Podcasts about Muscle Shoals Rhythm Section

Aretha Franklin got her start at an early age in Gospel music.  As the granddaughter of Gospel great Mahalia Jackson and the daughter of a prominent Baptist preacher, Franklin was heard on her father's "gospel caravan" tours at the age of twelve.  By the time she became an adult in 1960 she had decided that she wanted to go into more pop music, and moved to New York for this purpose.  She signed a deal with Columbia Records, in 1960, but her career would not really take off until moving to Atlantic Records in 1966.  By 1968 she was considered by many to be the most successful singer in the nation, and already crowned the "Queen of Soul."Franklin toured outside the US for the first time in late April 1968 through May 1968.  She performed in Paris on May 7, 1968, and this concert would be released as the live album Aretha in Paris in the fall of 1968.  It was Franklin's second live album, and the first for Atlantic Records where most of her hits were recorded.Some have criticized the backing band as not up to the task of supporting Franklin.  However, this album captures Franklin at the top of her game at a time when she was cranking out some of the biggest hits of her career.  It would be difficult for any supporting band to keep up, particularly one assembled for an overseas tour.  Regardless, this is a great album to explore as a snapshot of Aretha Franklin at the height of success.Lynch brings us a high energy live soul album from the Queen of Soul in her prime for today's podcast. (I Can't Get No) SatisfactionThis Rolling Stones cover is the lead-off track to the album and to the concert.  The Stones had released this song in 1965, and it had become their first number 1 song in the States.  Franklin takes the tempo up for this cover.(You Make Me Feel Like) A Natural WomanCarole King and Gerry Goffin wrote this song for Franklin based on an idea from producer Jerry Wexler.  It originally appeared on Franklin's album "Lady Soul", and went to number 8 on the U.S. charts.  It would make history when it hit the UK charts a week after Franklin's death in 2018, 51 years after the single was first released. (Sweet Sweet Baby) Since You've Been GoneThe original single for this live song was released on the "Lady Soul" album, and reached number 5 on the Billboard Hot 100.  This song was written by Franklin and her then-husband Teddy White. The studio version of this song utilized the talents of the Muscle Shoals Rhythm Section, who were flown in from Alabama to record in a New York City studio.Chain of FoolsSongwriter Don Covay wrote this song in his youth, and presented it to producer Jerry Wexler as a song for Otis Redding.  Wexler decided to have Franklin record it instead of Redding.  It was a big hit, taking the number 1 slot on the R&B charts for four weeks, number 2 on the Billboard Hot 100, and delivering Franklin a Grammy for Best R&B Vocal Performance. ENTERTAINMENT TRACK:Theme from the television comedy show “Laugh In”This sketch comedy show would capture a lot of American counter-culture of the time from Tiny Tim to "sock it to me!" STAFF PICKS:Ride My See Saw by the Moody BluesWayne kicks off the staff picks with a psychedelic song from the second Moody Blues album, "In Search of the Lost Chord."  The song is about leaving school and finding that the world isn't what you thought it would be.  On the album, the song is preceded by a spoken word introduction called "Departure."Harper Valley PTA by Jeannie C. RileyRob's staff pick is a storytelling song written by Tom T. Hall about a widow named Mrs. Johnson and her tangle with the PTA.  When her teenage daughter received a note from the Harper Valley PTA criticizing the way she is living, Mrs. Johnson attends the next meeting and reveals some indiscretions of the other PTA members.Light My Fire by Jose FelicianoBruce features an acoustic cover of the Doors hit single with a Latin twist.  Jose Feliciano is best known for the Christmas song "Feliz Navidad," but this Puerto Rican artist also had a hit with this cover that peaked at number 3 on in late summer 1968.  His album "Feliciano!" is a selection of acoustic cover songs, and his most successful one.  He won "Best Male Pop Vocal Performance" at the 1969 Grammy Awards for this cover.Son of a Preacher Man by Dusty SpringfieldLynch closes out the staff picks with a song that writers John Hurley and Ronnie Wilkins wrote with Aretha Franklin in mind.  When Atlantic Records producer Jerry Wexler heard it, he thought it would be a good fit for Dusty Springfield who was recording her "Dusty in Memphis" album at the time.  INSTRUMENTAL TRACK:And I Love Her by Jose FelicianoWe double up on the Latin acoustic stylings of Feliciano as this Beatles cover takes us out of this week's podcast.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

(S4 E7) Aretha Franklin -I Never Loved A Man The Way I Love You (Atlantic)  Released March 10, 1967. Recorded January 10 – February 26, 1967  I Never Loved a Man the Way I Love You (1967) marked Aretha Franklin's breakthrough as the "Queen of Soul," blending gospel, blues, and R&B into a revolutionary sound. Released by Atlantic Records, the album featured iconic tracks like Otis Redding's reimagined “Respect,” which became a feminist and civil rights anthem, and the heartfelt title track, her first major hit. Recorded at Muscle Shoals and Atlantic Studios, the album showcased Franklin's commanding vocals, her piano playing, and the Muscle Shoals Rhythm Section's soulful backing. Its mix of original compositions and inspired covers, such as Sam Cooke's “A Change Is Gonna Come,” elevated it as a timeless masterpiece. Topping R&B charts and reaching No. 2 on the Billboard 200, the album cemented Franklin's legacy as a cultural icon. Its impact extended beyond music, symbolizing empowerment and resilience while inspiring generations of artists and shaping soul music's trajectory. Signature Tracks: "Respect,"  "I Never Loved A Man (The Way I Love You)," "Dr. Feel Good (Love is a Serious Business)" Playlist YouTube Playlist  Spotify Playlist  Full Albums  Full Album on YouTube   Full Album on Spotify 

