Podcasts about Marvin Gaye

Turn it up! Another edition of PANDA Open Format Remixes is loaded with club-ready remixes, edits and throwbacks — giving DJs fresh takes on familiar tracks. This episode features remixes of music from Blackstreet, Akon, Marvin Gaye, Dr. Dre, Sheck Wes, G-Eazy, Surf Mesa, Shaggy, Third Eye Blind and The Weeknd. TRACKS FEATURED: • “No Diggity” — Blackstreet (Mayeda Remix)• “Bonanza (Belly Dancer)” — Akon (DJ Stevie J Remix)• “Let's Get It On” — Marvin Gaye (Promo Only Jan 2005)• “Still D.R.E.” — Dr. Dre (Beatbreaker Remix)• “Mo Bamba” — Sheck Wes (Dennis Blaze Remix)• “Pretty Girls” — G-Eazy (Audiorokk Hype Edit)• “ily (i love you baby)” — Surf Mesa ft. Emilee (ARTY Mix)• “It Wasn't Me” — Shaggy ft. Rik Rok (Club Killers Remix)• “Semi-Charmed Life” — Third Eye Blind (Mark Roberts)• “Die For You” — The Weeknd (Club Killers Booty Bass Remix) PANDA Open Format Remixes — familiar songs, fresh mixes, built for the club. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello my friends and welcome to another edition of my radio show. Starting off with a run of original 45's that don't sound half bad if you ask me. The Marvin Gaye record that cold opened this installment is from 1966. This particular copy of Fire by the Ohio Players holds a near and dear place to my heart solely because of how warped and synth'd out it is. The heaviest portion of this episode has to be the second half of Sabbath Bloody Sabbath. The subwoofer really does a great job and makes the sound full. Hope somebody out there enjoyed themselves, last week we had another spike in listening numbers globally and that fires me right up. Thank you to the Bredrin around the globe for fondling around and clicking on my weekly installments. I had a big time, I'll be here next weekYour Host with the Most,Witwicka Juan Don

durée : 01:00:13 - par : Nathalie Piolé -

Ode (@thatsod.e / @thatsod_e) and Mo "Kid" Licorish (@licorishislegit) welcome filmmaker and musical artist Marck Angel to discuss the making of his film Seraphim: The Motion Picture, tracing its origins back to the Trayvon Martin verdict and his 2019 album Angel Dust. Marck Angel walks through the film's COVID-disrupted production, the diverse cast and crew he assembled, and the specific influences behind his lead performance, citing the Nina character from Love Jones and Dow Stevens' role on Noah's Ark. He also details the musical lineage behind the Seraphim soundtrack, naming Janet Jackson's Reformation, Michael Jackson's Bad and Moonwalker, Lauryn Hill's The Miseducation of Lauryn Hill, Marvin Gaye's What's Going On, Prince's Purple Rain and Sign o' the Times, and Beyoncé's Break My Soul and Lemonade as touchstones, alongside his father's early introduction to Alvin Ailey's choreography.The conversation moves into a mental health check-in where Mo "Kid" Licorish speaks about living with bipolar II disorder and Marck Angel discusses the exhaustion of a four-year independent film process. A news segment follows in which Marck Angel raises the case of Nolan Wells and the absence of Black-led queer films at the Toronto International Film Festival, while Ode covers the death of former Cambridge professor Jason Arday amid plagiarism accusations, a lost publishing deal for Southern Methodist University student Jerry Falade, and ongoing disaster recovery in Puerto Rico, Hawaii, and Cuba. The episode closes with a tribute to actress Hayden Panettiere and her past work on Remember the Titans, Bring It On, and Heroes, along with details on where to stream Seraphim: The Motion Picture on Deku through Roku, Apple TV, and Amazon Prime.

Ce 8 septembre, Marjorie Hache orchestre deux nouvelles heures de Pop-Rock Station avec Van Halen, Pavement, The Cure, Triggerfinger, The Subways, The B-52's, The Yeah Yeah Yeahs, Muse, Edwin Starr, Red Hot Chili Peppers, Them et John's Children. L'animatrice souligne le 53e anniversaire de l'arrivée au sommet du Billboard de l'iconique "Let's Get It On", l'un des plus grands succès Motown de Marvin Gaye, coécrit avec Ed Townsend. La rockeuse californienne Blondshell dévoile "Violins". Les Lambrini Girls, qui se sont distinguées par leurs engagements à Rock en Seine, font résonner "Cuntology 101". Les Anglais de Gans et les Londoniens masqués de President complètent cette riche sélection avec Chelsea Wolfe. La primeur de la soirée met en lumière le trio féminin londonien Mary In The Junkyard, qui offre la délicate pépite indie acoustique "Blood", tirée de leur premier disque "The Role Model Hermit". L'album de la semaine continue de célébrer les débuts en solo de Mike D. L'ancien membre des Beastie Boys dévoile le premier disque de sa carrière, "Thank You", dont on explore aujourd'hui l'expérimental "I Don't Care". Enfin pour la reprise du jour la Canadienne Alanis Morissette s'approprie le mythique "Crazy", succès fulgurant du Britannique Seal, inspiré par la chute du mur de Berlin. Jimi Hendrix - The Wind Cries Mary Blondshell - Violins Marvin Gaye - Let's Get It On Radiohead - Let Down Triggerfinger - All This Dancin' Around The B-52's - Planet Claire Lambrini Girls - Cuntology 101 Mike D - I Don't Care AC/DC - Hells Bells The Subways - Rock & Roll Queen Yeah Yeah Yeahs - Date With The Night Gans - Do You Glow Alanis Morissette - Crazy Muse - Bliss President - Mercy Edwin Starr - War Nine Inch Nails - Closer Chelsea Wolfe - Seethe Them - Gloria Interpol - C'Mere Mary In The Junkyard - Blood Red Hot Chili Peppers - Blood Sugar Sex Magik John's Children - Smashed ! Blocked ! Phoenix - Everything Is Everything Michael Kiwanuka - Cold Little Heart Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Hailing from São Paulo, producer and selector Bauhouse (Agustin Giangaspero) stands at the forefront of Brazil's new generation of electronic talent. Taking conceptual cues from the Bauhaus architectural movement, his productions translate structural balance, geometric precision, and functional groove into pure dancefloor momentum. With a catalog exceeding 10 million streams, co-founding Clover Club Records, and earning heavyweight support from industry titans including Laurent Garnier, Jamie Jones, A-Trak, Mochakk, and Vintage Culture, his trajectory across the global underground is firmly established. Stepping up for an exclusive showcase on MUSICUNEED, Bauhouse delivers an authoritative, masterfully sequenced journey rooted in the pure heritage of House. The session traces a dynamic arc through golden-era 90s piano house, soulful cuts, and syncopated UK garage rhythms—featuring seminal selections from Disclosure, MJ Cole, Deetron, and Alex Kassian, alongside his catalog release on the legendary Nervous Records ("Tracey Channel") and his custom dancefloor rework of Marvin Gaye ("After Marvins Dance"). It is a vibrant, impeccably paced performance that bridges classic dance music history with modern club energy. Follow & Support: Soundcloud: https://soundcloud.com/bauhouseofficial Youtube: https://www.youtube.com/@bauhousemusic Instagram: https://www.instagram.com/bauhousemusic

