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Never-before-heard content from our episodes about Population 11, Missing You, Apple Cider Vinegar, The Sticky, Murder Mindfully, Escape at Dannemora in this outtakes episode! Email us: KillerFunPodcast@gmail.comFollow us on Facebook: fb.me/KillerFunPodcastAll the Tweets, er, POSTS: https://x.com/KillerFunPodInstagram: killerfunpodcast
Brent & Johnny welcome a hit country artist, entrepreneur, and three-time CLIMBer, Craig Campbell, back to The Challenge. Craig is known for heartfelt hits like "Family Man" and the powerful fan favorite, "Outskirts of Heaven". The voice is country as cornbread, and a catalog full of soul and sincerity. He's back with a brand new single, "Missing You", which is at radio now. Craig is also CRUSHING IT with content on TikTok so go there for some inspiration. Together, they conjure up 5-6 different conceptual ideas for writing a song titled "Water Marks," sent in by CLIMBer, Joe Bigalke. Connect With Craig Campbell Here: Spotify: Craig Campbell Facebook: @CraigCampbelltv Instagram: @CraigCampbelltv TikTok: @CraigCampbellMusic Website: https://www.craigcampbell.tv/ The C.L.I.M.B. Show is dedicated to helping singers, songwriters, indie artists and industry pros "Create Leverage In The Music Business." We want you to win! About the hosts: Brent Baxter is an award-winning hit songwriter with cuts by Alan Jackson (“Monday Morning Church”), Randy Travis, Lady A, Joe Nichols, Ray Stevens, Gord Bamford and more. He helps songwriters turn pro by helping them WRITE like a pro, DO BUSINESS like a pro and CONNECT to the pros. You can find Brent at SongwritingPro.com/Baxter and SongwritingPro.com. Johnny Dwinell owns Daredevil Production and helps artists increase their streams, blow up their video views, sell more live show tickets, and get discovered by new fans, TV and music industry pros. Daredevil has worked with artists including Collin Raye, Tracy Lawrence, Ty Herndon, Ronnie McDowell and others. You can find Johnny at TheCLIMBshow.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Sunny Afternoon Mix - DJ Logan Track Listings: 1. Love and Affection (Extended Mix) - Paul Parsons & Bronx Cheer2. Forevermore (Dr Packer Remix) - Mirko & Meex3. Little Bit of Love - Mark Funk & Danny Cruz4. Melodie - Mousse T. & Cleah5. Beautiful (Extended Mix) - Tommy Glasses6. Groovejet (If This Ain't Love) feat. Sophie Ellis-Bextor (Purple Disco Machine & Lorenz Rhode Extended Remix) - Spiller, Sophie Ellis-Bextor7. Missing You (feat. Terri Walker) [Ridney Rework] - Artful & Ridney8. Sometimes the Going Gets a Little Tough (Ferreck Dawn & Robosonic Extended Remix) – Finn9. Call Me (Jay Vegas Remix) - South Soul Symphony10. Forever Love (feat. Viiq) [Extended Mix] - Bingo Players & Disco Fries11. All My Love (feat. Olivera) [Extended Mix] - lenno & NOVODOR12. Your Love (feat. BLAME) [Extended Mix] - Caius & Redondo13. Morning To Night (Original Mix) – Maurid14. Don't Call Me Baby (Mousse T. Remix) - Madison Avenue15. King of My Castle (Crazibiza Remix) - Wamdue Project
Anne Biddie hails from Fanad, Co. Donegal. A well known singer songwriter in Irish Country Music. To date she has released three albums, two of which are completely self penned. Her latest single 'Missing You' is a song with very personal meaning to Anne, as sadly in the last number of years, both her parents passed away. In the interview Anne talks about the song in detail. Elsewhere in the interview I talk to Anne about how some of her other songs came about and she reflects on memories of growing up in Fanad. Support the show
The iPhone is as popular as ever among teens, according to a new study. That's important because as they grow up, they are the ones that will be buying new phones. With new tariffs expected to be imposed, Apple is flying planeloads of iPhones into the U.S. to ward off any immediate price increases. Apple Maps is now available as a web page on the iPhone, but is it necessary. Show Notes: Teens and Apple Apple is racing to fly planes of iPhones into the US ahead of Trump's tariffs How many days of tariff-proof iPhone inventory can Apple build up? How Many New iPhones Can Fit on a Freight Plane? Apple Dethroned by Microsoft As Top-Valued Company Amid Tariff Fears Apple and tariff exemptions? Apple and tariff exemptions? Apple Maps web page now works on iPhone Shows and movies we're watching Missing You, Netflix The Studio, Apple TV+ Dope Thief, Apple TV+
Welcome to I Can Dance to That with pspsps (Episode 002). I've got a really fun episode for you this time around, featuring my fave new tunes, with some fresh ones that just released this week, including Missing You by GeminiTHNDR on G Mafia Records, Hustla by Phat Suppli and FrenzE on Supplied Music, and my brand new edit of Where's Your Head At. As well, we have some recent bangers from the homies Black V Neck, Kelland, and more. The second half of the show features my own tunes exclusively, including a bunch of unreleased tracks and IDs. So grab a drink and your dancing shoes and let's go! ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!
Send us a textIf you need alittle 'Self Help', Tae & The Neighborly are here to guide you on your journey. Tae sits down with Drew to discuss her latest record and dive into some of the soulful pop tracks on the album. Tae, now a seasoned musician of Wisconsin, is carving out her place in the music scene that makes her a stand-out and one to catch when you see her and the band come thru!Tae and the Neighborly help you let go of the the past (Let it Rain), look ahead to the future with confidence (Start of Something New), revel in the grace of the here and now (Carry On), fondly remember a person not here anymore (Missing You), reflect on mistakes made (Fools Kitchen) and go on a climatic journey that helps you find alittle Self Help. You can catch Tae talking of some of these lyrics, what they mean to her and get a sample of some of these songs in the episode. Tae also elaborates of the hustle that kicks off ones career in the music scene including getting booked - to the now, where she recently found Tae and The Neighborly playing a music showcase at the Kennedy Center in DC!With a calming presence, an eye for artistry, a voice that's mature beyond her years, and an amazing soul that backs it all up...Get to know Tae here and then go out catch the band live!
There is nothing on a cold winter's day like comfort TV with a twist you know is coming. Missing You, the latest Netflix adaptation of a Harlan Coben novel, delivers. We talk about dating apps, music and personality, loss and MUCH more!Email us: KillerFunPodcast@gmail.comFollow us on Facebook: fb.me/KillerFunPodcastAll the Tweets, er, POSTS: https://x.com/KillerFunPodInstagram: killerfunpodcast
This is part of a series about romance in movies. ***Referenced media:“28 Days Later” (Danny Boyle, 2002)“Shaun of the Dead” (Edgar Wright, 2004)“Dawn of the Dead” (Zack Snyder, 2004)“Station 11” (Patrick Somerville, 2021-2022)“War for the Planet of the Apes” (Matt Reeves, 2017)Audio quotation:“Warm Bodies” (Jonathan Levine, 2013), including music by Marco Beltrami and Buck Sanders and the songs “Yamaha” (2012) by Delta Spirit, “Missing You” (1984) by John Waite, and “Midnight City” (2011) by M83, https://www.youtube.com/playlist?list=PLl-PS1ki3KJhFAu5XY3Aau1Yq3z3VmI3L
Love is in the air…but also, not really. It’s still really rough out there, which is why the Aunties are continuing to strategize for joy. Ku is dreaming of monthly Sunday dinners that are easy and delicious. Su is reading, watching and listening to stories that are fascinating and hopeful. And nothing screams joy like a little kid jamming out to music. The Aunties talk about their kids' awesome (if slightly confusing) music tastes. We want to hear from you! Drop us a message on Speakpipe. Subscribe to the Add to Cart newsletter for juicy extras. Please note, Add To Cart contains mature themes and may not be appropriate for all listeners. To see all products mentioned in this episode, head to @addtocartpod on Instagram. To purchase any of the products, see below. CookUnity has made Ku’s mealtime easy peasy (use her code and you’ll get $50 off your order plus free shipping) Plus you can get 15% cashback on your order with Rakuten Molly Baz’s cookbook MORE IS MORE: Get Loose In The Kitchen is so fun Eme is jamming to APT (Rosé and Bruno Mars), Die with a Smile (Lady Gaga and Bruno Mars), MAPS (Yeah Yeah Yeahs) and Peanut Butter & Jelly (Super Simple Songs) Su is watching Ozark, Missing You and XO Kitty Season 2 She is loving the Goodlight and XO Kitty collab Multi-peptide Lip nectar She is listening to the This Is Actually Happening podcast and reading The Other Valley Check out Su’s other reads on her Amazon storefront Stay up to date with us on Twitter, Facebook, and Instagram at @LemonadaMedia. Joining Lemonada Premium is a great way to support our shows and get bonus content. Subscribe today on Apple Podcasts, Spotify, or wherever you get your podcasts. Click this link for a list of current sponsors and discount codes for this show and all Lemonada shows: lemonadamedia.com/sponsorsSee omnystudio.com/listener for privacy information.