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Michael RusseckBob Seger and the Silver Bullet Band “We've Got Tonight" from the 1978 album "Stranger in Town". Released on Capitol. Written by Bob Seger and produced by Bob Seger and the Muscle Shoals Rhythm Section.Personel:Bob Seger - lead vocalsMuscle Shoals Rhythm Section:Barry Beckett - keyboardsPete Carr - lead guitarJimmy Johnson - rhythm guitarDavid Hood - bass guitarRoger Hawkins - drums, percussionAdditional Musicians:Venetta Fields, Clydie King, Sherlie Matthews - background vocalsJim Ed Norman - string arrangementCover:Performed by Michael RusseckIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Ultra Tone StudiosJohnny Lee ShellBonnie RaittMike FinneganRichard ManuelThe BandBob Dylan “Stuck Inside of Mobile With the Memphis Blues Again”Taj MahalLittle Feat “Rooster Rag”Little Feat “Sam's Place”Little Feat “Dixie Chicken”

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Michael RusseckBob Seger and the Silver Bullet Band “We've Got Tonight" from the 1978 album "Stranger in Town". Released on Capitol. Written by Bob Seger and produced by Bob Seger and the Muscle Shoals Rhythm Section.Personel:Bob Seger - lead vocalsMuscle Shoals Rhythm Section:Barry Beckett - keyboards Pete Carr - lead guitarJimmy Johnson - rhythm guitarDavid Hood - bass guitarRoger Hawkins - drums, percussion Additional Musicians:Venetta Fields, Clydie King, Sherlie Matthews - background vocalsJim Ed Norman - string arrangementCover:Performed by Michael RusseckIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Pura VidaTaj Mahal “Statesboro Blues”The Allman BrothersThe Animals “House of the Rising Sun”The KinksBilly JoelBon JoviDave Matthews BandKISSThe Beatles “Let It Be”Tommy James and the Shondelles “Crimson and Clover”The Cars “Drive”Bob Seger and the Silver Bullet Band “Old Time Rock n Roll”Bob Seger and the Silver Bullet Band “Turn the Page”Bob Seger and the Silver Bullet Band “Like a Rock”Bob Seger and the Silver Bullet Band “Night Moves”Bob Seger and the Silver Bullet Band “Shame on the Moon”Bob Seger and the Silver Bullet Band “Roll Me Away”Bob Seger and the Silver Bullet Band “Against the Wind”Bob Seger and the Silver Bullet Band “Roll Me Away”Bob Seger and the Silver Bullet Band “Still the Same”Bob Seger and the Silver Bullet Band “Main Street”Bob Seger and the Silver Bullet Band “Hollywood Nights”Bob Seger and the Silver Bullet Band “Feel Like a Number”Bob Seger and the Silver Bullet Band “Ramblin Gamlbin Man”CSN “Love the One Your With”Stevie Ray VaughnVangelis “Chariots of Fire”Pat Benatar “We Belong”The Rolling Stones “Angie”Aretha FranklinBob DylanThe Eagles “Desperado”Linda RonstadtGlen FreyBruce SpringsteenJanis Joplin “Me and Bobby McGee”Richard ManuelmShenna EastonRona  KeatingThe StingMarvin Gaye “Let's Get It On”Lionel Richie “Easy”Gregg AllmanSteve MillerThe Eagles “Desperado”The Allman Brothers “Melissa”Eric Clapton “Wonderful Tonight”The Rolling Stones “Wild Horses”ELO “Telephone Line”Rita CoolidgeRichie Havens

In this episode of *Listen to This*, host Eric Leckey dives into the legendary sounds of the Muscle Shoals Rhythm Section, the studio musicians behind some of the greatest hits in music history. From iconic tracks by Aretha Franklin and Wilson Pickett to classics by The Rolling Stones and Bob Dylan, Leckey showcases the unique groove and soulful influence that this Alabama-based group brought to countless records. Tune in as Leckey unpacks the magic behind these timeless tracks and the unsung heroes who helped shape the sound of rock, soul, and R&B.