Marvin Gaye was a legendary American soul singer, songwriter, and record producer who profoundly shaped the sound of R&B and popular music. Often called the "Prince of Motown" and the "Prince of Soul," he was a central figure at Motown Records during the 1960s and 1970s. He began his career as an in-house session drummer before transforming into a solo superstar. Gaye later became one of the first R&B artists to fight for and win full creative autonomy over his work, paving the way for future generations of Black musicians to control their own art. This is what I picked up surrounding his energies

A chance subway encounter between two singers with a shared love of Marvin Gaye led to a major label contract and the hit song “Would I Lie To You?”, a soulful early 90s hit with an unforgettable chorus. Charles & Eddie cracked the Top 20 in the US, but the throwback sound of the single helped them top the charts in Canada and overseas. After one more album and some soundtrack placements, however, the duo disbanded and went their separate ways. In this episode, we explore the fascinating careers of Charles Pettigrew and Eddie Chacon, both before and after their short and successful time together. One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at ⁠⁠http://distrokid.com/vip/onehitthunder⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy some Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Facebook Group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

FULL SHOW : A jam packed Thursday show with Glenn Robbins, Andy Lee, World Class Australian Bartender Kayla Saito, there's news out of the North Melbourne Football Club, we'll give away some NFL Tickets, Marvin Gaye has a bunch of questions and Mick has a Chick Flick Alert. Catch Mick in the Morning, with Roo, Titus & Rosie LIVE from 6-9am weekdays on 105.1 Triple M Melbourne or via the LiSTNR app. Mick In The Morning Instagram: https://www.instagram.com/molloy Triple M Melbourne Instagram: https://www.instagram.com/triplemmelb Send Us A Voice Memo: https://memo.fm/mickinthemorning/See omnystudio.com/listener for privacy information.

Hoy en La Gran Travesía viajamos hasta el año 1982 con Dire Straits, Pretenders, Marvin Gaye, Prince, Alan Parsons Project, Psychedelic Furs, Michael Jackson, Fleetwood Mac, Adam and the Ants, Billy Idol, Steve Miller Band, Madness, Grandmaster Flash and the Furious Five, Hanoi Rocks, Iron Maiden, Bad Religion, The Misfits... ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Sergio, Gin1975, Arturolietor, Alul, JBsabe, Antonio Vicente Álvarez, Aida Borrallo, Eduardo Gutiérrez, Rafa Navarro, José Carlos Lozano, Ikatza, Cabe1961, Guillermo Esteban, Diego Román, Raquel, Sergio Rodríguez Rojas, Jose Antonio Moral, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Francisco Quintana, Con, Tete García, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Alberto, Dani Pérez, Vicente DC, Leticia, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

Full show: https://kNOwBETTERHIPHOP.com Artists Played: Beanies and Snapbacks, Soy Is Real Knaladeus, conshus, Shinobi Stalin, GR3YSON, DJ Stranger, Mega Ran, High John, A Man Called Jason, Ambre, Busta Rhymes, J Dilla, Common, Jon Batiste, Dinner Party, Terrace Martin, Robert Glasper, Kamasi Washington, 9th Wonder, Phoelix, Odell, Ezra Collective, Crescendo, Malugi, Paige Cavell, MRKBH, Rico James, Sosyete 25, Ensilence, Tekbeatz, Jordan Rakei, Frukwan, DJ Tron, Marvin Gaye, OutKast, GOODie MOb, IMAKEMADBEATS

**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Soul & Boogie/Rare Groove/80's & 70's Grooves/Easy Listening Cuts From Thelma Houston, Spinners, Rose McDonald, Marvin Gaye, Martha Reeves & The Vandellas, Leon Haywood, Jeree palmer, Hot Citty, Dolly Parton, Eddie Kendricks, Denie Corbett, Carl Douglas, Barry White & More. #originalpirates #soulmusic #disco #reggae #raregroove #easylistening #boogiefunk Catch Rendell Every Saturday From 8PM UK Time On www.traxfm.org The Stations: Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud Live: https://www.mixcloud.com/live/trax/ Free Trax FM Android App: https://sbee.link/pwaby4jhng The Trax FM Facebook Page : https://sbee.link/k9pugbrx7e Trax FM Live On Hear This: https://sbee.link/jgn7d34tpm Tunerr: https://sbee.link/f9cwjdx48g Radio Garden: Trax FM Link: https://sbee.link/y9eb4vrujh OnLine Radio Box: https://sbee.link/ej6hnr7x94 Radio Deck: https://sbee.link/6ekfcmugxv https://sbee.link/3t86qau4kn: https://sbee.link/b67upjhwaq Stream Radio : https://sbee.link/q9rwvkyhcu Live Online Radio: https://sbee.link/djeax6u4tr **

A special end-of-summer Redux edition of Roqe featuring one of our favourite conversations with one of the defining voices of modern Persian pop music. Jian revisits his 2023 interview with Kamyar - the Iranian-French singer, songwriter and musician whose journey has taken him from Tehran to Paris, the Sorbonne, Los Angeles, the legendary Black Cats, and ultimately a successful solo career. Kamyar talks about growing up Iranian in France after the 1979 Revolution, studying classical piano, discovering his voice, and his deep musical connection to artists like Stevie Wonder and Marvin Gaye. He reflects on moving to Los Angeles in 2003, joining Black Cats, the success of "Jooneh Khodet," leaving the band to forge his own path, and emerging as a solo artist with Dobareh. The conversation also explores identity, exile and Iran - including Kamyar's outspoken support for the Iranian people, his involvement in protests, and his decision to use his music and platform to take a stand. Featured Guest: Kamyar - Iranian-French singer, songwriter and musician This interview was originally recorded in July 2023. Roqe returns with its new season on Thursday, September 10th. This episode is brought to you with the support of: Tikatel - Tikatel.ca Avoca Chocolates - avocachocolates.com Follow Jian on Instagram: @JianGhomeshi

August 26, 2026: "There's Just Somethin' About CLEO"UK Soul singer CLEO SOL has just released her brand new album "GENTLE WOMAN" on FOREVER LIVING ORIGINALS records and it is now available on all platforms.CLEO: https://cleosol.bandcamp.com/album/gentlewomanIG; https://www.instagram.com/p/DcdlS4OtaQU/?hl=enX: https://x.com/cleosolSAULT: https://www.instagram.com/saultglobal/?hl=enThis episode celebrates CLEO's latest release with A HEALER's LISTENING PARTY featuring renowned professionals from across the country:BREANNA out of Atlantahttps://www.instagram.com/rootedswanwellness/?hl=enhttps://www.instagram.com/brealperry/?hl=enMAISHA out of D.C.https://www.rula.com/providers/CA/1558692012-maisha-gainer?utm_source=google&utm_medium=paidsearch&utm_campaign=patient_psp_nb_22274100862&utm_content=174718043745&utm_term=&gad_source=1&gad_campaignid=22274100862&gbraid=0AAAAABq_VTX9L20012PTbASjVxNOsyTMw&gclid=Cj0KCQjwnbrUBhDOARIsAKKhPpf7GYfXiHaXvGFVtJJtuda0stbD2JLdL-VuogIBXO907aKq9Xil7-EaApZoEALw_wcBDORIAN out of ShreveportIG: https://www.instagram.com/iamdorianford/?hl=enhttps://www.thrivepsychservices.com/drrankinA great listening experience awaits you  So press PLAY, SHARE, FOLLOW, and tell us what you enjoyed most about this episode.#Album Review on X: https://x.com/Southside_Gunn/status/2090900588674625902https://www.albumoftheyear.org/user/jeremychronicle/album/1967037-gentlewoman/