Today, I'm joined by the brilliant Kobe Campbell —trauma therapist, author, speaker, and an all-around amazing woman. This is hands-down one of the most insightful and transformative conversations we've ever had on the show. In this episode, we dive into practical wisdom and expert tools that will change your life. We're talking about how to begin healing from past experiences, why your past still influences your present, and what you need to know to break free. In her new book, Why Am I Like This?: How to Break Cycles, Heal from Trauma, and Restore Your Faith, she shares why our past pain continues to affect our present and how we can move forward to break the cycles. Timestamps: (03:07) - The Cycle of Self-Betrayal and The Huge Impacts of Self-Betrayal (06:39) - Why It's Time to Stop Abandoning Yourself (17:50) - How Your Past Keeps Crashing the Party in Your Present (25:08) - The Inner Narrative We Tell Ourselves (31:19) - Kobe's Top Recommendation Koby's Recommendations: The show Kobe is enjoying right now is Missing You. It's incredible. Kobe's book she's loving right now is the fiction read, Before I Let Go. It touches on notes of marital strife, reconciliation, and touches on a romantic novel, but it has a mental health thread, and she loves that. A product Kobe has told friends they need is a Cuisinart Meat Thawer. It thaws meat super quickly and it has saved her dinners when she's forgotten to thaw the meat. Watch Alli on YouTube! Links to great things we discussed: The show Kobe is watching - Missing You Kobe's book she is loving these days - Before I Let Go Kobe's Top Product Recommendation - Cuisinart Meat Thawer Don't forget to watch the Alli Worthington Show on YouTube! I hope you loved this episode!
IN CINEMAS Tosin reviews Flight Risk Shaun reviews Wolf Man Holly and Shaun review Companion ON NETFLIX AND FRIENDS Holly catches up with the latest Harlan Coben in Missing You on Netflix Sharon Reviews Silo Season 2 on Apple TV + Shaun reviews Luc Besson's Dogman on Prime Video Is Netflix killing cinemas? Each week we weigh up what we've seen in cinemas with what we've watched online at home and figure out which provided the best time. At least, we did before COVID jumped in and declared Netflix, Amazon Prime, Disney + and friends the winner. Listen and subscribe on Apple Podcasts https://podcasts.apple.com/gb/podcast/netflix-vs-cinema/id1448277363 Listen and subscribe on Youtube Music https://www.youtube.com/playlist?list=PL8xPMfsDQIDjM70v1Tah6BiKV4E3UQbaK Listen on Spotify https://open.spotify.com/show/6beXVeSImcgHLsPB22BgE3?si=wdoNI6E0SNqNfoqg4qnw4Q Support Netflix vs Cinema by contributing to their tip jar: https://tips.pinecast.com/jar/netflixvscinema Find out more at http://netflixvscinema.com This podcast is powered by Pinecast.
In this episode of Terror Talk Podcast, we dive into a rapid-fire review roundup of the latest horror and thriller watches! We're sharing our quick takes, personal opinions, and whether these films and series are must-watches or total skips. We cover Nosferatu, Nightbitch, Juror #2, Get Away, Your Monster, The Front Room, Cross, The Madness, The Terror, Missing You, The Pit, and Skeleton Crew—breaking down what worked, what didn't, and where these titles stand in the horror landscape.
We dive into the mysteries of father-daughter relationships, selling multi-million dollar one bedrooms, and extreme ghosting. Also, can we handle Tim Allen topical humor in 2025? Tune in to find out!Timestamps: 00:59 - Selling the City (Netflix)06:55 - Missing You (Netflix)12:40 - Going Dutch (Fox)18:14 - Shifting Gears (ABC) Edited with thanks to Playlyst StudiosConnect with us: Buy us a coffee at buymeacoffee.com/thepilotpodcast | Visit us at thepilotpodcast.com | Email us at askthepilotpodcast@gmail.com | Follow us @ThePilotPod on Twitter, Instagram, and TikTok | Please leave a rating and review on Apple Podcasts
Back from their hiatus, the girls are back with a ream of content for viewing and commenting on. Reviewing it all from Conclave with Ralph Fiennes (the fashion is killer); to Netflix's Missing You; The Substance with Demi Moore, Katie Price on The Louis Theroux Podcast, Traitors on BBC, and even a Boyzone documentary. It's all about Oscar films, Golden Globe glamour, soft and gentle viewing from ones' January cocoon if you will. *To note, shimmy ahead if you don't want spoilers! The ladies' can't take that on their backs. Follow these gossip girls on insta: @soph_lyons & @clazzykabanaHosted by Ausha. See ausha.co/privacy-policy for more information.
www.TheMasonAndFriendsShow.com https://thejuunit.bandcamp.com/releases https://www.glass-flo.com Great Pipes for Sure Gambling, Basketball, WOO Girl, cardiac Team, Redskins Win, Wild Season, 91 champs, Ravens, Refs, Shower? Razor, Shave them Legs, Hair Length To Pull? Frontier, Hardbody, is it worth it? rediculous Ju? Textin the Unit,. Missing You? Turned the Table, Lots of Laughs, Funny Unit, Reviving, Tickets, Name Drops, Address Drops, Been Handing it out, Fantasy Future Sex, Sex Robot Damage, Takes Loss Badly, Gambling Problem? https://vcpg.net/#:~:text=MAKE%20A%20DONATION%20If%20you,to%20us%20at%20any%20time. Losing Money, Investigating, Trespass Cleared Soon, Running Plan, Not Me, the music of this episode@ https://open.spotify.com/playlist/6zrEoun2j8RDUyetF3i2Pr?si=6cd2f772dcc94477 support the show@ www.patreon.com/MperfectEntertainment
Is your New Year's resolution to stay in and watch more telly? Unlikely, but let us recommend some things to watch regardless. This time we're chatting about What We Do In The Shadows, 100 Years of Solitude, Playing Nice, Somebody Somewhere, SAS Rogue Heroes, Missing You and Dr Odyssey (OMFG!) Learn more about your ad choices. Visit megaphone.fm/adchoices
You’re about to hear two words everywhere in your world, and they are, apparently, the key to peace and dealing with difficult people. Bring. It. On. Yes, we’re talking about the LET THEM theory. Plus, a different way to shop, a very twisty TV show and two new books Mia couldn’t put down. And, our Best & Worst of the Summer holidays which include a domestic goddess meltdown, being too close to tragedy and Mia… not working. Support independent women's media Get your tickets to the Mamamia Out Loud Live 2025 All or Nothing Tour Presented By Nivea Cellular What To Listen To Next: Listen to our latest episode: The Wicked Divorce In Superficial Detail Listen: More Masculine Energy, Please Listen: The Stories We’ve Been Busting To Unpack PART ONE Listen: Meghan & The LA Fires Blame Game Connect your subscription to Apple Podcasts The End Bits: Sign up to the Mamamia Out Loud Newsletter for all our recommendations and behind-the-scenes content in one place. Recommendations: Mia wants you to read Same As It Ever Was and The Most Fun We Ever Had by Claire LombardoJessie wants you to check out Depop Holly wants you to watch Missing You on Netflix What To Read: Read: Everything you need to know about the Mamamia Out Loud ALL OR NOTHING TOUR coming May 2025. Read: HOLLY WAINWRIGHT: 'Why I'm having a Year of "Nup".' GET IN TOUCH: Feedback? We’re listening. Send us an email at outloud@mamamia.com.au Share your story, feedback, or dilemma! Send us a voice message Join our Facebook group Mamamia Outlouders to talk about the show. Follow us on Instagram @mamamiaoutloud CREDITS: Hosts: Holly Wainwright, Mia Freedman & Jessie Stephens Group Executive Producer: Ruth Devine Executive Producer: Emeline Gazilas Audio Production: Leah Porges Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.