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Amidst the initial turbulence of his inaugural solo release and subsequent tour, Levon Helm and his ensemble found themselves grappling with an unfortunate dearth of problems. Plagued by undisclosed health adversities and the intricate orchestration of conflicting timetables, Helm sought solace within the confines of the studio, setting in motion the creation of yet another album. Mirroring the approach of his maiden endeavour, he enlisted the renowned Muscle Shoals Rhythm Section. In 1978, the fruits of his labour materialized in the form of his latest record, bearing the succinct name "Levon Helm. Determined, Helm tried to rekindle his solo career and finally garner the recognition he deserved. If you're in Toronto or want to come up for a special evening, Chest Fever is doing a Last Waltz Celebration at the legendary Massey Hall on November 18, 2023. Buy tickets here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest Fia Nyxx is considered stylistically as somewhere in between Whitney Houston, Mariah Carey and Toni Braxton. She embraces a theatrical approach to her music and experimental clash of genres.   Fia is also seen as a Hollywood glam-star, garnished with a rockstar twist. On her latest release Red Umbrella, she unleashes a masterful vision for storytelling. The album attempts to connect the dots along a path less traveled, embracing strength through vulnerability, devine-femininity, spiritual awakening, sexual liberation and a love story.   Fia recorded her first album, Everything Girl, at FAME Studios in Muscle Shoals, AL. under the musical direction of Will McFarlane (Etta James, Bonnie Raitt, Bobby "Blue" Bland) and Brian Malouf (Michael Jackson, Queen, Madonna), and features players from the iconic Muscle Shoals Rhythm Section, 'The Swampers.'  She has toured the U.S. and Asia, and has been featured on the back cover of Billboard Magazine, Rolling Stone, CelebMix, Music Connection, Elicit Magazine, Prelude Press, Buzz Music, The Hype Magazine among other publications.  That is the abbreviated version of her bio from FiaNyxx.com. Earlier this year, she did an impressive video for the single Escape, with dancer/choreographer Bobby Newberry (Danity Kane, Pussycat Dolls, Missy Elliot). In this conversation we talk about that video, plus PR, marketing, common indie artist struggles, release strategy, recording studio lessons, building confidence through repetition, and theatrical performance. I believe Fia was suffering from allergies or possibly a cold when we spoke. Fia, I hope you're all better now. Please enjoy this conversation with me and singer, songwriter, performer Fia Nyxx. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Mentions and Related Episodes FiaNyxx.com  Fame Studios BobbyNewberry.com Escape Official Music Video - Bobby Newberry / Fia Nyxx / Sam J Garfield Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure)  Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter  and  Instagram @UnstarvingMusician on Facebook  and  YouTube

Do you like bass? Well, so did Carol Kaye, one of the dozens of legendary session musicians we'll be profiling on today's episode. Don't know what a session musician is? You're in luck -- this episode is a full-on "session" session in which we explain the hidden histories behind the following squads of hired-gun studio instrumentalists: (1) The Wrecking Crew; (2) The Nashville A-Team; (3) The Funk Brothers; (4) The Muscle Shoals Rhythm Section. Featuring music from The Association, Roy Orbison, The Gants, and more. Wanna hear the full songs? Go to tinyurl.com/spotify-cvc.

This week, we bring you a rare conversation with the braintrust behind the brass-forward instrumental supergroup the Menahan Street Band: Thomas Brenneck and Homer Steinweiss. If Tarantino and Scorsese ever needed a custom-made 1970's greasy soul soundtrack, MSB might be the perfect choice. While the timeless Daptone Records sound has gone worldwide thanks to breakout stars like the late Sharon Jones and Charles Bradley, most don't know the bandleaders and songwriters behind their intricately arranged works. Guitarist/producer Brenneck has been the secret sauce in helping hitmaker Mark Ronson create the vintage backdrops for crossover stars like Amy Winehouse, while Steinweiss' slinky drumming can be heard across the Daptone universe, including on Jones, Winehouse and Lee Fields and The Expressions records, not to mention his work with Lady Gaga, St. Vincent and Bruno Mars. For the first time in a decade, MSB – which includes Dave Guy (The Roots), Leon Michaels (The Black Keys) and Nick Movshon (The Expressions) – have reconvened the troops to create their most effortlessly cinematic collection yet: the cheekily titled The Exciting Sounds Of The Menahan Street Band. The album art alone signifies a sensual, intimate evening is ahead to whoever listens. Is the design NSFW? Maybe. Brenneck called into the taping from outside LA and Steinweiss from his studio in New York City. The conservation jumped back to how they formed the group in 2007, how they convinced Bradley to join them in making new music (he had been doing James Brown impression work) and how they find that out-of-body improvisational zen zone which creates the aural moods of mystery and intrigue – showcased best in the reverby Bond-like jam “Starchaser.” A favorite surreal moment that Brenneck mentioned was driving through Brooklyn hearing their song sampled by Jay-Z. For a moment, their horns were blaring from every car radio on the island. While hip hop legends often find their beats and backdrops from classic soul and R&B vinyl, notables like Eminem, Kendrick Lamar, Travis Scott and 50 Cent have mined the funky MSB catalog for years. Sir Paul McCartney also used their services. If you need an instant vibe, they've got you. Even in sparkling trumpet-led themes like “Glovebox Pistol,” which clocks in at a minute and eight seconds long, you can see a velvet-boothed, smoke-filled scene unfolding, bringing to mind the lush scores of The Godfather or The Score. Only recently have star backing-bands like The Wrecking Crew, The Swampers, and the Muscle Shoals Rhythm Section come to be appreciated for creating some of the most beloved songs in the American pop canon, from The Beach Boys and Aretha Franklin, to Paul Simon, Bob Dylan and The Staples Singers. It can be argued that in the 21st century, Brenneck and Steinweiss (and the work of The Menahan Street Band) deserve to be in that conversation. With one listen of The Exciting Sounds Of The Menahan Street Band, you are transported – exactly where, is up to you.