We're traveling way back in time to 1971 -- when Richard Nixon was president, the Beatles were newly broken up, and Fiddler on the Roof was one of the biggest movies at the box office. Today in this encore episode, we're revisiting a special edition of What's Making Us Happy, recommending pop culture from the 1970s – including Isaac Hayes' Shaft soundtrack, Carol King's Tapestry, Marvin Gaye's What's Going On, and The Monster at the End of This Book.Looking for more pop culture from the past? Check out these episodes:The American dream according to ‘The Wire,' ‘Apollo 13' and more‘Jaws' is still stuck in our teeth, 50 years later'Shrek' – a weird, flatulent and beloved franchise – turns 25Connect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show's perks include bonus episodes and sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Hello to my friends across the globe and welcome to my newest installment. Starting us off with a run of original 45's including a double-feature from Sly and The Family Stone, as well as what most likely what would be my favorite portion of this episode, the live performance of Distant Lover by Marvin Gaye. That thing kicks like a mule and remains one of my favorite 45 pickups. I've recently developed somewhat of a sickness. Over the weekend, I found myself hopscotching from store to store in search of cool movies on VHS. Just today I finally found a copy of Goodfellas, which sent me over the moon. In that same lot, I walked away with Anaconda, Godzilla, Friday Night Lights, the first Pokemon movie. Speaking of which, I stopped by one of my local card shops as well and added another piece to the vintage Japanese Pokemon collection. Added Erika's Venusaur for those who speak the language. Just over a summer of trading I've amassed a Pokemon PC worth a down payment. Not complimenting myself or seeking glory, just telling my listening audience that this Pokemon market is wild and if you know what you're doing, if you can predict the market, if you can bend spoons with your mind? You can crush it in your local Pokemon scene. Whatever. Oh yeah, I found all 3 of The Godfather movies over the weekend as well, watched Godfather 1 by myself and cried. Sick move. I could barely get up and get a snack it was so good. Each scene is a master class in itself and that motion picture gets better and better each time I consume it. Thank you for choosing to listen to my nonsense and keep up with my life. Until next time..Your Host with the Most,Johnny Tsunami

The 60's were deeply influenced by the Gospels and the Bible. Thinks songs like “Turn, Turn, Turn” and “People Get Ready” and “Oh Happy Day”. And so WKXl's NH Unscripted believes that it's time to check out songs from the 60's that were flavored by the spirituals (and there were many). Some of the artists you'll hear from are: The Edwin Hawkins Singers, Peter Paul & Mary, Ray Charles, Marvin Gaye, Elvis Presley. Our playlist:1. The Highwaymen – “Michael” (Michael Row the Boat Ashore) (1960)2. Ferlin Husky – “Wings of a Dove” (1960)3. Ray Charles – “Hit the Road Jack” (1961)4. Marvin Gaye – “Can I Get a Witness” (1963/1964 peak)5. The Impressions – “Amen” (1964)6. Peter, Paul and Mary – “Tell It on the Mountain” (1964)7. The Impressions – “People Get Ready” (1965)8. Elvis Presley – “Crying in the Chapel” (1965)9. The Byrds – “Turn! Turn! Turn! (To Everything There Is a Season)” (1965)10. Ramsey Lewis Trio – “Wade in the Water” (1966)11. The Righteous Brothers – “He” (1966)12. The Edwin Hawkins Singers – “Oh Happy Day” (1969)13. Bonus track: Norman Greenbaum – “Spirit in the Sky” (1969)*NH Unscripted is recognized as one of the Top 100 Acting Podcasts on the web and also featured in the Top 50 New Hampshire Podcasts list by Millionpodcasts.com*(If you enjoy these chats with NH artists, take 30 seconds to leave a rating on Apple or Spotify—it helps other theater lovers find us.)

The 60's were deeply influenced by the Gospels and the Bible. Thinks songs like “Turn, Turn, Turn” and “People Get Ready” and “Oh Happy Day”. And so it's time to check out songs from the 60's that were flavored by the spirituals (and there were many). Some of the artists you'll hear from are: The Edwin Hawkins Singers, Peter Paul & Mary, Ray Charles, Marvin Gaye, Elvis Presley. 

Qool DJ Marv Live at the Frontyard.FM Garden Party at the Good Life Garden Bushwick Brooklyn NYC – August 15 2026 Thank you, Frontyard.FM and Good Life Garden!!! A Tune for Us - DjRUMSo What - Nicholas Payton, Butcher BrownPrototype - Robert GlasperTomorrow (A Better You, Better Me) - Quincy JonesThere's Music in the Air - Ami Faku, Gallo Remixed, Black CoffeeFantasy (Conan Liquid Reedit) - Earth Wind & FireLittle Suzie (Original Mix) - KelisBrooklyn Bossa - Ahmed Sirour (feat. Ricardo Barros)Swahililand - VisioneersAfrica (Daniel Crawford Remix) - D'AngeloPanoramic - Mumu FreshHigher - Q-TipGet By (Blackbeard Mix) - Talib KweliFinal Form - SAMPA THE GREATFunky Kingston (Regroove) - The BoogiemasterStill Uptown - Tony Johns ReworksAll Blues - Butcher BrownBy Your Side (Cottonbelly Remix) - SadeFela - JM_Edits Feeling Good - Jennifer HudsonYou're All I Need To Get By (QDJM Edit] - Diana Ross, Marvin Gaye, Tammi Terrell, Method Man, Mary J. BligeFollow Me, Park Jam Mix - DJ SpinnaLovely Day (Tall Black Guy Remix) - Jill ScottDay Break - The Brand New HeaviesThe Way You Make Me Feel - Mama Digdown's Brass BandThink Twice (Weather Underground Mix) - The BoogiemasterBrooklyn Baby - JARC Garden Party (Clones Remix) - ClonesA Roller Skating Jam Named "Saturdays" feat. Q-Tip feat. Vinia Mojica (Original Mix) - De La SoulSalsation - Ruby & The LovettesSunshine (V Old-school mix) - 5th DimensionFly Away feat. The Sultra Gospel Singers (Extended Mix) - Michael Gray, Kimberly Brown, The Sultra Gospel SingersFEELING - JULSSunshine (I Can Fly) (Kiko Navarro Extended Remix) - Louie Vega, Elements Of Life, Raul Midón, Josh Milan, Kiko NavarroGood Feeling (Moodymanc's Sunshine Booty) - Gregory Porterhttps://www.instagram.com/frontyard.fm/https://www.nycgovparks.org/opportunities/volunteer/group/good-life-garden  +  https://bushwickdaily.com/news/5819-abandoned-park-space-transformed-into-thriving-urban-learning-garden/---   https://www.subvert.fm/qool-dj-marv   https://www.youtube.com/@qooldjmarv   https://music.apple.com/us/artist/qool-dj-marv/1558418894   https://qooldjmarv.bandcamp.com/album/sound-paths-v-1   https://tidal.com/browse/artist/23883666   https://www.mixcloud.com/qooldjmarv/   https://open.spotify.com/artist/48vhJ2d1hVaFHf6gqXeTm0?si=fWO0N456QeWRMWLUtqe4Yg   https://soundcloud.com/qooldjmarv

