurance, including Auto, Home and Life.Contact Dawn Dear at 210-507-2169 and visit us at 7529 N Loop 1604 in Live Oak, TX or farmersagent.com/ddear
Sybil has been wowing audiences the worldwide for decades and is still going strong. With hits like "Don't Make Me Over", "Walk on By" and "My Love is Guaranteed" among many others, Sybil is adored around the globe for her soulful voice and incredible vocal range. Dave Hondel sits down for a one on one conversation with one of music's favorite singers! --- Send in a voice message: https://anchor.fm/thestagedoorshow/message
My guest this week is Adam Goldberg, actor, director, photographer, and musician. Adam and I discuss suffering from “imposter syndrome,” the possibilities of storytelling on Instagram, the draw and downsides of social media, and how acting subsidizes the art he really loves.NOTES(00:19) Saving Private Ryan (trailer)(01:05) Adam Goldberg’s Instagram(05:31) Marc Maron and Albuquerque(07:43) The Goldberg Sisters(12:05) Andrew Lynch(13:50) Dionne Warwick’s “Don’t Make Me Over”(22:36) Adam Goldberg’s Twitter(25:21) “Leonardo da Vinci” by Walter Isaacson(31:04) Taken (TV series)(37:08) Adam Goldberg on Vine (article)(40:59) Midlake (band)(48:24) Untitled (movie)(56:43) RGT (i.e. Rogue Territory)(57:27) CLINCH**This episode is sponsored by Topper Jewelers - Visit topperjewelers.com to shop, subscribe, and join Topper’s very own watch fam.**Want even more Blamo? Join the BlamFam on Patreon and get access to additional interviews, a community slack, special events, and more!
The TV show’s title and setting refers to My Khe beach in the city of Đà Nẵng, Vietnam. The actual beach was nicknamed "China Beach" in English by American and Australian soldiers during the Vietnam War. The series looks at the Vietnam War from unique perspectives: those of the women, both military personnel and civilians, who were present during the conflict. The focal point was the 510th Evacuation Hospital, referred to as “The Five and Dime” E.V.A.C. hospital. The club at the Five and Dime was called The Jet Set. During the Vietnam War 402 American medics were killed in the service of their country. ***** During Season 3 we saw - - - McMurphy get a Bronze Star --- Ricki Lake’s first episode (Episode 2) as Holly Pelegrino, a donut dolly. --- Frankie Bunsen (Nancy Giles) goes to the Motor Pool and meets Sarge Pepper (Troy Evans’ first episode [Episode #2] as Sgt. Pepper). --- In Episode 4, R. Lee Ermey (Full Metal Jacket) appeared as Colonel Buster Darling. --- In Episode 9, “How To Stay Alive in Vietnam”, Sarge Pepper gives some advice: 1. Try to look unimportant . They might be low on ammo. 2. Never share a foxhole with anyone who is braver than you are. 3. Friendly fire, isn’t. 4. All your equipment was made by the lowest bidder. --- In Episode 11, Holly (Ricki Lake) falls for Boonie as the Circus (Le Cirque Magique) comes to China Beach. --- In Episode 13, McMurphy (Dana Delaney) sings her song Far From Home to Dodger’s baby. Later in the episode Dodger leaves Vietnam for home with his baby. --- “Doctor Dark” (Beckett) and Frankie “The Wizard” Bunsen (Nancy Giles) create a “pirate radio station” and start a false rumor that a Vietnam Peace Agreement has been reached. ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ****** or by email at dannymemorylane@gmail.com - - - - - - - - - Here’s some of the music we heard in Season 3 of China Beach: ***** 1) Reflections by Diana Ross & The Supremes 2) We Gotta Get Out Of This Place by Katrina & The Waves Feat. Eric Burdon 3) Beauty Is Only Skin Deep by The Temptations 4) Do Wah Diddy Diddy by Manfred Mann 5) Baby, I Love You by Aretha Franklin 6) Love Potion Number Nine by The Searchers 7) Sunshine Of Your Love by Cream 8) Abilene by George Hamilton IV 9) Brown Eyed Girl by Van Morrison 10) You've Really Got A Hold On Me by The Miracles (w/ Smokey Robinson) 11) Wishin' And Hopin' by Dusty Springfield 12) Crystal Blue Persuasion by Tommy James & The Shondells 13) Stand By Me by John Lennon 14) Somebody To Love by Jefferson Airplane 15) Time Of The Season by Wendy Wall 16) A Hard Rain's A-Gonna Fall by Bob Dylan 17) I Can't Turn You Loose by Otis Redding 18) How Can I Be Sure by The Young Rascals 19) Pictures Of Matchstick Men by Status Quo 20) Shout (Parts 1 & 2) by The Isley Brothers 21) The Tracks Of My Tears by