If Bob Seger sounds like he's experienced it all on his breakout album Night Moves, well, he kind of has.  Seger got his start in the music industry in 1961, and this album is his ninth studio album, though the first to credit the Silver Bullet Band on the album cover.  Many of the songs reflect on earlier times, successes and failures of the past, with a wistfulness.  Detroit native Robert Clark (aka Bob) Seger's music has been described as roots rock and heartland rock, and there are similarities between the blue collar sensibilities of Seger's music and others like Bruce Springsteen and John Mellencamp.  Segar had his first hit back in 1968 with "Ramblin' Gamblin' Man," but didn't follow up with hit singles afterwards.  He turned to working with backing bands, touring with Eric Clapton and joining with the Muscle Shoals Rhythm Section (who would play on four of the nine songs on Night Moves).  After forming the Silver Bullet Band in 1974 Segar began seeing some interest with singles like "Katmandu" and the release of the album "Live Bullet"  just prior to Night Moves.  However, Night Moves was the one that put him over the top where he would remain for the rest of the 70's and 80's.Many of the songs have a theme of remembering the past, including the title track.  Seger completed his "farewell tour" in 2019.  However, we still have an incredible catalogue of music available thanks to Bob Segar.  We hope you enjoy this trip down memory lane.  Night MovesSeger says his title track was inspired after watching the 1973 film, “American Graffiti,” and he realized HE had a story to tell about growing up, and an Italian girlfriend he had one summer. “Ain't it strange how the night moves?”  The change in seasons forms a metaphor for growing up - being young in the summertime, and looking back "with autumn closin' in."Rock and Roll Never Forgets“So you're a little bit older and a lot less bolder than you used to be…” Seger wrote this at the ripe old age of 31!  While only making it to number 41, this tribute to Rock & Roll and Chuck Berry has taken on a timelessness as a classic rock song.SunburstWe felt that the intro to this beautiful deep track has a similar sound and feel to “Dear Prudence” from the Beatles. There are two clear movements in the music from soft, to rocking, to soft again.  The song discusses an introverted performer on the stage, comparing him to entertainment in the Roman Colosseum.  Main StreetThe second single from the album,  Seger is again sharing a peek into his life growing up in Ann Arbor, Michigan. Anne Street was right off Main Street, and there was the pool hall and dancing girls with R&B bands playing on the weekends.  ENTERTAINMENT TRACK:Theme from the television series “The Muppet Show”)This variety show would draw in a number of A-list celebrities for an evening of entertainment with Kermit, Fozzie Bear, Miss Piggy, and the rest of the Muppets. STAFF PICKS:Tonight's The Night (Gonna Be Alright) by Rod StewartBrian features a seduction song from Rod Stewart, and it was actually banned by the BBC for the line "spread your wings and let me come inside."  Public demand eventually caused the ban to be lifted, and the song went to number 1 on both the UK and the US shortly thereafter.Jeans On by David DundasWayne brings us a song by British musician and actor David Dundas.  It was first featured as a television advertising jingle for Brutus Jeans, and the popularity of the commercial led to the recording of "Jeans On" as a full length song.  "It's the weekend, and I know that you're free so pull on your jeans and come on out with me."Nights Are Forever Without You by England Dan and John Ford ColeyBruce's staff pick is from Texas duo Dan Wayland (aka England Dan) Seals and John Edward (aka John Ford) Coley.  They originally had a hit with "I'd Really Love to See You Tonight," which was written by Parker McGee who also wrote "Nights Are Forever Without You."  Dan Seals would go on to a country career in the 1980's, scoring 11 number one country hits including "Meet Me In Montana."Blinded By The Light by Manfred Mann's Earth BandRob brings us  this hit originally written by Bruce Springsteen, but  finding fame through Manfred Mann's Earth Band.  Manfred Mann changed the lyrics slightly, and Springsteen has joked about confusion over the lyrics, claiming that “it was not until Manfred Mann rewrote the song to be about a feminine hygiene product that it became popular.”  This version hit number 1 on the Billboard Hot 100. INSTRUMENTAL TRACK:Theme to the motion picture CarrieNothing like finishing out the podcast on a scary note!  The motion picture "Carrie" was released in November 1976.