Natalie Cassidy and Joanna Page chat about all things on and off the telly. This week, Nat and Jo are back into the weekly routine after Christmas (even though Jo's still drinking snowballs and eating Christmas chocolate). They're obsessed with The Traitors and catch up about their favourite moments so far of Series 3. Plus, they discuss Harlan Coben's latest series on Netflix called Missing You. Jo also quizzes Nat on those Masked Singer rumours and we find out what it was like for Jo to film with a hedgehog in her new wildlife series.What they can't stop watching, what they definitely aren't going to bother with, new releases and comforting classics – TV is timeless and no telly is out of bounds. As well as having a natter about what's on TV, they share backstage goss from the world of telly, whilst also cracking up about the more humbling moments in their lives. Self-confessed TV addicts and stars of two of the biggest shows on our screens, EastEnders and Gavin and Stacey, Natalie and Joanna are the perfect companions to see what's occurring on and off the telly. Timecodes for shows discussed this week are:10:48 - The Traitors (BBC iPlayer) 30:31 - Missing You (Netflix)Get in touch by sending us a message or voice note via WhatsApp to 03306 784704.Hosts: Natalie Cassidy and Joanna Page Producer: Georgia Keating Executive Producer: Richard Morris Commissioning Editor: Rhian Roberts Production Co-ordinator: Becky Carewe-Jeffries Sounds Editor: Arlie Adlington Music by MCassoOff The Telly is a BBC Studios Audio Production for BBC Sounds.
It's the final round-up before our big year-end show. Here are the movies and tv discussed: Conclave, Nosferatu, Wicked, A Complete Unknown, Babygirl, Carry On, Mufasa, My Old Ass, ChiefsAholic: A Wolf in Chiefs Clothing, Baby Driver, A Certain Kind of Death, CSI: NY, Problemista, Missing You, The Stranger, Sonic the Hedgehog 3, Wolfs, The Fallout, Severance
FANGORIA Presents: Nightmare University (with Dr. Rebekah McKendry)
Episode 94 of Fangoria's COLORS OF THE DARK Elric and Bekah return for the first show of the new year! They discuss new films NOSFERATU, YULE LOG 2 and shows MISSING YOU & THE CREEP TAPES. They then highlight 5 horror films each they are most anticipating in 2025. The duo are then thrilled to be joined by one of their favorite authors, Ronald Malfi (Come with Me, Bone White) to discuss his latest book, SENSELESS, a dark LA horror noir and his writing process and influences from his prolific career.
The Los Angeles area wildfires have forced more than 100,000 people from their homes. Aaron Samson and his 83-year-old father-in-law, who has Parkinson's disease, escaped on foot from the Palisades Fire after they were forced to get out of their car.While many who evacuated from the fires in California don't know if their homes survived, others found a way back — only to see that there was nothing left. For those who found their house was still standing, they said their town itself was in ruins.FEMA Administrator Deanne Criswell joins "CBS Mornings" to talk about the federal government's response to the Palisades Fire, which has burned over 17,000 acres in Los Angeles County and left entire neighborhoods destroyed.On Thursday, a funeral processional will move across Washington, D.C., transporting former President Jimmy Carter's casket from the U.S. Capitol to the National Cathedral for his official state funeral. President Biden will deliver one of the eulogies as all of the former living presidents are expected to attend.Presidential historian Doris Kearns Goodwin joins "CBS Mornings" to discuss the lasting impact of Jimmy Carter's presidency and his contributions to the nation as the country honors his life at his state funeral.The classic game show "Hollywood Squares" is getting a fresh update. CBS Mornings co-host Nate Burleson got a sneak peek.Harlan Coben joins CBS Mornings to talk about "Missing You," the global TV hit he executive produces. Based on his novel, the show follows Det. Kat Donovan as she investigates the case of a missing person.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Ade is on fire in this episode! Her insight to the new year are not to be missed! Speaking of missing…we watched “Missing You” on Netflix we always have questions about these quirky novel remakes, but all in all this one was pretty good!
Send us a textThis Week We Need 2 Talk 2025, Jimmy Carter, Linda Lavin, Lioness, Shrinking, The Agency, Avicii, Day of the Jackal, Ted Turner, Missing You, Virgin River, Squid Games, Black Doves, Polo, The Way Home, Saquon Barkley and SO MUCH MORE
We kick off 2025 with Missing You, Netflix's latest Harlan Coben adaptation. In the pilot, British detective Kat Donovan juggles three mysteries: a missing professor, unresolved questions about her father's death, and the sudden reappearance of her ex-fiancé.We break down the tangled web of plotlines, highlight some unexpected changes from the book, and discuss whether this series sticks to Coben's usual playbook. Welcome to Today's Episode!