Linda Ronstadt 22) Town Without Pity by Gene Pitney 23) Hang On Sloopy by The McCoys 24) Don't Make Me Over by Dionne Warwick 25) Here Comes The Night by Them 26) Wooly Bully by Sam The Sham & The Pharaohs 27) Summertime by Billy Stewart 28) You Keep Me Hangin' On by Vanilla Fudge 29) Wipe Out by The Surfaris 30) Lollipop by The Chordettes 31) Soul Finger by The Bar-Kays 32) Hurdy Gurdy Man by Donovan 33) My Little Red Book by Love 34) Since I Fell For You by Lenny Welch 35) Baby, I Need Your Lovin' by Johnny Rivers 36) Dancing In The Street by Martha & The Vandellas 37) White Room by Cream 38) Blowin' In The Wind [Graham Nash Version] by The Hollies 39) The Star Spangled Banner by Branford Marsalis 40) China Beach by Gregg Nestor & Tommy Morgan
Greetings lover bunnies! How are you enjoying summer? I hope you are having the most fun you can! Stay hydrated and cool! Take a dip in the pool! I have a 90 min mix from DJ JS-1 // NYC // Rocksteady Crew. He plays dozens of tracks from different genres of music. You will enjoy this one. It has a little something for everyone. Follow DJ JS-1 on Instagram and Twitter @djjs1 Please wear a mask (in public) and wash your hands! Courtesy Reminder. Tracklist: 01 - Imagine Dragons - Radioactive 02 - Pink Floyd - Comfortably Numb (Moonrock Rmx) 03 - Cold Play - Paradise 04 - Elle King - Ex's and Oh's 05 - Vanessa Paradis - Paradis 06 - OutKast - Funk Ride 07 - Eagles - Hotel California (Left Coast Rmx) 08 - The Beatles - Dear Prudence 09 - Grace Jones - Nightclubbing 10 - The Dramatics - Whatcha See Is Whatcha Get vs Big Shot 11 - The Pharcyde - Otha Fish 12 - Bill Withers - Use Me Up 13 - BB King - Chains and Things 14 - Dido - Thank You 15 - Esthero - Superheroes 16 - Tony! Toni! Tone! - It Never Rains 17 - Maxi Priest and Shabba Ranks - House Calls 18 - Erykah Badu - Window Seat 19 - The Stylistics - People Make The World Go Round 20 - John Lennon - Watching the Wheels 21 - Beyonce - Me, Myself, and I 22 - The Isley Brothers - Between the Sheets 23 - Smokey Robinson and The Miracles - Cruisin' 24 - Billy Idol - Eyes Without A Face 25 - M.I.A. - Paper Planes 26 - Barrington Levy - Black Roses 27 - Counting Crows - Big Yellow Taxi 28 - Wings - Let 'Em In 29 - Funky Fresh Few - First Met You 30 - Amerie - Why Don't We Fall In Love 31 - Miguel - Adorn 32 - Wayne Smith - Under Me Sleng Teng (Spooky Remix) 33 - Candy Flip - Strawberry Fields 34 - The Cure - Close To Me 35 - Arrested Development - Everyday People 36 - Maceo - Better Half 37 - Lee Moses - Time and Place 38 - Faith Evans - Mesmermized vs Ready or Not 39 - Masters At Work - Blood Vibes 40 - Marvin Gaye - Inner City Blues 41 - Bernard Wright - Haboglabotribin 42 - Bee Gees - Love You Inside Out 43 - Malcolm Mclaren - Hey DJ 44 - Lupe Fiasco - Superstar 45 - Amerie - Why Are You 46 - Michael McDonald - I Keep Forgettin' 47 - Dennies Edwards - Don't Look Any Further 48 - Aloe Blac - I Need A Dollar 49 - Mtume - Juicy Fruit 50 - De La Soul feat Chaka Khan - It Ain't All Good 51 - Sybil - Don't Make Me Over 52 - Jamalski - Jump Spread Out 53 - ATCQ vs Al Green - Let's Stay Together 54 - Jaheim - Ain't Leavin' Without You 55 - Arrested Development - Tennesse 56 - The Spinners - It's A Shame 57 - Next vs Lucy Pearl - Dance Too Close Tonite 58 - Curtis Mayfield - Give Me Your Love ( Tangoterje edit) 59 - Tara Kemp - Hold You Tight 60 - Ben Harper feat Rahzel - Steal My Kisses 61 - Brand New Heavies - Never Stop 62 - Sade - Paradise (apiento edit) 63 - ATCQ vs Marvin Gaye - What's Goin On 64 - Toto - Waiting For Your Love 65 - PM Dawn vs Spandau Ballet - Set Adrift in Time 66 - Staples Sisters - I'll Take You There 67 - Amy Whinehouse feat Ghostface - I'm No Good 68 - Jade - Don't Walk Away 69 - Tony! Toni! Tone! feat Dj Quik - Let's Get Down 70 - Mary J Blige - Rock Steady 71 - Fatback Band - I Found Lovin' 72 - Meli'sa Morgan - Fool's Paradise 73 - KC and The Sunshine Band - I Get Lifted 74 - Kelis - Trick Me 75 - Stevie Wonder - That Girl 76 - The Rolling Stones - I Miss You 77 - The Roots feat Cody Chestnut - The Seed 78 - Kraak 'N Smaak - Squeeze Me 79 - Davie Bowie vs Lady Gaga - Just Fame Dance 80 - Bruno Mars - Treasure 81 - Billy Ocean - Nights (Feel Like Getting Down) 82 - Daft Punk vs Michael Jackson - Billie Jean Gets Lucky (DJ Keno edit) 83 - Boz Scaggs - Lowdown 84 - Rosco Gordon - Let's Get High If you feel the kindness in your heart to donate to the 1 Indie Nation Podcast please do so in any amount! I accept cash app $rachaeldepp venmo and paypal! please email me or DM me for those accounts. Love my bunnies so much. You make me happy and bring me joy! Stay tuned for more mixes. I got some house mixes coming up by yours truly :)