The BBC's Chief International Correspondent, Lyse Doucet, returns to Afghanistan to report on the state of the country after five years of Taliban rule. She also brings us an interview with Taliban spokesman Zabihullah Mujahid. Later, we hear from the American four-star general David Petraeus, who led US forces in Afghanistan for a year. Also in the programme: Colombian Vice-President Jose Manuel Restrepo on how his country has handled the aftermath of last week's earthquake; and the BBC Proms festival of classical music celebrates the legacy of the Motown musician Marvin Gaye.(Photo: An Afghan boy sells flags of the Islamic Emirate of Afghanistan ahead of the fifth anniversary of the Taliban's return to power. Credit: EPA/Shutterstock)

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

The crew also highlighted former President Barack Obama’s newly released 2026 summer playlist, which features an eclectic mix of artists including Drake, Doechii, SZA, Vince Staples, A Tribe Called Quest, Earth, Wind & Fire, and Marvin Gaye. See omnystudio.com/listener for privacy information.

The Rickey Smiley Morning Show tackled some of the biggest stories making headlines, from a landmark Georgia court case to major music news. The crew discussed the sentencing of Georgia father Colin Gray, who received 15 years in prison after being convicted for providing the firearm used by his son in the 2024 Apalachee High School mass shooting, a case that legal experts say could further shape how parents are held accountable when children gain access to deadly weapons. The show also examined concerns surrounding music legend Gladys Knight after her son publicly said he does not want her touring anymore, citing worries about her health and well-being, while Knight has previously maintained that she is healthy and happy and looks forward to continuing to perform. On the entertainment side, rap icon Too Short joined the RSMS crew to talk about his new album Sir Too $hort Vol. 2: Drink & Smoke, produced entirely by longtime collaborator Lil Jon and released as he celebrates more than four decades in hip-hop. He reflected on longevity, working with legends, and why age should never limit creativity in rap. The crew also highlighted former President Barack Obama’s newly released 2026 summer playlist, which features an eclectic mix of artists including Drake, Doechii, SZA, Vince Staples, A Tribe Called Quest, Earth, Wind & Fire, and Marvin Gaye. Other hot topics included Jamie Foxx reportedly preparing to welcome another child, debate surrounding homelessness after comments made by Slim Thug, and celebrity relationship updates involving Papoose and Claressa Shields. Website: https://www.urban1podcasts.com/rickey-smiley-morning-show See omnystudio.com/listener for privacy information.

On today's episode, we discuss how the music industry has been used as a cultural and political tool, from the Haight-Ashbury psychedelic rock scene to the rise and mainstreaming of gangsta rap. The hosts revisit Charlotte's earlier research on government-linked efforts to cultivate youth music idols and drug culture, then connect that history to questions about whether agencies like USAID helped fund or steer later musical trends. They contrast Motown-era Black artists such as Aretha Franklin, Marvin Gaye, and the Jackson Five with the emergence of more violent, explicit rap, arguing that this shift “hijacked” Black music that once had broad cross-racial appeal. Along the way, they reference films like Lean On Me and Straight Out of Compton, alleged strong-arm tactics by powerful promoters, and the larger pattern of engineered social unrest, from music to “mostly peaceful” protests that seemed to vanish when funding dried up. The conversation closes with reflections on how these cultural levers tie into progressive-era politics and modern technocratic control, including brief sidebars on Fauci, the 17th Amendment, and ever-present AI tools listening in the background.  Don't miss it!

Eine Stadt am Meer, auf den ersten Blick kein Paradies, aber ein Ort, den Du nie vergisst. Michi war wieder in Ostende. Schon zum dritten Mal. Er kommt mit dem Zug aus Köln an und schon am Bahnhof begrüßen ihn die Möwen. Nordsee! Das Abendlicht ist einzigartig, die Luft auch. In den Dünen fühlt sich Michi, als hätte ihm jemand einen Eimer Salzwasser in die Lunge gekippt. Jeden Tag wird er mit fantastischen Essen belohnt, dass er morgens schon auf dem Vistrap begrüßt, wo nur noch vier Fischer- Familien ihren Fang direkt vom Boot verkaufen dürfen. Dazu überall Kunst, Ostende ist eine Stadt voller riesiger Wandbilder, eine der größten Freiluft-Galerien Europas.Und am Ende bleibt eine Geschichte, die kaum jemand kennt. Ein kaputter, verschuldeter Marvin Gaye kommt 1981 nach Ostende, um sich zu retten. Und schreibt hier einen seiner größten Hits: Sexual Healing.Rüüdach! Kommt mit an die belgische Nordsee. Übrigens: In Folge zwei geht es raus in die Natur, aufs Meer und, ja, an einen Nacktstrand.—

Few musicians have influenced popular music as profoundly as Louie Shelton, yet millions of people know his guitar long before they know his name. In this episode of A Breath of Fresh Air, Louie opens the studio door on one of the greatest periods in recording history.Growing up in Arkansas, Louie discovered the guitar as a young boy, met Elvis Presley while still at junior high school and later became friends with fellow Arkansan Glen Campbell before heading west to Los Angeles with one ambition—to become a top session guitarist. He explains why becoming a studio musician was the ultimate dream and how years of relentless work finally earned him a place among the legendary Wrecking Crew. Louie reveals how one inspired guitar hook changed everything. Asked to come up with something memorable for a new television project called The Monkees, he created the famous opening riff to Last Train to Clarksville, launching a career that would see producers across Los Angeles competing for his talents. He shares extraordinary stories from sessions with The Jackson 5, Motown, Boz Scaggs, Neil Diamond, The Carpenters, Lionel Richie, Marvin Gaye, Diana Ross, Smokey Robinson and dozens more, explaining how many classic recordings were built before the artists even stepped into the studio. You'll hear what made the Motown rhythm section so unique, why Michael Jackson immediately stood out as an 11-year-old vocalist and how session musicians created some of the most recognisable guitar parts in music history. Louie also reflects on working with Elvis Presley, Karen Carpenter, Tiny Tim and countless stars whose careers he watched unfold, while offering thoughtful observations on fame, celebrity and why so many legendary artists struggled with the pressures that accompanied enormous success. The conversation also explores Louie's transition from session guitarist to acclaimed producer, producing Seals & Crofts' Summer Breeze and Diamond Girl, launching England Dan & John Ford Coley, and producing Art Garfunkel's platinum-selling Fate For Breakfast. Finally, Louie reflects on why he believes the music of the '60s and 70s continues to resonate with audiences around the world and explains why, despite an extraordinary career spanning more than six decades, he still picks up the guitar every day. This is a rare opportunity to hear from one of the true architects of popular music—a man whose guitar playing became part of the soundtrack of generations.