Wayne Sleep, Ben Miller, Rosalind Eleazar and Lou Conran join Stuart Maconie for this week's Loose Ends, with music from The Lottery Winners.Dance icon Wayne Sleep waltzes in to tell us stories of his life - all detailed in his new autobiography, Just Different. Tales of his friendships with Princess Diana, Freddie Mercury, David Hockney and fellow ballet legend Rudolph Nureyev intermingle with insights into his working-class upbringing and the difficulties of trying to make it as the shortest principal dancer ever to get into the Royal Ballet. Told he would always have to spin twice as fast and jump twice as high to succeed, Stuart hears all about the trials, tribulations and backstage gossip that make up Wayne's world. With notable appearances in Slow Horses, Howards End, Rellik and the Personal History Of David Copperfield, as well as striding such prestigious stages as the Royal Court and the National Theatre, Rosalind Eleazar is set to return to the small screen this New Year. Starring in the Netflix production of Harlan Coben's Missing You, filmed across the north west of England, she's here to tell us all about her new role as Detective Kat Donovan. Award-winning comedian and writer Lou Conran has been storming stages up and down the country since 2005 with her innate brand of sharp wit and honest and open humour. 2025 will see her twenty year anniversary as a performer and off the back of a sold out UK tour, she's about to embark on a tour of New Zealand, and joins Stuart to tell us about the year ahead. The actor and comedian Ben Miller is of course known for The Armstrong & Miller Show, the Johnny English and Paddington films, Death in Paradise, Bridgerton - but over recent years has turned his hand to writing children's books. From his Elf series to the recent The Night I Met Father Christmas, he joins Stuart to talk about his new character – Robin Hood…aged 10¾. And we'll hear all about his new TV series Austin which will be on our screens in 2025. Robbie Williams, Noel Gallagher, Boy George, Shaun Ryder and Frank Turner are just some of the huge names The Lottery Winners have in their phonebook. Formed in the mining town of Leigh 15 years ago, The Lottery Winners set out to work the UK gig circuit and perfect their now acclaimed stagecraft. And it all paid off when their last album went to No.1 in the UK. Their fourth original album KOKO is due out in February with a tour closely following…and another one with Robbie Williams following that! They join Loose Ends to play two songs - Superpower and Worry. Presenter: Stuart Maconie Producer: Elizabeth Foster Production Co-ordinator: Lydia Depledge-Miller
Highlights of what's new in streaming for the week of December 28, 2024. Netflix Maestro in Blue, season 3 (Dec. 28) I Am the Secret in Your Heart (Dec. 30) Suffocating Love (Dec. 30) Avicii - I'm Tim / Avicii - My Last Show (Dec. 31) Michelle Buteau: A Buteau-ful Mind at Radio City Music Hall (Dec. 31) Don't Die: The Man Who Wants to Live Forever (Jan. 1) Dr. Stone, season 3 (Jan. 1) Harlan Coben's Missing You (Jan. 1) The Love Scam (Jan. 1) Cunk On Life (Jan. 2) Bandidos, season 2 (Jan. 3) Love Is Blind: Germany (Jan. 3) Selling the City, season 1 (Jan. 3) Shafted, season 1 (Jan. 3) Umjolo: My Beginning, My End (Jan. 3) Wallace & Gromit: Vengeance Most Fowl (Jan. 3) Max AEW Dynamite: Fight for the Fallen (Jan. 1 at 8 p.m. EST) Peacock Lockerbie: A Search For Truth (Jan. 2)
In our final regular podcast of the year, we speak to the legendary Nicola Walker (26:53) about The Split: Barcelona, as well as Harlan Coben and Nicola Shindler (1:28:19) for Netflix's Missing You. Plus, we go all festive and sift through some of the great telly coming your way over the Christmas period, including A Ghost Story For Christmas (1:44:29), The Christmas episode of Doctor Who (1:49:06), and the latest season of Steven Knight's SAS: Rogue Heroes (1:55:26). We also find time to open Santa's sack and answer your questions in a bumper Christmas postbag, before signing off for a little chocolate-assisted R&R. Note: time stamps are approximate as the ads throw them out, so are only meant as a guide. If you want to avoid this and would like the podcast entirely ad-free (as well as 12 hours early, with a second weekly show and spoiler specials) then sign up to Pilot+ at empire.supportingcast.fm.
The Observer becomes part of Tortoise. Charlotte Tobitt of Press Gazette is here to tell us what happens next.Also on the programme: BBC Radio faces pushback from Ofcom over its DAB expansion plans, and The Radio Times' Caroline Frost ponders what we have to look forward to on TV in 2025.All that, plus: all the gossip from the British Journalism Awards, the continued de-Wallacing of TV... And, in the Media Quiz, we brush up those CVs.That's all happening in this edition of The Media Club. Come on in!Become a member for FREE when you sign up for our newsletter at themediaclub.comA Rethink Audio production, produced by Matt Hill with post-production from Podcast Discovery.We record at Podshop Studios - for 25% off your first booking, use the code MEDIA CLUB at podshoponline.co.ukThe Media Club's stories of the week:Observer sale confirmed - and new editor tooBBC's DAB expansion plans on holdGrace Dent to replace Gregg Wallace British Journalism Awards and Press Gazette introducing a registration wallBluey movie announcedGavin & Stacey cast in Radio 2 takeoverRowan Atkinson returns to Netflix(00:00) Intro(00:40) Strictly & Amazing Women in Journalism(03:40) The Observer & Tortoise(07:30) Guardian competition?(09:40) Future of Masterchef(13:34) BBC pause DAB station roll-out(21:30) Media Concierge takeover(25:05) Press Gazette's registration wall(26:32) Radio Times Podcast(27:40) Harlan Coben's Missing You(29:06) Brian Walden and Margaret Thatcher(30:14) Return of Bergerac(31:23) Charlotte's rom-com hits(32:10) The revival of TV spy action(33:02) The Media Quiz(38:16) Goodbyes Hosted on Acast. See acast.com/privacy for more information.
Ian and Hannah review the biggest new films and shows for you to enjoy over the holiday season, including:Wallace, Gromit, and the evil penguin return to our screens in another Christmas special from the animated British classic.It's five years since Nessa was down on one knee, declaring her love for Smithy and asking him to marry her. And a lot has happened since. This is the real, proper final ever episode of Gavin & Stacey on BBC iPlayer.A new batch of celebrities take to the dancefloor in the annual Strictly Come Dancing Christmas Special. But who will take home the Glitterball Trophy?Detective Kat Donovan's world unravels when she finds her estranged fiancé on a dating app. This leads Kat to reopen the unsolved mystery surrounding her father's murder. Based on the Harlan Coben book, Missing You is on Netflix.The Outnumbered clan are back on our screens for another Christmas Special on BBC iPlayerFollow Bingewatch on all major podcast players for your weekly rundown of the best binge-worthy shows across Netflix, Prime Video, Disney+ and more.Remember to leave a 5 star review on Apple Podcasts, Podchaser and Goodpods AND you can now show your support and leave a tip for Ian and Hannah.You can also stay in touch with the team via Twitter AND if you like Bingewatch but you're looking for a specific review, check out BITESIZE BINGEWATCH, our sister show making it easier to get the bits you want!If you're a brand interested in sponsorship or collabs, email hello@podcastsbyliam.com and chat to us now!
Loudon has released 30 albums since 1970. He's the quintessential singer-songwriter, relying on crafty, personal lyrics delivered dynamically and typically solo, though his studio work has varied in production style and orchestration level over the years. We discuss "How Old is 75" from Lifetime Achievement (2022), "Road Ode (Live)" from Career Moves (1993), and "Be Careful There's a Baby in the House" from Album II (1971). We wrap up by listening to "Missing You" from Last Man on Earth (2001). Intro: "The Swimming Song" from Attempted Mustache (1973). Learn more at lw3.com. Hear more Nakedly Examined Music. Support us on Patreon.