Known for her covers of Don't Make Me Over, Walk On By, and The Love I Lost, Sybil is so much more! In this interview she discusses her career, success abroad, how she felt about her voice getting sampled, Next Plateau Records, Education and everything else in between! You don't wanna miss this! Enjoy!
Welcome to another set of QuietStorm's #FlashbackFriday (#FBF) Series - where we turn back the clock & reminisce to my old radio playlists from Oct 2006 to Oct 2007 (RMN DWNX 91.1) and my archived Internet podcasts from Nov 2007 to May 2013. In this #FBF Mix 178 recorded in June 16, 2007 (Hour 2), here are the tracks: 00:00 QuietStorm-91.1 WNX - Introduction 01:08 The Rah Band - Clouds Across The Moon (Extended Version) 07:24 Maxwell - The Urban Theme 10:00 Mary J. Blige - Never Too Much 15:43 Nat King Cole - These Foolish Things 19:26 Deborah Cox - What A Difference A Day Made 23:30 Dan Siegel - Mosaic 28:44 Oystein Sevag - My Heart 34:13 Lené Marlin - Maybe I'll Go 38:41 Chi - Carolyn 42:34 Kirk Whalum - Can't Stop The Rain 47:06 Najee - Just An Illusion 51:54 Marcus Davis, Jr. - Don't Make Me Over
Mike Reid - Prisencolinensinainciusol (Freezin' Cold In 89 Twoso) (1974) Scott Engel - Good For Nuthin (1958) The Archies - Do The Jughead (1969) Everly Brothers - Mr Soul (1968) Mr. Clean and The Soul Inc - What's Going On (1972) The Teenmakers - Southern Man (1970) The Danish Hollies Peer Pressure PSA - 7th Day Adventists She Knows How To Do the Do-Dee Doo (song-poem) Murry Wilson - The Colonel’s March (1965?) Andy Stein - Hello Hollywood (1976) Hollywood Boulevard Unreleased Soundtrack - Main Theme The movie came out of a bet made between producer Jon Davison and Roger Corman that Davison could make a film cheaper than any other that had been made at New World Pictures. Corman granted him a budget of $60,000 and only allowed ten days of shooting instead of the usual 15. The filmmakers achieved this by coming up with a story about a B-movie studio which could incorporate footage from other movies that Corman owned. Arkade - Susan (1970) More Austin Roberts The Bonniwell Music Machine - Astrologically Incompatible (1967) Bazooka - Boo On You (1968) More Austin Roberts Bert Tenzer - A New Life For Everyone Inside The Outer Shape (?) DuPont Dacron advertisement Bertrand Burgalat - L’observatoire (2000) Bourbon Family - Lolly Sue (1973) No...keep the headband!! Chubby Checker MacRobinson Ad (?) Coca-Cola of Germany - Wir Bleiben Am Ball (?) PSA - STDs 7th Day Adventists Michael Nesmith - Cruisin’ (1979) The Swinging Blue Jeans - Don’t Make Me Over (1966) Dress Doctor Edith Head (?) Edison Lighthouse - She Works In a Woman’s Way (1970) Their big hit was "Love Grows (Where My Rosemary Goes)" Fat Larry’s Band - Down On The Avenue (1976) Frank Zappa - Anti-drug PSA Gary Lewis - Then Again Maybe (1972) Not credited to The Playboys. "Bubbeleh, when you gonna start paying rent maybe? Bwaaahay..." The Invasion of Helios - Giant Crab (1968) Psychedelic band from Santa Barbara, California, USA, 1960s. their first album was "A Giant Crab Comes Forth". I love that. Percy Mayfield - I Don't Wanna Be President (1974) Johnny Whitaker - Friends (1973) People with certain extensive life-experience remember Johnny from Family Affair. Cat Food - King Crimson (Live) (1973) John Wetton forced to sing some of the more ridiculous lyrics of all time. Kool and the Gang - Kool and the Gang (1969) Lawrence Hilton-Jacobs - On a Diet of You (1978) Lt Garcia’s Magic Music Box - Sweet Lady Fair (1968) Skeleton Topless - Messer Chups (2005) Messengers - Thats The Way a Woman Is (1971) Fredi - Onhan Palva Viela Huomennakin (1968) "Let's Live For Today" in Finnish Felix Cavaliere - Only a Lonely Heart Sees (1979) Hunky Funky - The American Breed (1969) Cover of the David Morris Jr. 1968 single "(Everything Is) Hunky Funky (I'll Be Anything If You Want Me)". The band's name on the single reads THE american BREED which was shortly just changed to Rufus. Come back, Olga. All is forgiven.