DJ Kingblind presents The Big Beat online radio show Podcast- This week we talk about & play the best music in a themed Podcast called "I Hear A Symphony" Session musicians, studio musicians, or backing musicians are musicians hired to perform in recording sessions or live performances. They work behind the scenes and rarely achieve individual fame in their own right as soloists or bandleaders. However, top session musicians are well known within the music industry, and some have become publicly recognized, such as the Wrecking Crew, the Muscle Shoals Rhythm Section and The Funk Brothers who worked with Motown Records. This week, we tell their story. Wanna find out more? visit www.djkingblind.com or search DJ Kingblind in your favorite podcast app to find out more!#podcastsonamazonmusic #podcast #music #glam #uk #rock #djkingblind #applepodcasts #googlepodcasts #art #beachboys #motown #wallofsound #losangeles #nashvilleFind all links for DJ Kingblind here: https://linktr.ee/kingblindSupport the show

In this episode: Mark's Sweet Vintage Music Tee Fashion, Roger Hawkins, Weekend Movie Pick, Pet Sitting, Consumer Advocates, New Phone Scam, Dumbass of the Day, Wing Shortages, and Wings + Wings.

David Hood, bass player for Muscle Shoals Rhythm Section and his son Patterson Hood, singer-songwriter and co-founder of Drive-By Truckers join their family member and SMI student Reed Smith and Program Director Jeff Albert for a lively music discussion to end the semester. November 2020. ------------------- Host: Jeff Albert & Reed Smith Guests: David & Patterson Hood Producer: Jeff Albert Editor: Courtney Garcia

One of the things I love about hosting this podcast is getting the opportunity to talk with absolute studio legends, and you don't get more legendary than Muscle Shoals bassist David Hood. Hood has played on countless hit records with artists such as Aretha Franklin, Paul Simon, Julian Lennon, JJ Cale, Lulu, Etta James and so, so many more.In this episode David Hood discusses what inspired him to take up the bass, life working in one of the busiest studio rhythm sections and the decision to leave Fame studios and start Muscle Shoals Sound Studios. You can find more information about Muscle Shoals here:https://muscleshoalssoundstudio.org/ Here is a Muscle Shoals Spotify Playlist:https://open.spotify.com/playlist/3fJ30XwyRO5kPAvvKzgkWT?si=W8pdUE60T9u8d9ni38oUfA If you would like to suggest a guest, an idea for the podcast, or have some general feedback please email joe@allyouneedisdrums.com You can find more information about Joe Montague and remote drum sessions here:www.allyouneedisdrums.com

Bob Dylan sets a new record with his latest just-released album, one of the best of the legendary Muscle Shoals Rhythm Section passes away, Corey Taylor from Slipknot pulls off a power move that we're both fans of, and a couple of notable Juno winners from the virtual awards show last night that nobody knew about. Note: Mike is on his trash talking game in this episode!

Will’s been an integral part of the Muscle Shoals Rhythm Section since 1980, and has played on dozens of hit records. He also played and recorded with Bonnie Raitt for 6 years prior to this.  Will has a great sense of phrasing, and his tone is just beautiful. He’s also one of the most soulful cats you’ll ever meet. Yet, his own life has been filled with trials and heartbreak, which he shares with you on this call. Today though, Will is in a great place, both personally and musically… and you’d have a hard time finding anyone who’s more deserving of peace and success Support this Show: http://www.everyonelovesguitar.com/support  Subscribe https://www.everyonelovesguitar.com/subscribe/  Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ 

Though he wasn’t known for a long list of hits like his 70s rock counterparts, singer/songwriter Boz Scaggs had a great deal of influence on more than just the success of his own solo career. Let’s take a deep dive into the musical life of Boz Scaggs: Scaggs was born in Canton, Ohio, though he moved to Plano, Texas where he attended a private school. After learning guitar at age 12, Scaggs met Steve Miller while at St. Mark’s School in Plano. In 1959 he became the vocalist for Miller’s original band, the Marksmen Later, the two would attend the University of Wisconsin at Madison and play together in blues bands like The Ardells and the Fabulous Knight Trains Boz spent some time in London to work with other bands and start his first solo album, but eventually returned to the US to work with the Steve Miller Band on their first two albums His second album had a decidedly San Francisco sound featuring the likes of the Muscle Shoals Rhythm Section and session guitarist Duane Allman, who later formed the Allman Brothers In 1976, he recorded the album Silk Degrees which spawned his most famous singles, including Lowdown and the Lido Shuffle The session musicians that helped make Silk Degrees with Boz apparently enjoyed working together so much, they eventually formed their own band: Toto The producers of Saturday Night Fever asked to use the hit Lowdown in their movie, but Scaggs' manager turned them down and instead used it in the movie Looking For Mr. Goodbar. Not a good move - Saturday Night Fever became one of the best-selling soundtracks of all time. And the movie Looking For Mr. Goodbar was a relative dud Though Lido Shuffle was a smash hit for Boz, he actually didn’t know it until more than a year after the Silk Degrees album was released. The single took that long to be released, but ended up helping the album top out at 5 million records sold Scaggs wrote “Lido Shuffle” with David Paich, who was also his co-writer on "Lowdown." In an interview with songfacts.com in 2013, Scaggs talked about how the song came about: "'Lido' was a song that I'd been banging around. And I kind of stole... well, I didn't steal anything. I just took the idea of the shuffle. There was a song that Fats Domino did called 'The Fat Man' that had a kind of driving shuffle beat that I used to play on the piano, and I just started kind of singing along with it. Then I showed it to Paich and he helped me fill it out. It ended up being 'Lido Shuffle.'"