Part 2 with keyboard magic-dust provider, ~Andy Richards with more hits, more number ones (including a potential 2 more to make the full 10).And so much brilliant 80s pop…5. GEORGE MICHAELAn opportune meeting, a Sunday afternoon session and more immortality as Andy works with George on the iconic Careless Whisper. A later session with David Cassidy (on yet another top 10 smash) allows him the opportunity to work with George again.6. PET SHOP BOYSA triple whammy of number one singles between July 87 - April 88 as Andy works on It's a Sin, Always on my Mind and Heart (which he also produces). Not forgetting more hits in Suburbia and Rent as well as working on the Actually album.Later he works on the Liza Minelli album, Results (produced by the Pets) ‘resulting' in another top 10 hit in Losing My Mind.Comparisons are made between working with Liza and Dusty Springfield (who he produced on her Reputation album).7. CHRIS DE BURGHFrom the great experience working on the sublime pop of the Pets to the more problematic cheesy monobrow of The De Burgh.Another massive number one single with The Lady In Red (with a little help from George Michael) but at some cost.Despite the experience (and like mothers forgetting the pain of childbirth) Andy returns and works on another top 3 hit in Missing You. Plus discussion at the end on where else George Michael appears in the ARoeuvre.8. PREFAB SPROUTAndy produces the wonderful “Hey Manhattan!” By The Sprouts from their From Langley Park To Memphis album.Discussion on Paddy's views of the track (and why he is wrong, bless the little genius).9. PRODUCINGAs well as being the keyboard maestro go-to guy, Andy also produced many artists in the 80s.Here we go through some of them, from less successful experiences (Berlin) to yet more chart success with Fuzzbox and Holly Johnson. 10. MISCELLANEOUS80s odd and sods including the start of his film/TV work and a chance to mop up any other hits worked on, including a potential 10th number one (Foreigner's I Want To Know What Love Is being the potential 9th). THE 80SOGRAPHY QUICKFIRE ROUNDAnd why not.For more on Andy - andyrichards.comTo help fund the pod or say hi - 80sography@gmail (PayPal)Vaughn George. Neil Tennant vocal analysis “Heart”.https://www.youtube.com/watch?v=BtMjGpyzAIsSend us a text
In this engaging interview on Backstage Sonoma, host Steve Roby sits down with Daniel Pingrey from Tae and the Neighborly to discuss the band's origin, creative process, and their debut album, Self Help. Daniel shares candidly about the band's formation during COVID times, highlighting the unique musical backgrounds of each member and the synergy that led to their genre-blending sound. He delves into the story of the band's unexpected “cake baking” bio, an amusing anecdote that has stuck with them since, and the themes of positivity and fun they aim to convey through their music. Daniel also touches on the personal and collective experiences that have influenced their songs, such as managing life on the road with a newborn and the emotional depth behind tracks like “Missing You” and “Let It Rain.” The interview is peppered with stories and insights into the band's dynamic and the inspiration behind their music, providing listeners with a deeper understanding of Tae and the Neighborly's artistic vision. Daniel emphasizes the importance of live performances in shaping their sound and the joy they find in connecting with their audience. He hopes the album's positive and uplifting messages resonate with listeners and encourage them to join the band's energetic live shows. From composing soulful ballads to crafting upbeat pop tunes, Daniel offers listeners a peek behind the curtain of his musical world. The conversation wraps up with a preview of their upcoming Little Saint performance, inviting fans and newcomers alike to experience their vibrant sound live in Healdsburg (see venue link below). Episode Highlights The inspiration behind the featured songs "We Can Be," "Missing You," and "Let it Rain" from the Self Help album. Daniel discusses balancing personal life and music, especially while touring with a newborn baby. Reflections on Green Bay, Wisconsin, the hometown everyone knows but rarely hears about from a musician's perspective. Featured Songs "We Can Be" "Missing You" "Let It Rain" Links Tae & The Neighborly Little Saint in Healdsburg Social Media Hashtags: #BackstageSonoma #DanielPingrey #MusicProduction #GreenBayMusic #SongwriterStories #SoulPop
Our Guest Gordon Chambers website: www.GordonChambers.com ---Gordon Anthony Chambers is an American singer-songwriter and record producer who has written songs for more than 75 recording artists including Angie Stone, Yolanda Adams, The Isley Brothers, Brandy, Trey Songz, Chaka Khan, Patti LaBelle, Usher, Marc Anthony, Jamie Foxx, Aretha Franklin, Beyoncé Knowles, and Nao Yoshioka. His number-1 hits as lyricist include Anita Baker's Grammy-winning hit "I Apologize", Brownstone's Grammy-nominated hit "If You Love Me", Angie Stone's "No More Rain (In This Cloud)", the Grammy-nominated theme of 1996's Set It Off "Missing You" (performed by Brandy, Tamia, Gladys Knight and Chaka Khan) and Yolanda Adams "Someone Watching Over You". --He is the winner of eight awards from the American Society of Composers, Authors and Publishers (ASCAP), has four Dove Award nominations, and his songs have been nominated for three Grammy Awards. Anita Baker won a Grammy for "I Apologize", which Chambers wrote. His songs have been performed at the Essence Awards, American Music Awards, the Goodwill Games and the White House. His prestigious appearances, in addition to acclaimed European and Japanese tours, have included the Essence Music Festival, the Congressional Black Caucus, the Apollo Theater, Constitution Hall, B. B King's and the Kennedy Center. ---His solo albums have been nominated for Independent Soul Album of the Year by Soultracks.com and have been among CDBaby's top R&B sellers. === His first solo album, Introducing Gordon Chambers, was released in 2005 and featured special guests Carl Thomas, Glenn Lewis, Sara Devine, Roy Hargrove and Mike Phillips. His second album, Love Stories, was released in 2007 and features soul artist Ledisi. Gordon Chambers' album Sincere was released in August 2011, featuring duets with Sara Devine and Candace Coles, and production by Darien Dorsey, The BeatBanggahz and Jermaine Mobley. The album also includes covers of Donny Hathaway's "A Song For You" and his version of "Missing You", which he dedicates to late mentors Phyllis Hyman and Gerald Levert .---Live Chat with Us Every week... -----Music: Audio Podcast : by Daniel Howse : https://www.youtube.com/professorsoramusic ** OneMicNite Theme Song , "Chance" & Background Songs "Kanye" , "Straight Vibing" Host: --Contact/ Follow Marcos on IG/Fb/IMdb/Twitter/TikTok: @MarcosLuis —Show: OneMicNite Podcast with Marcos Luis *Contact/Follow: IG/Fb/Twitter/Tumbler/LinkedIn/Youtube/TikTok @OneMicNite www.OneMicnite.com - - ** Listen to Audio Podcast: Available wherever you download , all digital platforms.. ** Support Us Now: Give "Stars" on Facebook ---Follow/Contact -- The Show: All Social Media Fb/Ig/Twitter/Tumbler/TikTok/ *** watch the episodes on Youtube @OneMicNite & www.OneMicNite.com****Please Support this Podcast: PayPal/ Zell Pay: MarcosStarActor@gmail.com Venmo @ Marcoso-Luis-1 CashApp : $MarcosLuis1 Please Visit: The AzulesEn Online store to find Products that Compliment your Lifestyle: Link : https://azulesen.myshopify.com/products/onemicnite-signature-logo-unisex-talk-live-pod-tee --- Support this podcast: https://podcasters.spotify.com/pod/show/onemicnite/support
Join the ConversationOn this SUPER JAMMED PACK episode of The TNT Podcast, join us for a nostalgic trip through the crunk era of hip-hop. We're diving deep into untold stories, behind-the-scenes moments, and iconic tracks. From Bo Hagen's clever self-promotion to the multiple versions of Mike Jones' "Cuddy Buddy," we're unpacking the history and evolution of crunk. With DJ Tanaka's health update and DJ Tanaka's latest ventures, we're setting the stage for incredible musical memories. We're reminiscing about the music industry's quirks and the unforgettable MTV $2 Bill concert series. Listen as we compare Case and Joe's versions of "I'm Missing You" and discuss Lil Jon's transition to crunk. We'll also explore Jay-Z's associates, Saigon's underground rise, and the challenges artists faced with bootlegging and streaming. Join us for the segment you love & a comprehensive and celebratory look at the music and culture that continue to inspire us all.Join the conversation & follow us on Instagram@the.tnt.podcast@djtuurnuup@djtanaka