Welcome to another set of QuietStorm's #FlashbackFriday (#FBF) Series - where we turn back the clock & reminisce to my old radio playlists from Oct 2006 to Oct 2007 (RMN DWNX 91.1) and my archived Internet podcasts from Nov 2007 to May 2013. In this #FBF Mix 178 recorded in June 16, 2007 (Hour 2), here are the tracks: 00:00 QuietStorm-91.1 WNX - Introduction 01:08 The Rah Band - Clouds Across The Moon (Extended Version) 07:24 Maxwell - The Urban Theme 10:00 Mary J. Blige - Never Too Much 15:43 Nat King Cole - These Foolish Things 19:26 Deborah Cox - What A Difference A Day Made 23:30 Dan Siegel - Mosaic 28:44 Oystein Sevag - My Heart 34:13 Lené Marlin - Maybe I'll Go 38:41 Chi - Carolyn 42:34 Kirk Whalum - Can't Stop The Rain 47:06 Najee - Just An Illusion 51:54 Marcus Davis, Jr. - Don't Make Me Over
Artist Name 1. Ce La Vie - I Need An Angel 2. Surface - I Missed 3. Midnight Star - Curious Slick Mix 4. Bobby Brown - Every Little Step 5. New Edition - Sensitivity 6. Gap band - Outstanding 7. Ruby Turner - Its Gonna Be Alright 8. Sybil - Make it easy on me 9. Lindy Layton - Echo My Heart 10. Soul II Soul - Back 2 Life 11. Bobby Brown - Don't Be Cruel 12. Sybil - Don't Make Me Over 13. Surface - Happy 14. Phil Collins - Just Another Day In Paradise 15. New Edition - If It Isnt Love 16. Culture Beat -Tell Me That You Wait (First Class Mix) 17. Samuelle - So You Like 18. Madonna - La Isla Bonita 19. Sade - Paradise 20. Jackson 5 - I Want You Back (Ultimix remix) 21. Ricardo & Friends -Kunjani 22. The Boys - Dial My Heart 23. Color Me Bad - I wanna sex you up 24. New Edition - A Little Bit Of Love 25. After 7 - Heat of the Moment [Remix] 26. Zhane - Hey Mr. DJ 27. TLC - Ain't 2 Proud 2 Beg 28. Jade - Dont Walk Away 29. Hi-Five - I Like the Way (The Kissing Game) 30. Guy - I Like 31. Keith Sweat - Just a Touch 32. Lionel Richie - All Night Long (All Night) 33. Mac Band - Roses are Red 34. Midnight star - Headlines 35. Brotherhood creed - Helluva 36. Joyce Simms - Lifetime Love 37. Hanson & Davis - Hungry 38. Rob Base & DJ EZ Rock - It Takes Two 39. Lisa Lisa - I Wonder If I Take You Home 40. Strafe - Set It Off 41. Jimmy Cliff - Love me love me 42. Phil Fearon & Galaxy - What do i do 43. Jacksons - Shake Your Body 44. Rick James - Give It To Me Baby 45. Bobby Brown - Two Can PLay That Game 46. Whitney Houston - I'm Every Woman 47. Robin Springer - Show Me Love 48. Heavy D & The Boyz ft Aaron Hall - Now That We Found Love 49. Salt 'n' Pepper - Push It 50. Ghostown DJ's - My Boo 51. Freak Nasty - Da Dip 52. SWV - Rain 53. Mya feat. Sisqo Its All About Me 54. Mint condition - Pretty brown eyes 55. Brandy - He Is 56. Usher - Superstar For Tips & Appreciation: Cashapp: $djdeemoney Zelle : 7736209612 Paypal: djdeemoney Snapchat: deejaydeemoney Instagram: @djdeemoney PLEASE KINDLY SHARE
Show Notes Moe Factz with Adam Curry for March 28th 2020, Episode number 31 BIE BAE Executive Producer: BlatherCast Associate Executive Producer: Drew McArdle Description Adam and Moe dive deep into the FBI discontinued classification of "Black Identity Extremists" Music in this episode Intro: Eminem - Toy Soldiers Outro: Dionne Warwick - Don't Make Me Over Donate to the show at moefundme.com Search for us in your podcast directory or use this link to subscribe to the feed Podcast Feed For more information: MoeFactz.com
In this companion series to You Must Remember This, Karina Longworth will introduce eight stories about Hollywood’s intersection with the beauty industry. Told by writers and reporters known for their work at The New Yorker, the New York Times and other publications, Make Me Over will explore a range of topics, including Hollywood’s first weight loss surgery, the story of the star whose unique skills led to the development of waterproof mascara, black beauty in the 1990s and much more. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Grammy Award Lifetime Achievement Honoree She's BACK!! with an NEW Compilation of Music, her first in 5 years, It includes collaborations with Kenny Lattimore & Musiq SoulChild along with new versions of her classics & some original classics. She's also touring again Worldwide!! Dionne was also named Smithsonian Ambassador of Music!! Additionally, Warwick will begin a highly anticipated concert residency in Las Vegas on April 4, 2019 Scintillating, soothing and sensual best describe the familiar and legendary voice of five-time GRAMMY® Award winning music legend, DIONNE WARWICK, who has become a cornerstone of American pop music and culture. Warwick’s career, which currently celebrates over 50 years, has established her as an international music icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. Marie Dionne Warwick, an American singer, actress, and television show host who became a United Nations Global Ambassador for the Food and Agriculture Organization and a United States Ambassador of Health. She began singing professionally in 1961 after being discovered by a young songwriting team, Burt Bacharach and Hal David. She had her first hit in 1962 with “Don’t Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” "Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl’s in Love With You,” “I’ll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ”Together, Warwick and her songwriting team of Burt Bacharach & Hal David, accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. Warwick received her first GRAMMY® Award in 1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I’ll Never Fall in Love Again.” She became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance. This award was only presented to one other legend, Miss Ella Fitzgerald. Other African-American female recording artists certainly earned their share of crossover pop and R&B hits during the 1960′s, however, Warwick preceded the mainstream success of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963-1966. Warwick’s performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, skyrocketed her to international stardom. As Warwick established herself as a major force in American contemporary music, she gained popularity among European audiences as well. In 1968, she became the first solo African-American artist among her peers to sing before the Queen of England at a Royal Command Performance. Since then, Warwick has performed before numerous kings, queens, presidents and heads of state. Warwick’s recordings of songs such as “A House is not a Home,” “Alfie,” ”Valley of the Dolls,” and “The April Fools,” made her a pioneer as one of the first female artists to popularize classic movie themes. Warwick began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally, she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee, along with her aunts, including Aunt Cissy, Whitney Houston’s mom, and her uncles. During her teens, Warwick and her sister Dee Dee started their own gospel group, The Gospelaires. Warwick attended The Hartt College of Music in Hartford, Connecticut, and during that time, began making trips to New York to do regular session work. She sang behind many of the biggest recording stars of the 1960′s including Dinah Washington, Sam Taylor, Brook Benton, Chuck Jackson, and Solomon Burke, among many others. It was at this time that a young composer named Burt Bacharach heard her sing during a session for The Drifters and asked her to sing on demos of some new songs he was writing with his new lyricist Hal David. In 1962, one such demo was presented to Scepter Records, which launched a hit-filled 12 -year association with the label. Known as the artist who “bridged the gap,” Warwick’s soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries. In 1970, Warwick received her second GRAMMY® Award for the best-selling album, “I’ll Never Fall In Love Again,” and began her second decade of hits with Warner Bros. Records. She recorded half a dozen albums, with top producers such as Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974, she hit the top of the charts with “Then Came You,” a million-selling duet with The Spinners. She then teamed up with Isaac Hayes for a highly successful world tour, “A Man and a Woman.” In 1976, Warwick signed with Arista Records, beginning a third decade of hit-making. Arista Records label-mate Barry Manilow produced her first Platinum-selling album, “Dionne,” which included back-to-back hits “I’ll Never Love This Way Again,” and “Déjà vu.” Both recordings earned GRAMMY® Awards, making Warwick the first female artist to win the Best