Music Video for Marvin Gaye's What's Going On? https://youtu.be/o5TmORitlKk?si=tp-xjNHA4yQ0CYpOWhat happens when we ask a question—not because we expect an answer, but because we need someone to remain with us inside the uncertainty?In this episode of The Songs That Made Us, Gunter explores Marvin Gaye's landmark recording, What's Going On, and the psychological power of a song that responds to violence, war, injustice, and collective grief without becoming hardened by them.Born from an act of violence witnessed during the People's Park demonstrations and shaped by the experiences of returning Vietnam veterans, the song challenged both Marvin Gaye's artistic identity and the limits Motown placed upon its artists.Rather than accusing, commanding, or offering easy answers, What's Going On asks us to stay present with suffering long enough to feel it.Gunter examines how the song creates recognition, belonging, empathy, and reconciliation; how it reflects the moral distress carried by returning soldiers; and why its tenderness has allowed it to remain meaningful for more than fifty years.Sometimes the most honest response to pain is not an answer. Sometimes it is a question held open in the company of others.In this episodeThe story behind Marvin Gaye's What's Going OnHow violence at People's Park helped inspire the songMarvin Gaye's struggle to move beyond romantic popHis brother Frankie's return from the Vietnam WarBarry Gordy's resistance to releasing the recordHow overlapping vocals created an internal conversationThe psychological concept of moral injuryRecognition, belonging, reconciliation, and empathyWhy the song chooses grief rather than rageThe power of remaining present without rushing toward answersWhy some questions endure longer than accusationsKey takeawaysA question can create connection.Unlike a statement, a question requires another person. It turns distress into relationship and invites the listener to feel alongside the speaker.Grief and rage are not interchangeable.Anger may restore agency, but sorrow can sometimes reveal the deeper truth of an experience.Uncertainty can be emotionally productive.The song refuses to resolve its central question, asking listeners to tolerate doubt instead of reaching too quickly for certainty.Tenderness is not weakness.Marvin Gaye confronts catastrophe without becoming contemptuous, allowing the song to remain open, humane, and widely accessible.People often feel pain before they can explain it.A song that remains at the level of the question can meet listeners in the wordless space before understanding arrives.“We return to the song not for answers, but for company.”— Gunter SwobodaGratitudeWe want to extend a huge thank you to our listeners in Jackson for bringing Mississippi to #10 on the Top 10 USA listeners list and for the first time ever making it to our Top 20 Global Listener's list and securing their position, we celebrate our listeners in Hanoi and Ho Chi Mihn City for bringing Vietnam up to #11 as well as to our listeners in Lora del Rio for bringing Spain to #17!  Lastly a special congrats to Spain for their World Cup Win! CONGRATULATIONS!!Become a supporter of this podcast: https://www.spreaker.com/podcast/inspire-change-with-gunter--3633478/support.PatreonIf this episode resonates with you and you'd like to go deeper into practical exercises and guided reflection, Gunter offers extended self-development resources and exercises through our Patreon community: www.patreon.com/inspirechangeSponsorDistil UnionThis episode of Inspire Change with Gunter is brought to you by Distil Union, creators of beautifully designed, functional everyday carry accessories that help bring organization, simplicity, and intention into your daily life.Distil Union blends craftsmanship with thoughtful design to help you carry what matters most — without the clutter.

This week's show, the final show ever in the old campus studio, focuses on Marvin Gaye's classic album What's Going On, celebrating its 55th anniversary this year. Featuring various hits from Motown's back catalogue from artists including The Supremes, The Jackson 5 and Stevie Wonder. Also includes songs from contemporary soul musicians including Gil Scott-Heron, Sly and the Family Stone and Curtis Mayfield, as well as some artists inspiring and inspired by Marvin Gaye!

The episode opens with the passing of saxophonist Plas Johnson, 94, a player whose name might not mean much outside musician circles but whose sound is embedded in popular culture.  Johnson's cool, slinking work on Henry Mancini's Pink Panther theme is his best-known contribution, but the wider CV is properly formidable: Frank Sinatra, B.B. King, Joni Mitchell, Marvin Gaye, The Beach Boys, Nat King Cole, Ella Fitzgerald, Linda Ronstadt and Aaron Neville all appear on the roll call. how Links Henry Mancini - The Pink Panther Theme (Official Audio)  Plas Johnson - I Hadn't Anyone Till You  Plas Johnson obit in Rolling Stone  Dr John Gris-Gris Gumbo Ya Ya  Tom Waits - "Heartattack And Vine"  Hardly Strictly Bluegrass Festival website Silo — Season 3 Official Trailer | Apple TV  Evolver 62 | Official Trailer | The Beatles' Breakthrough Year That Changed Music Forever | Out Now!  EVOLVER:62 Beatles and cakes in the village hall  The Odyssey - Official 'Completely in IMAX' Behind the Scenes Clip (2026) Othello, The Black Commando 1982 full movie Max H. Boulois Tony Curtis  Aaron Lee Tasjan - The Real (Official Music Video) 

Ride That Thing is a tech/house music podcast. Please check out this high-energy music. Artist names and song titles are in the order they were played... JAMES HYPE-RIDE IT, JAMES HYPE & DOTS PER INCH-POWER, PIM UMENZI-THE WAY I ARE, ROGERSON & PIM UMENZI-4 MINUTES, DIPLO & SIDEPIECE-ON MY MIND, ANDREW MATHERS & ESSENTIALS-DISCO LIGHTS, WEDAMNZ-MEMORIES, JOHN SUMMIT-DEEP END, CHRIS LAKE-I REMEMBER, WEDAMNZ-MAMACITA, SQWAD-BLAST, MARVIN GAYE & MATRODA-HEARD IT THROUGH  THE GRAPEVINE, BLEU CLAIR-AMERICAN BOY, TRUTH & LIES-THE DRIP, FISHER-WANNA GO DANCING, PICKLE-ON THE DRUMS/BODY WORK, SAN PACHO-SHAKE IT, DECEMBERKID & BLEU CLAIR-LOOKING FOR, SAN PACHO-DANCEFLOOR, BLEU-PHONE CALL/MAKE YOU MINE/HYPNOTIZED, DRINKS ON ME & BLEU CLAIR-HIT LIST,  FISHER-FREAKS, R3WIRE-POP THAT DRUM, JLRO-FIFTY, SAN PACHO & HOUSE DIVIDED-WALKIN' MILES, JOYRIDE-DAMN, WOAK & SAN PACHO-MILKSHAKE, BEE GEES-STAYIN' ALIVE, SQWAD-U DON'T KNOW, SAINT JHN-ROSES, CLOUDRIDER & ALAMO-ISSA BOUNCE, BYOR-FEELING RIGHT, MATRODA-THE MOVEMENT, SAN PACHO-HIGH/RAVE STANDS FOR, SQWAD-AD ASTRA, NUKID-BULLET, KAGE & LIL DEBBIE-OK. End. Thanks for listening to Ken Steele Music.