Though he wasn’t known for a long list of hits like his 70s rock counterparts, singer/songwriter Boz Scaggs had a great deal of influence on more than just the success of his own solo career. Let’s take a deep dive into the musical life of Boz Scaggs: Scaggs was born in Canton, Ohio, though he moved to Plano, Texas where he attended a private school. After learning guitar at age 12, Scaggs met Steve Miller while at St. Mark’s School in Plano. In 1959 he became the vocalist for Miller’s original band, the Marksmen Later, the two would attend the University of Wisconsin at Madison and play together in blues bands like The Ardells and the Fabulous Knight Trains Boz spent some time in London to work with other bands and start his first solo album, but eventually returned to the US to work with the Steve Miller Band on their first two albums His second album had a decidedly San Francisco sound featuring the likes of the Muscle Shoals Rhythm Section and session guitarist Duane Allman, who later formed the Allman Brothers In 1976, he recorded the album Silk Degrees which spawned his most famous singles, including Lowdown and the Lido Shuffle The session musicians that helped make Silk Degrees with Boz apparently enjoyed working together so much, they eventually formed their own band: Toto The producers of Saturday Night Fever asked to use the hit Lowdown in their movie, but Scaggs' manager turned them down and instead used it in the movie Looking For Mr. Goodbar. Not a good move - Saturday Night Fever became one of the best-selling soundtracks of all time. And the movie Looking For Mr. Goodbar was a relative dud Though Lido Shuffle was a smash hit for Boz, he actually didn’t know it until more than a year after the Silk Degrees album was released. The single took that long to be released, but ended up helping the album top out at 5 million records sold Scaggs wrote “Lido Shuffle” with David Paich, who was also his co-writer on "Lowdown." In an interview with songfacts.com in 2013, Scaggs talked about how the song came about: "'Lido' was a song that I'd been banging around. And I kind of stole... well, I didn't steal anything. I just took the idea of the shuffle. There was a song that Fats Domino did called 'The Fat Man' that had a kind of driving shuffle beat that I used to play on the piano, and I just started kind of singing along with it. Then I showed it to Paich and he helped me fill it out. It ended up being 'Lido Shuffle.'"

In the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul music. In the legendary studios of the "country triangle" — Memphis, Nashville, and Muscle Shoals, Alabama — integrated groups of musicians like Booker T & the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States.Author Charles L. Hughes tells us how this country-soul triangle gave birth to new ways of thinking about music, race, labor, and the South in this pivotal period. Artists from Aretha Franklin to Willie Nelson to the Allman Brothers became crucial contributors to the era's popular music and American racial politics during the turbulent years of civil rights protests, Black Power and white backlash.

In this episode, I get to talk to Joshua Mikel who portrayed Jared in AMC's The Walking Dead. We talk The Dead, music and his upcoming role in the music biopic RESPECT! Super dope guy with a stark different personality than what we see from one of Negan's Survivor henchmen. We also talk the pop culture phenomenon that comes with being a Walking Dead cast member and the convention circuit where he gets to connect with his fans! I can't wait to see Josh in his role as Roger Hawkins, the legendary drummer of the Muscle Shoals Rhythm Section who played with Aretha Frankilin and many other of music's great artists. YES...HE PLAYS THE DRUMS!!!! Check out Josh's IMBD : https://www.imdb.com/name/nm2282254/ Follow his socials at: Instagram: joshuamikel Twitter: Joshua_Mikel Josh's Band Look Mexico:https://youtu.be/2cMvajRqlzk Josh's YouTube Channel:https://www.youtube.com/user/ohmygodsocool RESPECT Teaser:https://www.youtube.com/watch?v=-1GAsu4oHCs Check out my... BIO: https://unnormalizedpodcas.wixsite.com/podcast Check out the show on: Apple Podcasts, Google Podcasts, YouTube, Spotify, Anchor, Stitcher, Breaker, RadioPublic, Instagram, Facebook and Twitter by accessing our BIGLINK: https://biglink.to/unnormalizedpodcast --- Send in a voice message: https://anchor.fm/unnormalized-the-podcast/message Support this podcast: https://anchor.fm/unnormalized-the-podcast/support

Musical Director, Drummer, Producer, and aspiring media personality, Adam Gust, comes to Wake Up Hollywood three years since his last guest visit with a tale to tell. Nikhil Korula is the perfect person to host as he has played a prominent character in Adam's story of recovery and reinvention since then. Music, gender roles, education, a six month sabbatical on a cruise ship, and the course of Adam's current projects set the tone for his unique take on the pitfalls and positives of being creative in the modern world. GigantorStudiosMusic.com ---------- Los Angeles-based recording artist and co-founder of The Empire Experience, An Interactive Theatrical Production Combining the Excitement of a Live Concert & the Magic of the Theater, Fia NyXX adds a unique R&B flair to pop music paying tribute to the soulful sounds of the Motown era. With a masterful vision for storytelling, Fia channels influences Christina Aguilera and Demi Lovato while entertaining crowds with larger-than-life performances and emotionally-rich lyrics. A veteran in the industry, Fia NyXX has toured the United States and Asia, as part of the girl group 'SHE' and released her first solo record in March 2018. The EP entitled 'Everything Girl' was recorded at FAME Studios in Muscle Shoals, AL. under the musical direction of multi-platinum producer and mixer Brian Malouf (Michael Jackson, Queen, Madonna), Will McFarlane (Etta James, Bonnie Raitt, Bobby "Blue" Bland), Lance Bendiksen (Sarah McLachlan, The Fray) and features players from the iconic Muscle Shoals Rhythm Section, 'The Swampers.' Fia NyXX has performed at The Avalon Hollywood, White Party, Matinee Vegas, San Jose Pride, New York Fashion Week and 122 shows throughout Asia (as SHE), for crowds of up to 15,000. She has been featured by Billboard Magazine, Getty Images and placed on the iTunes U.S. Top 100 chart on Spotify. She is also a 2018 Telly Award winner for her music video, "Maybe Just Love Me." For more information, visit fianyxx.com.