Female Pop and Best Female R&B Performance Awards. Warwick’s 1982 album, “Heartbreaker,” co-produced by Barry Gibb and the Bee Gees, became an international chart-topper. In 1985, she reunited with composer Burt Bacharach and longtime friends Gladys Knight, Elton John and Stevie Wonder to record the landmark song “That’s What Friends Are For,” which became a number one hit record around the world and the first recording dedicated to raising awareness and major funds (over $3 Million) for the AIDS cause in support of AMFAR, which Warwick continues to support. Throughout the 1980′s and 1990′s, Warwick collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross, Jeffrey Osborne, Kashif and Stevie Wonder. Warwick was also host of the hit television music show, “Solid Gold.” In addition, she recorded several theme songs, including “Champagne Wishes & Caviar Dreams,” for the popular television series “Lifestyles of the Rich & Famous,” and “The Love Boat,” for the hit series from Aaron Spelling. In November, 2006 Warwick recorded an album of duets, “My Friends & Me,” for Concord Records, a critically acclaimed Gospel album, “Why We Sing,” for Rhino/Warner Records, and a new jazz album, ”Only Trust Your Heart,” a collection of standards, celebrating the music of legendary composer Sammy Cahn for Sony Red/MPCA Records. Additionally, in September 2008, Warwick added “author” to her list of credits with two best-selling children’s books, “Say A Little Prayer,” and “Little Man,” and her first best-selling autobiography, “My Life As I See It” for Simon & Schuster. Always one to give back, Warwick has supported and campaigned for many causes and charities close to her heart, including AIDS, The Starlight Foundation, children’s hospitals, world hunger, disaster relief and music education for which she has been recognized and honored and has raised millions of dollars. In 1987, she was appointed the first United States Ambassador of Health by President Ronald Reagan and in 2002, served as Global Ambassador for Health and Ambassador for the United Nations’ Food & Agriculture Organization (FAO), and she continues to serve as Ambassador today. In recognition of her accomplishments and support of education, a New Jersey school was named in her honor, the Dionne Warwick Institute for Economics and Entrepreneurship. Warwick was also a key participating artist in the all-star charity single, “We Are the World,” and in 1984, performed at “Live Aid.” Celebrating 50 years in entertainment, and the 25th Anniversary of “That’s What Friends Are For,” Warwick hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That’s What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR’s Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York and was inducted into the 2013 New Jersey Hall of Fame. On March 26, 2012, Warwick was inducted into the GRAMMY® Museum in Los Angeles, where a special 50th Anniversary exhibit was unveiled and a historic program and performance was held in the Clive Davis Theater. Additionally, a panel discussion with Clive Davis and Burt Bacharach was hosted by GRAMMY® Museum Executive Director, Bob Santelli. Commemorating her 50th Anniversary, Warwick released a much-anticipated studio album in 2013, entitled “NOW.” Produced by the legendary Phil Ramone, the anniversary album was nominated for a 2014 GRAMMY® Award for Best Traditional Pop Vocal Album. “NOW” featured special never-before-released material written by her longtime friends and musical collaborators, Burt Bacharach and Hal David. Most recently, Warwick released a much anticipated star-studded duets album titled “Feels So Good,” featuring collaborations with some of today’s greatest artists including Alicia Keys, Jamie Foxx, Billy Ray Cyrus, Ne-Yo, Gladys Knight, Cee Lo Green, Cyndi Lauper and many more. “Feels So Good” was released through Bright Music Records, Caroline and Capitol. Warwick’s pride and joy are her two sons, singer/recording artist David Elliott and award-winning music producer Damon Elliott, and her family. ~ DionneWarwickonLine.com © 2019 Building Abundant Success!! 2019 All Rights Reserved Join Me on Facebook @ Facebook.com/BuildingAbundantSuccess