Welcome back to The Daily Mastermind. This Monday morning, I want to dive into a topic that aligns perfectly with the start of a new week: Mindset. As a firm believer in the power of mindset, I find Mondays the perfect time to recalibrate and set our intentions for the days ahead. Today, we're going to talk about how you can begin living your destiny right now. If you've been following along, you know that we've been discussing various lessons from one of my mentors, Robert Stuberg, and his program called "Creating Your Ultimate Destiny." This program outlines 12 specific steps or resources on how to create your ultimate destiny. The Quote of the Day Before we get into the nitty-gritty, let's start with the quote of the day. Denzel Washington said, "If you don't fail, you're not even trying." I believe this quote is incredibly powerful because it inspires us to take action, regardless of the outcome. Often, we find ourselves overthinking our goals and desires without taking the necessary steps to achieve them. Failure is not the enemy; inaction is. So, What Is Your Ultimate Destiny? Last Monday, we talked about the concept of destiny and how it's essentially what you want it to be. Your destiny is shaped by your beliefs, and these beliefs are formed through your life experiences. While you can't always control the events in your life, you can control the meaning you assign to them. Ultimately your thoughts and beliefs shape your experiences. Why You Shouldn't Pursue Happiness One key takeaway from last week is that you shouldn't chase happiness directly. Instead, pursue your destiny by becoming the person you want to be, achieving the results you aspire to, and contributing to the well-being of others. True happiness comes as a byproduct of living your destiny. Living Your Destiny Now Let's move forward to today's focus: How do you start living your destiny now? It all comes down to your decisions. St. Thomas Aquinas once said: Three things are necessary for the salvation of a man: To know what he ought to believe, to know what he ought to desire, and to know what he ought to do. This quote is a great Segway into our topic. Your decisions will enable you to live your destiny in the present moment. Here are four simple steps to help you define and act on your destiny: Decide What You Desire in Your Life Determine what you want your life to be like. Instead of focusing on what you want to do or have, think about the kind of life you desire. Decide What Beliefs Will Lead You to Fulfill That Desire Your beliefs shape your reality. Decide which beliefs will lead you to attain your desired life, and consciously adopt them, even if you don't fully believe them yet. Decide What You Have to Do to Get What You Want Outline the actions you need to take to achieve your goals. Just Do It Commit to taking action, no excuses. Action is simple but requires unwavering commitment. Challenges While Living Your Destiny While the steps are straightforward, challenges will arise. Here are a few you might encounter: Feeling Like Something is Missing You might feel there's something missing in your life. This could be a relationship, an opportunity, or even a sense of security. These feelings can make you focus on what you lack rather than what you can achieve. Doubting Possibility Maybe you know what you want but don't believe it's possible. This lack of faith can stop you from taking action. The key is to believe in your power and take action anyway. Keep Moving Forward It's important not to get complacent. Happiness and destiny are ongoing journeys, not destinations. Focus on doing what you love daily. Engage in activities aligned with your unique talents and passions. Reflect and Plan Think about experiences in hindsight that you would have handled differently. Use these reflections to better align your daily actions with your ultimate destiny. Create a Vision Board Brainstorm ways to integrate the things you love into your daily life. This can involve creating a vision board to visualize your goals and dreams. A Weekly Challenge for You This week, I challenge you to identify what you truly want in life and find ways to incorporate those desires into your daily routine. How can you add more fun and passion into your day to day activities? Whatever it is, take action now. Thank you for joining me today. I hope this message inspires you to take steps towards living your destiny right now. Don't forget to share this post with others to spread this critical message. Also, I'd love to hear your thoughts and what you're up to, so connect with me on The Daily Mastermind on Instagram, Facebook, or through my email in the show notes. Have an amazing day! George Wright III
Welcome back to The Daily Mastermind. This Monday morning, I want to dive into a topic that aligns perfectly with the start of a new week: Mindset. As a firm believer in the power of mindset, I find Mondays the perfect time to recalibrate and set our intentions for the days ahead. Today, we're going to talk about how you can begin living your destiny right now. If you've been following along, you know that we've been discussing various lessons from one of my mentors, Robert Stuberg, and his program called "Creating Your Ultimate Destiny." This program outlines 12 specific steps or resources on how to create your ultimate destiny. The Quote of the Day Before we get into the nitty-gritty, let's start with the quote of the day. Denzel Washington said, "If you don't fail, you're not even trying." I believe this quote is incredibly powerful because it inspires us to take action, regardless of the outcome. Often, we find ourselves overthinking our goals and desires without taking the necessary steps to achieve them. Failure is not the enemy; inaction is. So, What Is Your Ultimate Destiny? Last Monday, we talked about the concept of destiny and how it's essentially what you want it to be. Your destiny is shaped by your beliefs, and these beliefs are formed through your life experiences. While you can't always control the events in your life, you can control the meaning you assign to them. Ultimately your thoughts and beliefs shape your experiences. Why You Shouldn't Pursue Happiness One key takeaway from last week is that you shouldn't chase happiness directly. Instead, pursue your destiny by becoming the person you want to be, achieving the results you aspire to, and contributing to the well-being of others. True happiness comes as a byproduct of living your destiny. Living Your Destiny Now Let's move forward to today's focus: How do you start living your destiny now? It all comes down to your decisions. St. Thomas Aquinas once said: Three things are necessary for the salvation of a man: To know what he ought to believe, to know what he ought to desire, and to know what he ought to do. This quote is a great Segway into our topic. Your decisions will enable you to live your destiny in the present moment. Here are four simple steps to help you define and act on your destiny: Decide What You Desire in Your Life Determine what you want your life to be like. Instead of focusing on what you want to do or have, think about the kind of life you desire. Decide What Beliefs Will Lead You to Fulfill That Desire Your beliefs shape your reality. Decide which beliefs will lead you to attain your desired life, and consciously adopt them, even if you don't fully believe them yet. Decide What You Have to Do to Get What You Want Outline the actions you need to take to achieve your goals. Just Do It Commit to taking action, no excuses. Action is simple but requires unwavering commitment. Challenges While Living Your Destiny While the steps are straightforward, challenges will arise. Here are a few you might encounter: Feeling Like Something is Missing You might feel there's something missing in your life. This could be a relationship, an opportunity, or even a sense of security. These feelings can make you focus on what you lack rather than what you can achieve. Doubting Possibility Maybe you know what you want but don't believe it's possible. This lack of faith can stop you from taking action. The key is to believe in your power and take action anyway. Keep Moving Forward It's important not to get complacent. Happiness and destiny are ongoing journeys, not destinations. Focus on doing what you love daily. Engage in activities aligned with your unique talents and passions. Reflect and Plan Think about experiences in hindsight that you would have handled differently. Use these reflections to better align your daily actions with your ultimate destiny. Create a Vision Board Brainstorm ways to integrate the things you love into your daily life. This can involve creating a vision board to visualize your goals and dreams. A Weekly Challenge for You This week, I challenge you to identify what you truly want in life and find ways to incorporate those desires into your daily routine. How can you add more fun and passion into your day to day activities? Whatever it is, take action now. Thank you for joining me today. I hope this message inspires you to take steps towards living your destiny right now. Don't forget to share this post with others to spread this critical message. Also, I'd love to hear your thoughts and what you're up to, so connect with me on The Daily Mastermind on Instagram, Facebook, or through my email in the show notes. Have an amazing day! George Wright III
In this weeks episode, we explore one of the most iconic love ballads of the 1980s – "Missing You" by John Waite. Join us as we unravel the emotional depth of this timeless classic, reflecting on its themes of love, longing, and heartache. We want to hear from you! What memories does "Missing You" evoke for you? Share your thoughts and experiences by reaching out to us on social media #MissingYou #JohnWaite #MusicPodcast #80sBallads #LoveSongs #Nostalgia #Heartbreak #ListenNow #PodcastEpisodes #MusicMemories