Will McFarlane is a guitarist from Muscle Shoals. He played guitar in Bonnie Raitt’s band in the second half of the seventies before joining the Muscle Shoals Rhythm Section as lead guitar player in 1980. His playing can be heard on recordings by Bobby “Blue” Bland, Little Milton, Johnnie Taylor, Etta James, Candi Staton and Joss Stone. He also released a handful of contemporary Christian albums as an artist. In this episode we talk about his work spanning the 1980’s to today. The Crazy Chester Radio Hour is created and hosted by record producer Andreas Werner. This episode was recorded at the Florence-Lauderdale Tourism Visitor Center in Florence, Alabama. The theme song is performed by Jimmy Hall & Funky Chester and written by Andreas Werner (Crazy Chester Music, BMI). Used with permission.

Will McFarlane is a guitarist from Muscle Shoals. He played guitar in Bonnie Raitt’s band in the second half of the seventies before joining the Muscle Shoals Rhythm Section as lead guitar player in 1980. His playing can be heard on recordings by Bobby “Blue” Bland, Little Milton, Johnnie Taylor, Etta James, Candi Staton and Joss Stone. He also released a handful of contemporary Christian albums as an artist. The Crazy Chester Radio Hour is created and hosted by record producer Andreas Werner. This episode was recorded at the NuttHouse recording studio in Sheffield, Alabama. The theme song is performed by Jimmy Hall & Funky Chester and written by Andreas Werner (Crazy Chester Music, BMI). Used with permission.

Will McFarlane is a member of the Musician's Hall of Fame. He spent six years playing guitar with Bonnie Raitt, from 1974 to 1980. McFarlane left Raitt to move to Muscle Shoals, Alabama, playing on records for Bobby Blue Bland, Little Milton, Etta James and Johnnie Taylor as part of the famed Muscle Shoals Rhythm Section.