On Episode 293, we sit down with one of the most authentic and compelling voices in the emerging Urban Country movement—Smoking Otis, also known as Tennessee Slick.With a sound that seamlessly blends country, soul, R&B, rock, and hip hop, Smoking Otis has spent a lifetime creating music rooted in real experiences, heartfelt storytelling, and unwavering authenticity. Raised just outside of Nashville, Tennessee, his musical journey has taken him from battle rap competitions and performing at the Grand Ole Opry to touring internationally and independently building a career on his own terms.In this exclusive interview, Smoking Otis opens up about the inspiration behind his latest single "Trail Ride," the deeply personal meaning behind his upcoming project Two Faced, and how years of perseverance, faith, and life experience have shaped the artist he is today.We also discuss:

On Episode 293, we sit down with one of the most authentic and compelling voices in the emerging Urban Country movement—Smoking Otis, also known as Tennessee Slick.With a sound that seamlessly blends country, soul, R&B, rock, and hip hop, Smoking Otis has spent a lifetime creating music rooted in real experiences, heartfelt storytelling, and unwavering authenticity. Raised just outside of Nashville, Tennessee, his musical journey has taken him from battle rap competitions and performing at the Grand Ole Opry to touring internationally and independently building a career on his own terms.In this exclusive interview, Smoking Otis opens up about the inspiration behind his latest single "Trail Ride," the deeply personal meaning behind his upcoming project Two Faced, and how years of perseverance, faith, and life experience have shaped the artist he is today.We also discuss:

As part of our series, Sound of Summer, Michael DeWilde will share a conversation about Marvin Gaye's seminal 1971 album, “What's Going On”. The album broke ground lyrically, musically, and politically. Michael will discuss the album along with its lasting effect on a kid - and kids - growing up on the outskirts of Detroit.

CADENA 100 presenta éxitos como "Feel" de Robbie Williams y "Marvin Gaye" de Charlie Puth junto a Meghan Trainor. Suena "Say break my heart" de Taio Cruz y se destaca la forma de componer de Sia, que esconde el dolor tras una copa. Coldplay con "Viva la Vida", inspirada en Frida Kahlo, y "La Noche Entera" de Nico también forman parte de la programación. Álvaro de Luna lanza su nuevo álbum "Atulejos", del que se escucha "Dime dónde estás". En '¡Buenos días, Javi y Mar!', se comentan reseñas divertidas y absurdas, como la de una camiseta de Vinicius usada o un libro sobre estafas por internet que nunca llega. También se menciona la historia de William Orbit, productor de "Ray of Light" de Madonna, quien tiene una segunda parte del disco lista pero no logra contactar con la artista. Adele suena con "Hello", dando paso a 45 minutos de música sin interrupción. Cristina desde Avilés y Eva desde Cuenca son oyentes que disfrutan de la mejor variedad musical de CADENA 100.

Tracee Ellis Ross joins Keke for an unforgettable conversation about building a life on your own terms. She talks about making her Broadway debut in Every Brilliant Thing, growing up with her mom, Diana Ross, and childhood encounters with icons like Marvin Gaye and Lucille Ball. And Tracee has the stories, from confidently correcting Michael Jackson on his own lyrics to memories from the set of Girlfriends and some truly terrible dates. Then they play “Acting Casual,” a dating game of awkward flirting. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us Fan MailThe fastest way to start an argument with your friends is to ask for the best baby-making song then make it a draft. We're back with our patented musical draft, building a real bedroom playlist under pressure: male-led, female-led, male group, female group, 80s through 2020s, plus overrated, underrated, and a wild card that can swing the whole game.The picks go from timeless R&B slow jams to modern vibe records, and we don't just name songs, we defend them. You'll hear why classics like Marvin Gaye, Prince, Teddy Pendergrass, and The Isley Brothers still dominate the mood, and how 2000s and 2010s staples keep showing up when it's time to get serious. Then we get messy with the overrated slot, the underrated sleepers, and the strategic steals that have somebody yelling “that was my pick!”The funniest part is how real life collides with playlists, including a story that proves kids should not be left alone with YouTube search. And when the 2020s round hits, we debate what counts as baby-making music versus “singing in the kitchen” music, complete with a veto moment.Listen through, then vote with us when we post the poll and playlist. Subscribe, share with a friend, and leave a review so more people can jump into the draft and argue their picks too.FOLLOW. SUBSCRIBE. SHARE. Contactmixedvibeztv@gmail.com (720) 381-1092Facebook www.facebook.com/mixedvibezYouTube https://youtube.com/@mixedvibezmediaTikTokhttps://www.tiktok.com/@mixedvibezmedia?_t=8aEYresFfkw&_r=1Instagramhttps://www.instagram.com/mixedvibezpodcast/

Roséwave is a feeling more than a singular sound or genre. It's the kind of sweetness and sadness that underscores the long, languid days of summer.  Long drives with old friends, watching your kids at the pool, backyard barbecues while the sun slowly sets.  On this episode we share a mix of songs that offer the perfect soundtrack for your roséwave days and nights, from Linda Ronstadt's “How Do I Make You” and Marvin Gaye's “Ain't That Peculiar,” to Katie Gavin's “Aftertaste,” Waxahatchee's “Much Ado About Nothing” and more.NPR Music's Lars Gotrich and contributor Marissa Lorusso join host Robin Hilton.(00:00) Intro and “Summertime, Summertime” by The Jamies(01:57) Wednesday: "Elderberry Wine"(04:34) The Lijadu Sisters: "Come on Home"(07:35) Katie Gavin: "Aftertaste”(12:17) Marvin Gaye: "Ain't That Peculiar"(15:46) Leningrad Philharmonic Orchestra: “Gayane Ballet Suite: Adagio”(17:02) Haku.: "Looking Through My Subtle Double Eyelids"(19:46) Labi Siffre: "My Song"(22:45) Azymuth: "Faça de Conta"(25:09) Waxahatchee: "Much Ado About Nothing"(27:35) Linda Ronstadt: "How Do I Make You"(30:29) Addison Rae: "Diet Pepsi," from 'Addison'(34:56) Amerie: "Why Don't We Fall in Love"Reviews help!  Leave us one on Apple or Spotify wherever you listen to podcasts. Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.orgNote: A version of this episode originally ran in July 2025.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

DISCOTHÈQUE DECADENCE SOUNDSYSTEM PRESENTS: STUDIO 54 – DISCO CLASSICS REMIXED (DD026) Step through the velvet rope and into a glitter-soaked night of pure dancefloor decadence. For DD025, Discothèque Decadence Soundsystem heads straight to the heart of New York's most legendary nightclub, reimagining the sounds that lit up the dancefloor at Studio 54 for a modern generation of disco lovers. Expect a dazzling blend of remixed Disco, Funk, Soul and Rare Groove, packed with the kind of records that kept the mirror ball spinning until sunrise. Think euphoric strings, irresistible basslines, hands-in-the-air moments and enough groove to fill a white horse entrance. Featuring reworked classics and dancefloor weapons inspired by the music of Diana Ross, Donna Summer, Earth, Wind & Fire, Bee Gees, KC & The Sunshine Band and Stevie Wonder, alongside a special CHIC mini-mix guaranteed to bring that late-night Studio 54 magic. Every track has been lovingly selected, edited and mixed to honour the spirit of the golden disco era while giving it the punch and energy of today's dancefloor. So grab a cocktail, find your finest sequins, and prepare for a night beneath the mirror ball. The lights are low. The groove is high. Studio 54 is calling. All tracks selected and mixed with love by The Funk Assassin. No guest list. No attitude. Just dance. ⸻ TRACKLIST 1. Stevie Wonder – I Wish (Reflex Revision) 2. Bee Gees – Stayin' Alive (The Funk Assassin's Alive & Kicking Edit) 3. Stevie Wonder – Love Light In Flight (12” Remix) 4. Dr Packer – Phantasy 5. Stevie Wonder – Signed, Sealed, Delivered (I'm Yours) [DJ Smash Essential Funk Mix] 6. T.B.C. – Love To Love (T.B.C. Re-Edit) 7. Generation Disco – That's The Way 8. Full Flava feat. Beverlie Brown – I Specialise In Love 9. Werkshy – Save Our Love 10. Dr Packer – Ooh I Wonder 11. Babert – Pick Up The Piece 12. Mr Given Raw – La Street Vie 13. Dr Packer – You And Me 14. Moon Rocket – Superstition (Moon Rocket Funky Mix) 15. Dave Leatherman & Bruce Nolan – Joyride 16. Late Night Tuff Guy – Do You Wanna Get Down 17. Jack Le Funk – One More Time 18. CHIC Mini-Mix 19. HP Vince & Dave Leatherman – Takin' It Easy 20. Moodena – Boogie Monster 21. Diana Ross, Marvin Gaye, Smokey Robinson & Stevie Wonder – Pops, We Love You (12” Disco Mix)