PROSECUTION RESTS, but should they? Tribute to Andrew Howard Karel Cast 24-60 The Prosecution in the Donald Trump election subversion trial has rested, but should they have? Did Michael Cohen and Stormy Daniels really prove the case through a preponderance of evidence? Should that have found someone credible to back up Cohen..although, who, in Trump's inner circle is credible and NOT under indictment? Air turbulence kills one, but does that mean air travel is getting riskier? 48 Papers, 23 years…and still people think you are crazy for being plant based. Why aren't you? Andrew Howard died May 21, 2001, 23 years. A lifetime, and just yesterday. The song Missing You by Diana Ross spoke to me, so I recorded a version for Andrew, For Daniel, for all my friends and pets that are gone. And a great slide show of our lives makes the perfect tribute video. Watch on YouTube and listen wherever you get your podcast. Subscribe at YouTube.com/reallykarel @ReallyKarel is all social media and website reallykarel.com The Karel Cast is heard three times a week on all your favorite streaming services and the video can be seen on Youtube. Karel is a history-making #LGBTQ talk show host currently living in Las Vegas with his pup Ember. https://youtu.be/BXm2aU0y32w
PROSECUTION RESTS, but should they? Tribute to Andrew Howard Karel Cast 24-60 The Prosecution in the Donald Trump election subversion trial has rested, but should they have? Did Michael Cohen and Stormy Daniels really prove the case through a preponderance of evidence? Should that have found someone credible to back up Cohen..although, who, in Trump's inner circle is credible and NOT under indictment? Air turbulence kills one, but does that mean air travel is getting riskier? 48 Papers, 23 years…and still people think you are crazy for being plant based. Why aren't you? Andrew Howard died May 21, 2001, 23 years. A lifetime, and just yesterday. The song Missing You by Diana Ross spoke to me, so I recorded a version for Andrew, For Daniel, for all my friends and pets that are gone. And a great slide show of our lives makes the perfect tribute video. Watch on YouTube and listen wherever you get your podcast. Subscribe at YouTube.com/reallykarel @ReallyKarel is all social media and website reallykarel.com The Karel Cast is heard three times a week on all your favorite streaming services and the video can be seen on Youtube. Karel is a history-making #LGBTQ talk show host currently living in Las Vegas with his pup Ember. https://youtu.be/BXm2aU0y32w
We return with episode 416 of the Geektown Radio podcast, and Dave is joined by Darryl from Hollywood North News, as they chat TV and film news and reviews!Darryl always brings with him some interesting and eclectic choices when it comes to TV and film reviews and this week's options are beautifully odd. He begins with the genius that is the film 'Robocroc' which you can find on Prime Video in the UK. He also reviews various Netflix films including vampire movie 'V For Vengeance', Millie Bobby Brown film 'Damsel', and 'Code 8 Part II' starring Steven and Robbie Amell. If that wasn't enough, they also discuss Disney+ series 'Death and Other Details'. Meanwhile, Dave has been working through various previews of shows, including Anthony Mackie's series 'Twisted Metal', which lands this week on Paramount+, 'The Cleaning Lady', which started last week on Sky Witness, and the long and torturous wait for the return of 'Invincible' being over on Prime Video.Moving into the news updates, we've got all the latest recent renewals, cancellations, and pickups, including an air date for the return of 'Doctor Who', losing one part of the 'Power' franchise, but gaining another, and a premiere for ‘Star Wars: The Acolyte‘! We also run through the ridiculous cast of Harlan Coben's ‘Missing You' on Netflix, and see David Tennant turn his hand to game show hosting! Listen below!Support this show http://supporter.acast.com/geektown. Hosted on Acast. See acast.com/privacy for more information.
How does competition fit into the creative process? We're joined by Abby Posner, Rachel Garcia, and Thu Tran for a candid roundtable discussion all about songwriting competitions. Explore the highs and lows of participating in these events, how to pick which song to enter, and the impact contests can have on a guitarist's career. Additional resources:Listen to Part 2 on Patreon.Visit Abby Posner's website and watch the video for "Get Loud" - her 2023 USA Songwriting Competition grand prize winning song. Her latest album is Second Chances.Visit the Singer and the Songwriter's website and listen to "The Art of Missing You" - their West Coast Songwriters International Song Contest winner. Their latest album is In the Bleak Midwinter.Visit Jeffrey Pepper Rodger's website for an inside look at his song "Fly" - a grand prize winner of the John Lennon Songwriting Contest.Learn more about the contests mentioned in this episode: John Lennon Songwriting Competition, Kerrville's Grassy Hill New Folk Competition, NewSong Music Performance & Songwriting Competition, USA Songwriting Competition, West Coast Songwriters International Song Contest.The Acoustic Guitar Podcast theme music is composed by Adam Perlmutter and performed for this episode by Thu Tran.This episode is hosted by Nick Grizzle and Jeffrey Pepper Rodgers, produced by Tanya Gonzalez, and directed and edited by Joey Lusterman. Executive producers are Lyzy Lusterman and Stephanie Campos Dal Broi.The Acoustic Guitar Podcast is produced by the team at Acoustic Guitar magazine, including:Publisher: Lyzy LustermanEditorial Director: Adam PerlmutterManaging Editor: Kevin OwensCreative Director: Joey LustermanDigital Content Director: Stephanie Campos Dal BroiDigital Content Manager: Nick GrizzleMarketing Services Manager: Tanya GonzalezSpecial thanks to our listeners who support the show on Patreon.Support the show
This week, Netflix kept busy. Show Notes Netflix (NFLX) Film Chief Scott Stuber Will Leave to Start New Company in March - Bloomberg Scott Stuber Leaving Netflix Head Of Film Post – Deadline Behind Netflix Film Chief's Exit — And What It Means for Streaming Movies Netflix to stream WWE's Raw starting next year in its biggest jump into live entertainment Dwayne 'The Rock' Johnson Becomes Board Member of TKO Group (variety.com) After ‘Suits' Effect, Netflix Urges Studios To License It More Titles – Deadline Netflix subscribers surge as revenue beats estimates Netflix Stock Soars 14%—But Some Analysts Have Doubts Netflix Earnings: Stock Soars Toward 2-Year High As Subscribers Surge How Much More Netflix Can the World Absorb? | The New Yorker Amazon Prime Video will start showing ads on Monday Amazon Prime Video's Move to Steamroll Into Ads Could Generate More Than $3 Billion This Year: 'A Disruptive Force' Peacock Quarterly Loss Narrows to $825M As Streamer Hits 31M Subscribers Comcast Q4 Beats Street: Peacock Hits 31 Million Subs, $1B In Revenue; Stock Up As Company Boosts Dividend Comcast Takes Peacock Victory Lap As Execs Talk Epic Universe, Ad Market And Deal Speculation Knives Out T-Street Rian Johnson Ram Bergman add Katie McNeill Producer – Deadline Sofia Coppola: Apple Pulled Funding on Florence Pugh TV Series ‘Étoile' Sets ‘Gilmore Girls' Reunion As Yanic Truesdale Joins Series – Deadline Amazon Drama To Star David Duchovny, Jack Whitehall, Carice Van Houten – Deadline Hulu Lands Bon Jovi Docuseries From Gotham Chopra Netflix Lands Sundance Title 'It's What's Inside'; $17M For Worldwide Rights Sets Fest High Bar Netflix Lands Sundance Docu ‘Skywalkers: A Love Story' – Deadline Netflix To Adapt Harlan Coben's ‘Missing You' & ‘Run Away' – Deadline 'Wolf Pack' Canceled After One Season at Paramount+ Recommendations Octopath Traveler Octopath Traveler II Welcome to Wrexham Death and Other Details Plus One Poker Face
MISSING YOU, 6min., USA Directed by Anika Jensen A teenage girl visits a beach where she often went to as a child and reminisces about how things aren't the way they used to be. https://filmfreeway.com/anirozai Get to know the filmmaker: This might come as a surprise, but the song featured in my film is what came first. I've struggled with relatively severe mental health issues this past year and a half and so I wrote a song expressing how I felt about missing the simplicity and innocent joy of childhood. Many people who are in pain use art as a way to express themselves. Honestly, I wasn't sure whether I would even share the song due to its personal nature. However, in a film class I took over the summer, I was trying to come up with ideas and remembered this song. Even though it's difficult to be so vulnerable, I knew I could make an impactful story with it. I'm glad I made that decision. Opening up to others always makes me feel less alone and (hopefully) my film will make others who are struggling feel less alone as well. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod
Anne is back with a yarn and pattern review, some thoughts on what it takes to be successful with some common crafting resolutions, and a whole lot more! Links to Things Mentioned in the Episode Wovember2023 LoveWovember.com LoveWovember.com Marketplace Woolly Winter Countdown Playlist Interview with Terri Laura Terri Laura on Ravelry Specter Cowl, by Caitlin Murphy Garthenor Organic Preseli FaceTheMusicMonday YSRestash23 Makkin Our Way Through Shetland Tours for 2024 Support the Show by shopping the Be a Booster page, or by spreading the word to your fellow fiber crafters! Email Anne if you'd be interested in an Event in Hartford in August 2024 at anne@ithoughtiknewhow.com Music This episode featured three songs: "Better Life," by Humans Win; "Strawberry Daiquiri," by Sarah Angel; and "I'm Missing You," by Skip Tracy.