Salut à tous, Dans ce 2ème épisode, je reçois Dam, guitariste et podcasteur, aux manettes d'Ecoute Ca, où il est accompagné de Tom. Podcast musical qui vise à analyser et expliquer les subtilités d'un album. Mais, le but ici est de choisir un disque par décennie et Dam a choisi les albums suivants : 1960 : Anyone Who Had A Heart de Dionne Warwick extrait : Don’t Make Me Over 1970 : Sleep Dirt de Frank Zappa extrait : Sleep Dirt 1980 : Trash de Alice Cooper extrait : Poison 1990 : Fantastic Planet de Failure extrait : Daylight 2000 : Normal de Bumblefoot extrait : Turn Around 2010 : Thoughtsteps de Fjokra extrait : Get Amongst It Episode mis en boîte le 30 août 2018 Vous pouvez retrouver DAM sur le compte Twitter d'Ecoute ça : @ecoute_ca et sur Ausha : podcast.ausha.co/ecoute-ca Générique : "It was 3am I was looking up at the sky" by Springtide (www.springtide.jp)
Make Me Over feat. Léna The Face Slayer --- 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/aubrey-shine/message Support this podcast: https://anchor.fm/aubrey-shine/support
Vibe with me on this mix!! Hits upon hits!! Artist Song 1 Alicia Chinoy - Made In India 2.Boy George - Karma Chameleon 3. Roberta Flack - Shock To My System 4. Lionel Richie - Do It To Me 5. Eugene wilde - Gotta get you home tonight 6. Dennis Edwards - Don't Look Any Further 7. Sybil - Walk On By 8. Nu Shooz -Should I Say Yes 9. Ruby Turner -It’s Gonna Be Alright 10. Lindy Layton- Echo My Heart 11.Ray Parker Jr - Loving You 12. Native -Love Aint No Holiday 13. Sybil - Don't Make Me Over 14. Billy Always - Back On Track (Remix) 15.Tara Kemp - Hold You Tight 16. Soul II Soul - Back To Life 17. Sybil - Crazy 4 U 18. Phil Collin - Just Another Day In Paradise 20. Milli Vanilli- Girl You Know It's True 21. Eric B & Rakim - Paid in Full 22. Naughty by Nature - Hip Hip Hurray 23. Samuelle - So You Like 24. New Edition - A Little Bit Of Love 25. Midnight Star - Curious 26. Family stand - Get to heaven 27. Madonna - Who's That Girl 28. Brotherhood creed - Helluva 29. Commodores - Nightshift (Extmix) 30. Mac Band - Roses Are Red 31. Jimmy Cliff - Raggae night
Every week thousands of songs are released to radio, on streaming platforms, on digital stores, on social media, mixtapes, & CD albums. It would be impossible for the average musick lover to absorb this & sift through them -- That's why you have me. I'm Jakob Musick, & I was meant for this. You could say it's in my blood, or genes. Or Whatever. March saw a lot of great songs reach their peak, and a few new ones caught me by surprise toward the end of the month. Danielle Bregoli's infamous appearance on Dr. Phil (https://www.youtube.com/watch?v=mNe8bDJda0A) which has reached 25 million views (and that is only on the Official channel) spawns two songs on this edition of BNM, we hear Katy Perry' international smash, and Remy Ma's already-legendary 7-minute takedown of Nicki Minaj. Add to that some great new world musick, and my choice of best song Candice Boyd's "Make Me Over" and we have one heck of a show for you! Tracklist: 1. Brave - CK Brooke - Pop - Unreleased 2. Cash Me Outside Official - Zee The Trigger - Hip-Hop - Self-Released 3. Chained To The Rhythm - Katy Perry + Skip Marley - Pop - Capitol (Vivendi) 4. Shether - Remy Ma - Hip-Hop - EMPIRE 5. Cash Me Outside (Jersey Club Remix) - Rich That Kid & Danielle Bregoli - Electronic/Dance - Unreleased 6. İhanetten Geri Kalan - Sezen Aksu - Pop - SN Müzik Yapım Best. Make Me Over - Candice Boyd - R&B - Epic (Sony) Check out more of CK Brooke's musick here -https://www.youtube.com/channel/UCUurhvb_vGTL_KHnSYOYvJQ Danielle Bregoli's second appearance on Dr Phil - https://www.youtube.com/watch?v=uCEPNdpJIhM Danielle Bregoli's Appearance on "The Breakfast Club" radio show: She shows how Dr. Phil was staged - https://www.youtube.com/watch?v=b9plfymRup4 Leaderboard: Artist - Die Antwoord (5) Style- Hip Hop (54) Label- Atlantic (10) Conglomerate- Vivendi (25)
How many people think of a clean heart daily? A heart that is after the things that pleases God.How many people pray for a clean heart and right spirit? God is a spirit and he will give a special gift to those who ask, to those who wants his spirit to live within their hearts daily for good. God wants to lead his people by his spirit he has given to them who wants it.