Howdy Folks, I you are an american you got it pretty Fing good that is the theme of the show. Gower and Matador talk a lot coherently (Rare). We talk Capitalism, Churros, Soccer and America. Happy 4th of July weekend RIP Chris. Thanks For listening, Matador Artist include: Guttermouth, Mac Dre, Hank williams Jr, Team America, Marvin Gaye, Matador orignal and many more.  

Heatwave is a tech/house music podcast. This is high-energy music that will be great for any holiday parties. Please enjoy. Artist names and song titles are in the order they were played... ALUNA & PAUL WOOLFORD-HEATSTROKE, THOMAS NEWSON, NOVAK, & CORONA-DO MY THING/RHYTHM OF THE NIGHT, MARTIN SOLVEIG-HELLO, DJ KUBA & NEITAN-CALABRIA, ARTEMIS vs PICKLE-I LIKE THE WAY YOU KISS ME/BETTER OFF ALONE, LOOFY-LAST NIGHT, SWEDISH HOUSE MAFIA-LEAVE THE WORLD BEHIND, CASHEW-ROUND & ROUND, CALVIN HARRIS-HOW DEEP IS YOUR LOVE, TERRANCE PARKER-SOMETHIN' HERE, BILLIE EILISH-LUNCH, MARVIN GAYE & TAMMI TERRELL-AIN'T NO MOUNTAIN HIGH ENOUGH, OLIVER TREE-MISS YOU, DIPLO & HUGEL-STAY HIGH, RIHANNA-ONLY GIRL, BACKSTREET BOYS-I WANT IT THAT WAY, DEPECHE MODE-PERSONAL JESUS. End. Thanks for listening to Ken Steele Music. 

From Marian Anderson's 1939 concert at the Lincoln Memorial to Marvin Gaye singing the National Anthem at the NBA Finals, the theme of patriotism can be heard throughout African American music. Benjamin Ross offers selections from this rich musical heritage. Also: Ann Petry's The Street, published in 1946, was the first million-selling novel by an African American author. Keith Clark says Petry deserves to be in the pantheon of other great American writers like James Baldwin or Toni Morrison. Later in the show: Poet Walt Whitman in 1862 went searching for his brother George, who had been wounded in a Civil War battle. Mara Scanlon and Brady Earnhart say Whitman was so moved by the carnage he found that he worked as a nurse for the rest of the war. Also: While Edgar Allan Poe is the master of the macabre, Jerome McGann says Poe was more charming and humorous than his famous dark fiction suggests.

A Note from Jacob: Portions of this podcast feature clips from films and live broadcasts. I do not own any of these clips. These clips are the property of their respective owners.  Happy Birthday, America!  To commemorate our nation's 250th birthday and the 95th anniversary of its recognition as the official National Anthem of the United States, Jake's Take with Jacob Elyachar is revealing the 25 memorable covers of Francis Scott Key and John Stafford Smith's iconic tune.  What was your favorite rendition of “The Star-Spangled Banner”?Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

Welcome to Travel to Listen, a new Unpacked series hosted by veteran music journalist Tim Chester. Over four episodes, Tim took us into the cities where music is more than entertainment—it's the shortcut to a place's soul. In this season finale, he heads to Detroit to explore the legendary Motown sound—and to find out what's next for the little house on West Grand Boulevard that started it all. Meet this week's guests Adam White is the author of Motown: The Sound of Young America, co-written with former Motown president Barney Ales. A former editor-in-chief at Billboard, Adam has spent 40 years exploring the Motown story and writes a weekly blog about the label at adamwhite.com. Robin Terry is the chairwoman and CEO of the Motown Museum—and Berry Gordy's great-niece. Raised by her grandmother Esther Gordy Edwards, who founded the museum, Robyn is currently leading the $75 million expansion. Guest host Tim Chester is a freelance travel and culture writer who has spent the past 20 years exploring the world through the lens of music. His reporting has appeared in NME, Spin, and Afar, and his travels have taken him from Manhattan to Malawi and Beijing to Berlin in search of the festivals, scenes, and stories that reveal a city's soul. Chapters 00:00:00 Welcome to Detroit 00:02:00 Why Motown Endures 00:04:00 The Detroit Advantage 00:07:00 The Motown Family 00:09:00 Inside Hitsville USA 00:12:00 Psychedelic Soul 00:16:00 Hitsville Next A Music Fan's Travel Guide to Detroit Detroit's Motown story is anchored to one street, but the city's music scene runs much deeper. Here's how to experience it. Start here: the essential stops Hitsville USA / The Motown Museum — Berry Gordy's original house at 2648 West Grand Boulevard, where Stevie Wonder, Marvin Gaye, The Supremes, The Temptations, and Martha and the Vandellas all got their start. Note: the museum is closed during its $75 million expansion, but the plaza in front of Hitsville is open and activated with food trucks and live performances all summer. Esther Gordy Edwards Center for Excellence — the nearby space hosting the museum's first major exhibition, Psychedelic Soul, running through September 2026. A deep dive into Motown's overlooked '70s era, Norman Whitfield, and the Temptations. Michigan Central Station — the newly restored Beaux-Arts landmark that anchors Detroit's broader reinvention. A short drive from Hitsville and worth the detour. Hear live music Smokey's Soul Town on SiriusXM — not a venue, but essential listening before and during your trip. The show is recorded at the museum and hosted by Levi Stubbs III and John Mason. The Current (Twin Cities) — if you're road-tripping from Minneapolis, keep this on. Their gig listings track what's happening across the Midwest music scene. Go deeper Standing in the Shadows of Motown — the book and documentary that finally gave names and faces to the Funk Brothers, the studio musicians behind the sound. Hitsville Next — the Motown Museum's emerging artist community for singers, songwriters, musicians, and engineers. hitsvil​leusa.com The full Travel to Listen series Episode 1: Macon, Georgia — Little Richard, Otis Redding, the Allman Brothers, and the small Southern city that punches far above its weight. Listen now. Episode 2: Minneapolis — Prince, the Minneapolis sound, and a city still making music history a decade after his death. Listen now. Episode 3: Southern California — the spacey, grungy desert rock scene beyond Coachella. Listen now. Episode 4 (this one!): Detroit — Motown, Hitsville USA, and what comes next. Learn more about your ad choices. Visit megaphone.fm/adchoices