John Waite was in The Babys, out front of two pop hits that both peaked at No. 13 on the Billboard Hot 100, ("Isn't It Time" and "Everytime I Think of You") His solo career started with a really good but forgotten 1982 debut album Ignition, which produced the single "Change". It didn't chart on Billboard's Hot 100 during its initial release (June 1982) but was #16 rock track on AOR radio stations and was produced by the great Bob Clearmountain. And Patty Smyth sings background vocals on "Change" But it was the album No Brakes that gave him his career a real path to moving forward. "Missing You" went to No. 1 on the US Billboard Hot 100 singles chart and the album was a top 10 record. We spend our time digging into his often-overlooked career. A guy with a distinctive voice that rocks. “Perched perfectly between anthemic mainstream rock and sleek post-new wave pop, it was a minor miracle -- a flawlessly written, classicist pop song, delivered with a stylish, MTV-ready flair. It deservedly became not just a number one hit, but one of those records that everybody knows” -- Stephen Thomas Erlwine / allmusic.com Waite had two more singles from No Brakes, including "Tears" which was a #8 hit on the Billboard Mainstream Rock chart and #37 top 40. His next album had a single, "Every Step of the Way" that got radio play (#4 rock charts and #25 top 40 and would be his last top 40 hit. He did join former Babys bandmates Jonathan Cain and Ricky Phillips, along with Neal Schon and drummer Deen Castronovo from Journey, to form Bad English and the 1989 ballad "When I See You Smile" went to No. 1 on Billboard's Hot 100 and the album sold nearly two million copies. I didn't love that band, but I've always had a spot for John Waite in my rocker heart. He kept going after the band broke up. But he keeps going. Waite is not always the first thought as a terrific rock band frontman - but he was - and is. He is still on the road. A singer who fronts a band like someone who wants to be there. Who has been there. He's 72 years old. He's on tour as I recorded this, with dates booked well into 2024. One who is worth mentioning if you talk about great rock and roll frontmen of the past, for like 50 years. He's a rock and roll lifer still working. There is honor in that. *** Read Rob's current and archived writing at rockforwardmusic.com WEBSITE: rockpopandroll.com EMAIL: rockpoprollpodcast@gmail.com SUBSCRIBE: Apple Podcasts Spotify Google Podcasts
We had the pleasure of interviewing Will Swinton over Zoom video!Auckland singer-songwriter Will Swinton recently released his new EP, Better Days, via 10K Projects/Capitol Records. Raw and stripped-back, the release is elevated by the 22-year-old's gravelly, soulful delivery as he lays out his thoughts and feelings over lush, rapturous compositions that mix and meld a dizzying array of elements and influences—showcasing a poise and presence well beyond his years. To complement the EP Will Swinton releases a captivating visual to the title-track which finds Will hanging with his friends in New Zealand.On the EP Will Swinton says, “Better Days is a journey through past mistakes, lessons learned, and moving on. I'm really starting to develop my sound, and I'm excited to share this EP and all the upcoming music I've made.” Better Days is started off with “So Low,” a palm-muted crowd-pleaser with a momentum that sneaks up on you. It's followed by “Go Wrong,” a mournful look back at romance gone awry. Showcasing Swinton's mumble rap-inspired delivery, the ethereal anthem is as surprising as it is touching. Also included is “All for You,” a gentle folk-pop that will surely get hearts pitter-pattering at concerts and “Wasted You,” a tender love letter to someone special built around gentle guitar plucking.Other highlights include “Missing You,” and of course the somber title-track “Better Days.” His latest single “Leave in the Morning” is included in the EP too and features a raw visual depicting the essence of love's vulnerability and desire to hold on.The EP arrives amid a flurry of excitement for the up-and-comer, who Rolling Stone is already celebrating. Not long ago, Swinton withdrew his savings and flew to Los Angeles from Auckland to chase a dream. He wound up sticking around. In 2022, his very first independent single “All For You” cracked the Top 10 of the Hot 20 New Zealand Singles Chart, while “Wasted You” and “Leave In The Morning” landed in the Top 15.Thus far, he has tallied north of 100 million views on TikTok. Beyond collaborating with the likes of Claire Rosinkranz and finding a fan in MGK, he has performed everywhere from SXSW in Austin, TX to The Great Escape in Brighton, UK, and Primavera in Barcelona, Spain and a sold out a hometown show in New Zealand. Now, with Better Days, Swinton carves out a special place for himself in the music world, one which will soon be a much-sought-after destination.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #WillSwinton #BetterDays #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement
WEDNESDAY HR 5 Singer/Song writer John Waite. Missing You tour. The K.O.D. - His highness shares the experience of changing the seat on the royal bathroom throne. Monster Messages & Hot Takes. He's gotta give up one!
Hey there, hoop heads! Grab your jerseys and tune in as DA and Lauren break down the electrifying Commissioner's Cup championship game between the gritty New York Liberty and the mighty Las Vegas Aces. This one was a slam dunk, folks!We're not alone in this court-side chat – joining us in the virtual studio is none other than Phoenix Mercury's sharp analyst, Cindy Brunson. So, let's dive into the nitty-gritty of the Liberty's triumphant journey to their first-ever Commissioner's Cup trophy.Scoreboard ShakedownCan you believe it? The Liberty went full throttle and cruised to an 82-63 victory over the Aces. Talk about setting the court on fire! It was like watching a defensive masterpiece, and our Liberty ladies were the brush strokes painting the town (or the court, in this case) red.Jones: The MVP MagnetJonquel Jones, you absolute star! The MVP vibes were practically oozing from her every move. Sixteen points, fifteen rebounds, and two monster blocks – she's the real deal. The way she turned up her game post-All-Star break? Unreal. Double-doubles left and right, shutting down offenses and making her presence known. A true rim protector, folks!Missing You, ParkerCandace Parker was MIA, and boy, did the Aces feel her absence. With her playmaking magic, sweet shooting, and all-around versatility, the Aces were left wishing for some Parker-powered pixie dust. A'ja Wilson was left scratching her head against Liberty's iron defense, struggling to find her rhythm.Super Sub JohannesOh, Marine Johannes, you sharpshooting spark plug! Off the bench and into our hearts, draining five threes and racking up a cool 17 points. This gal was the game-changer, injecting energy and momentum just when the Liberty needed it most. Aces, take notes – bench power is a thing!Frontcourt FireworksCan we talk about Jones and Stewart? These ladies owned the frontcourt, disrupting A'ja Wilson's game like they were on a mission. Boards? Check. Offensive opportunities? Double check. It's like they had the Aces' playbook right in front of them.Struggles in Sin CityThe Aces had a hard time cracking the Liberty's defense. Their three-point shooting? A meager 19.2%. Ouch! Without Parker's magic touch, Las Vegas couldn't find their groove and suffered on both ends of the floor.Fast-Forward and FinaleThe Liberty's trophy snatch is a testament to their championship dreams. But Las Vegas, take note – defensive and offensive makeovers are in order. The Commissioner's Cup laid it all bare, strengths and weaknesses on full display.Game Over, or Just the Beginning?As the confetti settles, we're left with this: The Liberty are a force to be reckoned with, and the Aces have some soul-searching to do. The season's heating up, and these teams are only getting started.So, folks, grab your popcorn and stay tuned for more WNBA action. This episode was a slam dunk, and we're just getting started. Catch you courtside!Support the show
Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art
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