Dean of the Blankenship Chair Mark Blankenship joins us to talk about the newest show he's covering for Previously.TV -- Fox's runaway hit hip-hop soap opera Empire! Liv returns to tell us all about the "Troll Bridge" episode of Face Off, and then we go around the dial to discuss The Americans, the new Emmy eligibility rules, another weird old TV ad, and the imminent return of Intervention. Mark presents the "Don't Make Me Over" episode of Roseanne to The Canon, and then after naming the week's Winner and Loser, we all dig into a Game Time (from our beloved Joe Reid) that requires us to bust out our calculators. Take a dose of your experimental medicine and enjoy! GUESTS
DIONNE WARWICK is a five-time GRAMMY® Award winning music legend, who has become a cornerstone of American pop music and culture. Warwick’s career, which currently celebrates over 50 years, has established her as an internationalmusic icon and concert act. Over that time, she has earned 75 charted hit songs and sold over 100 million records. She began singing professionally in 1961after being discovered by a young songwriting team (Burt Bacharach and Hal David) and had her first hit in 1962 with “Don’t Make Me Over.” Less than a decade later, she had released more than 18 consecutive Top 100 singles, including her classic Bacharach/David recordings, “Walk on By,” “Anyone Who Had a Heart,” “Message to Michael,” “Promises Promises,” “A House is Not a Home,” “Alfie,” “Say a Little Prayer,” “This Girl’s in Love With You,” “I’ll Never Fall in Love Again,” “Reach Out For Me,” and the theme from “Valley of the Dolls. ” Together, Warwick and the songwriting team of Bacharach & David accumulated more than 30 hit singles, and close to 20 best-selling albums, during their first decade together. She received her first GRAMMY® Award in1968 for her mega-hit, “Do You Know the Way to San Jose?” and a second GRAMMY® in 1970 for the best-selling album, “I’ll Never Fall in Love Again.” Warwick was also a key participating artist in the all-star charity smash hit single, “We Are the World,” and in 1984, performed at “Live Aid” and hosted and headlined an all-star benefit concert for World Hunger Day in London. In addition, she was honored by AMFAR in a special reunion performance of “That’s What Friends are For,” alongside Elton John, Gladys Knight and Stevie Wonder at AMFAR’s Anniversary Gala in New York City. Warwick also received the prestigious 2011 Steve Chase Humanitarian Arts & Activism Award by the Desert Aids Project and was recognized for her stellar career by Clive Davis at his legendary Pre-GRAMMY® Party in Los Angeles. Adding to her list of landmark honors, Warwick was a 2013 recipient of the coveted Ellis Island Medal of Honor in New York…and she became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocalist Performance—an award only presented to one other legend, Miss Ella Fitzgerald.
Play Pause Support the PodcastDownloadShare var srp_player_params_677258c1beec1 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c1beec1 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c1beec1"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c1beec1"); } In the 90s, house music wasn't just a genre; it was a cultural phenomenon that transcended the usual boundaries of music and influenced everything from fashion to language. As the needle hit the vinyl, tracks like Lisa Stansfield's "All Around The World" and Sybil's "Don't Make Me Over" created an atmosphere in clubs that was magnetic. But what made these tracks iconic, and how did they define an era? Let's rewind and rediscover some of these 90s Classic House Music anthems. Lisa Stansfield - All Around The World (Extended Version) During a time when the Berlin Wall had just fallen, Lisa Stansfield's "All Around The World" was a tour de force in 1990. It permeated the airwaves, drawing in a variety of listeners. The Extended Version added extra layers of sultry soul to the track, giving DJs more material to work with. Stansfield's voice acted like an auditory passport, taking listeners to places they'd only dreamt of, all while nestled in a club surrounded by other dreamers. https://www.youtube.com/watch?v=SXnEP9OnHEo Sybil - Don't Make Me Over (The KING-dom Come Mix) Fast forward to 1989, as Nelson Mandela walked free from prison, Sybil's "Don't Make Me Over" was finding its rightful place in the house music pantheon. The KING-dom Come Mix imbued the classic tune with a unique blend of electronic beats and soulful harmonies, making it a staple on dancefloors across the globe. Soul II Soul feat. Caron Wheeler - Back To Life (However Do You Want Me) (12'' Mix) 1990 was a year that balanced itself between the end of the Cold War and the commencement of the Gulf War. Amidst the upheaval, Soul II Soul's "Back To Life" captured the collective consciousness. Its 12'' Mix with Caron Wheeler at the vocal helm felt like a mantra for a world in flux, urging us to live our lives however we chose, regardless of the chaos around us. https://www.youtube.com/watch?v=8aOSuyD6rxs Malaika - So Much In Love (12'' Choice Mix) By 1992, the internet was starting to change the way we lived, but on the dancefloor, Malaika's "So Much In Love" was still about the simple things: love and the intoxicating feeling of rhythm. De'Lacy - Hideaway (Dubfire Needs To Score Remix) In 1995, when Windows 95 was bringing about a new age of computing, De'Lacy's "Hideaway" created its own kind of revolution. The Dubfire Needs To Score Remix offered a dark, gripping allure that kept clubbers entranced till the early hours. Crystal Waters - Gypsy Woman (She's Homeless) (Basement Boy's Strip To The Bone Mix) In the mid-90s, while America was getting to know its new president Bill Clinton, Crystal Waters was serving up "Gypsy Woman.
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