(open) MIKE MARSHALL, EDGAR MYER, BELA FLEK – “Big Country” PAUL SIMON – “American Tune' THE AVETT BROTHERS – “This Land Is Your Land” BUFFALO SPRINGFIELD – “Fow What It's Worth” WILCO – “Cruel Country” NEKO CASE – “Wayfairing Stranger” PETE SEGER – “We Shall Overcome” ANDRA DAY – “Rise Up” THE IMPRESSIONS – “This Is My Country” JESSE WELLS – “No Kings” MAVIS STAPLES – “Sad And Beautiful World” RUFUS WAINWRIGHT – “Going To A Town” MARVIN GAYE – “What's Going On” THE BAND – ”I Shall Be Released” DAVE ALVIN – “4th of July” RANDY NEWMAN – “Sail Away” THE MENZINGERS – “America (You're Freaking Me Out)” SIMON AND GARFUNKEL – “America” RAY CHARLES – “America The Beautiful” NINA SIMONE – “Here Comes The Sun”

Send us Fan MailOn this Podcast Tom and Bert celebrate AMERICA 250 with this 4th of July 2026, Independence Day Special! This is PART 1 of 2.In Celebration of our Great Nations 250th "Birthday" we bring you a list of some of our most famous Patriotic Songs.We cover and discuss some of the best songs that make us proud to be Americans and we cover their uniqueness. So many genres from March's , Ballads, Pop, Country, Soul..... hits spanning from the early 1900's up through the 2020's.We cover the MUSIC that makes our Nation and our Freedom and Independence so special!From Lee Greenwood to Ray Charles, Dolly Parton, Sam Cooke, Johnny Cash, Whitney Houston, Neil Diamond, Elton John, Marvin Gaye, Toby Keith, Kid Rock Roy M Cohan and John Phillip Souza and countless others we discuss them all!Listen in and Enjoy the Show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

Jane and Fi are here to vibe you through the summer! They cover Ellen-style selfies, wearing shorts in the office, cheap tin foil, leaving Southampton, and why Jane knows a couple of things about Panama...Plus, writer Sabine Durrant discusses her latest crime novel, Dead Heat. Fi's recommendations from today's episode: Stars and Bars by William Boyd, crime novels by Brian McGilloway, Trouble Man: The Life and Death of Marvin Gaye by Steven Turner, and The Secret History by Donna Tartt. You can buy tickets for Fringe by the Sea: https://www.fringebythesea.com/off-air-with-jane-fi-and-special-guest-jan-ravens/Our next book club pick will be a collection of short stories! 'Interpreter of Maladies' is by Jhumpa Lahiri. You can check out our YouTube channel here: https://www.youtube.com/@OffAirWithJaneAndFOur new playlist 'Coiled Spring' is up and running: https://open.spotify.com/playlist/4tmoCpbp42ae7R1UY8ofzaOur most asked about book is called 'The Later Years' by Peter Thornton.If you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radioFollow us on Instagram! @janeandfiPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

In 1984, soul legend Marvin Gaye was in the grip of a cocaine habit and living with his father, a hard-drinking Pentecostal preacher with whom he had a lifetime of bad blood. One day, Gaye gave his father a gun and told him it was to protect the house. Some would see an elaborate plan to orchestrate suicide by his father's hand.

The concept to which The Rascals were dedicated was, in Felix Cavaliere's words, "Marvin Gaye's voice, Ray Charles' piano, Jimmy Smith's organ, Phil Spector's production and The Beatles' writing. Put them all together and you've got what I wanted to do." A White Rock band playing Black Soul music was a new idea for Pop in 1965. "The great thing about music in the 1960s was that people were discovering there was no color barrier in the business. We were respected by the Black groups we loved as much as we respected them," noted Cornish. The Rascals' music was dubbed blue-eyed Soul, a term Cavaliere never cared for. "I always hated the label because it created a separation between Black and White music. It was a marketing concept. As soon as you put a drum in music, it's R&B. I wish it wouldn't have been called blue-eyed Soul. My eyes aren't blue."The band's first release for Atlantic was called "I Ain't Gonna Eat Out My Heart Anymore" which rose to #52 in the U.S. in 1965, but it was their 1966 effort, "Good Lovin'" that made them Rock 'n' Roll stars. The song quickly rose to the number one spot on Billboard's Hot 100 and went Gold. They followed with two more Top 20 hits, "You Better Run" (#20) and "I've Been Lonely Too Long" (#16) later the same year.The writing was a key component of the band's success, as sixteen of their eighteen chart records were written by Cavaliere alone or in tandem with frequent collaborator Eddie Brigati. As the song writing progressed, social commentary began to show up in the music. The group's growing ambition was reflected in the change from The Young Rascals to simply The Rascals. The word "young" had originally been inserted before the band's name for legal reasons. It seems there was a group named Johnny Pulleo & The Harmonica Rascals who claimed a proprietary interest. "We were embarrassed about that, 'cause we were trying to be a Soul band," said Cornish. "It wasn't The Silver Rascals or The Rockin' Rascals, it was The Young Rascals! And we had to live with it. By the time we got to Groovin', we said, 'Well, enough of this. We are The Rascals.'"A high point for both Cornish and Cavaliere was 1968's #1 hit "People Got To Be Free". "The message in songs like 'People Got To Be Free' is as important now as it ever was," said Gene. It was written in reaction to the King and Kennedy assassinations that year. In fact, Cavaliere had worked for the RFK campaign. "That the song was #1 in places like Berlin and South Africa meant a lot to me," said Felix. Despite the initial resistance to the political nature of the song, it went on to become The Rascals' biggest-selling record. It was also their last #1 hit. The Rascals followed with "A Ray Of Hope" (#24 in 1968), "Heaven" (#39 in 1969), "See" (#27 in 1969) and "Carry Me Back" (#26 in 1969). Two other 1970 releases, "Hold On" (#81) and "Glory Glory" (#71) failed to crack the Top 40, and a song called "Love Me" was a miserable flop when it peaked at #99 during a one week stay on the Hot 100 in the Summer of 1971. The Jazz-tinged experimentation of later albums like "Peaceful World" and "The Island Of Real" (which Cavaliere once called "The best record I ever made") proved less commercial than the group's earlier Garage Band Soul. Management was less than supportive of the new directions the band was headed in and a switch to the Columbia label in 1971 failed to provide the new life they were looking for. Personal frictions were on the rise too, and eventually Brigati and Cornish quit the band. They were replaced with Buzzy Feiten (from The Paul Butterfield Blues Band) and Ann Sutton, who had sung with various Soul and Jazz groups in Philadelphia. By 1972, The Rascals called it quits.

In late 1982, Toni Basil took a break as one of the most accomplished choreographers and dancers on the planet to, ya know…have a #1 smash hit single. Rising above everyone from Lionel Richel to Michael Jackson to Paul McCartney to Marvin Gaye, the almost 40 year old Toni subverted all expectations of a female pop star to grab the top spot. The song and music video are now permanently affixed to our brains, and she'll continue to be a part of one hit wonder discussions for decades to come. This week, we're joined by drummer and friend Pj Caruso to discuss a song that took us WAY too long to feature, and we'll decide if Toni Basil really DID blow our minds. One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://distrokid.com/vip/onehitthunder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy some Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Facebook Group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Back on this day in 1973, Marvin Gaye released "Lets Get It On". The song would go on to spend 8 weeks on top of the charts.