Hace ya unas semanas tratamos brevemente el tema del Soul. Hoy iniciamos una mini serie de programas para abordar un estilo de música que merece mucha más atención de la que le dimos en su momento. Y, como no, nos situamos en la decada de los 60, … otra vez!!! En ese momento, sobre el año 1963, el término “rhytm’n blues” no significaba ni mucho menos lo mismo para los estadounidenses que para los Rolling Stones. Los bluesmen a los que estos idolatraban eran de una generación anterior. En Estados Unidos la urbana e inmaculada “Sherry”, de los Four Seasons, encabezaba la lista de “R&B” a finales de 1962, pese a tratarse de un dudua italoamericano puro y duro, y la razón era muy simple: a los adolescentes negros les gustaba ese sonido tanto como a los blancos. Los Four Seasons de Nueva Jersey, los Impressions de Chicago, los Miracles de Detroit, las Shirelles de Nueva York, todos ellos estaban guisando un estofado posrock’n’roll que daría paso a algo que, más tarde, se llamó SOUL. Si bien el uso de la palabra soul como denominación popular del género no se verificaría hasta la aparición en 1966 de “What is Soul”, el sencillo de Ben E. King, el sonido en sí ya se había introducido en la conciencia del pop en 1957, concretamente el día en que Sam Cooke cambió el espiritual negro por la música profana. Pero fue nuestro amigo Ben E. King el que perfiló con precisión el nuevo estilo. Esto es “What is Soul”. Sam Cooke no fue el primero que adjuró de la iglesia para derretir a las jovencitas: el primer guaperas del góspel de posguerra había sido Sonny Til, el líder de los Orioles, pero Cooke mezclaba como nadie la finura con el rugido del espiritual negro, y cantaba con intensidad y sin esfuerzo. Nació en Clarksdale (Misisipi) en 1931. Cuando tenía nueve años se unió al coro de sus hermanos y hermanas que acompañaban a su padre, pastor baptista, en sus viajes de predicación. Su decisión de abandonar la música religiosa en 1957 cayó muy mal en la feligresía. Así, su primer single “Lovable”, paso sin pena ni gloria y esto le hizo pensar si su decisión había sido acertada. Lo supo cuando publicó su segundo disco “You Send Me”. Éxito instantáneo, el sencillo se aupó al número uno y allí permaneció tres semanas, durante las cuales Cooke se convirtió en ídolo no solo de las chicas negras del Bronx, el público al que en principio se dirigía, sino también de las señoritas judías de Brooklyn. Los éxitos se sucedieron en cascada. Cooke no se explicaba su don: “Me pongo a cantar y me viene solo” declaró en cierta ocasión. Sea como fuese, en todas sus creaciones latía un trasfondo abrasivo que indicaba a las claras que, por mucha cara de bueno que tuviese, más valía no dejarlo a solas con la hermana pequeña de uno. Perfectamente podía haber hecho carrera como delincuente. Era, a un tiempo, ángel y diablo y en su música podemos apreciar al predicador fervoroso y al pecador arrepentido. Pero para todo el mundo era el chico de oro y siempre iba por delante del resto. Tras echar los cimientos de la música soul, fundó su propia discográfica, SAR, con brazo editorial incluido. Eran maniobras prácticamente inauditas en un artista de raza negra. En 1962 la música de Cook adquirió una nueva intensidad, como se aprecia en la cruda “Bring It Home To Me” Y es que, algo estaba cambiando. En ese año, el gobierno de Kennedy había obligado al Comité de Comercio Interestatal a dictar una nueva orden contra la segregación racial en virtud de la cual los pasajeros de los autobuses podían sentarse donde quisieran. Se retiraron de las estaciones los letreros de “blanco” y “negro”, y en los mostradores de las cafeterías se empezó a atender a los clientes con independencia del color de su piel. En septiembre un adolescente llamado James Meredith ganó un pleito y logró que lo admitiesen en la Universidad de Misisipi. Los disturbios subsiguientes se cobraron dos víctimas mortales, pero gracias a la escolta de una guardia armada, Meredith pudo asistir a clase. En la desgarrada “That’s Where It’s At” de 1963, resuenan el orgullo negro y las tribulaciones de la raza aunque, según Bob Stanley, nuestro biógrafo de cabecera, la letra no respondiese tanto al estado de la nación como a la vida del propio Cooke, que por aquel entonces se deshacía en jirones: su esposa Bárbara estaba perdiendo la cabeza por la afición del artista al alcohol y las mujeres, y ese verano, el hijo de ambos, se había ahogado en la piscina de la casa familiar. Una tragedia. Tenía para todo. El día 11 de diciembre de 1964 se lió con quien no debía, una prostituta que huyó con la ropa del cantante mientras él estaba en el baño. Medio desnudo y gritando como un poseso, Cooke asustó tanto a la dueña del motel que la mujer lo mató de un balazo. Nuestras felicitaciones a la asociación del rifle. Su último trabajo fue un sencillo en el que se incluía “A chage is gonna come”, una canción que Cooke compuso después de escuchar el “Blowin in the wind” de Bob Dylan y concluyó que debería escribir algo que reflejase su vida personal y la de sus amigos. La canción es un augurio entreverado de esperanza y optimismo. Es una pena que fuera su epitafio. Si Sam Cooke era la voz del soul, el sello Stax era el molde. Los hermanos Estelle y Jim Stewart fundaron este sello y se instalaron en el ruinoso cine Capitol. El puesto de palomitas de la entrada se convirtió en una tienda de discos llamada Satellite, con cuyos ingresos se sufragaba el estudio de grabación. El hijo de Estelle, Pachy, había estado ensayando con unos chicos del instituto, entre ellos el guitarrista Steve Cropper (apuntad este nombre) y el bajista Donald Dunn, alias “Pato Donald”, que se hacían llamar los Royal Spades y que experimentaban con el country, el R&B y el rockabilly, y que, a fuerza de ensayar, se convirtieron en un grupo conjuntado al máximo, capaz de acompañar a cualquier artista de paso. Y así fue como, un día, se presentó por allí Rufus Thomas, locutor de una emisora local: su hija Carla había compuesto una cancioncilla titulada “Gee Whiz” y quería grabarla. Una vez pasada por el tamiz de los Royal Spades, la canción llegó al top 10. Y es esta… Poco después, un instrumental de una sola nota, sucio y con predominio de metales, titulado “Last Night”, obra de los Royal Spades pero publicado con el nombre los Mar-Keys, llegó nada menos que al número dos. El sello Stax estaba en marcha. Los numerosos éxitos que acumularon en el año 1962 hicieron que el sello Stax se convirtiera en el sonido Memphis y, por ello, se ganó el derecho a colgar un letrero encima de la tienda de discos que rezaba “Souls-ville USA”. Uno de estos éxitos fue, sin lugar a dudas, su famoso “Green Onions”. Los músicos empezaron a demandar el estilo Stax y por el estudio terminó pasando gente como Sam & Dave, Otis Redding, Judy Clay, Eddie Floyd y Johnnie Taylor. El sonido Stax no tardó en hacerse más importante que el artista, y el sello se convirtió en el equivalente sureño de la factoría Spector. Pero no estaban solos. La otra discográfica que definió el floreciente género del soul fue la neoyorquina Atlantic Records. Uno de sus fundadores, el Sr. Ertegun, era un gran amante del blues y, justamente, del blues procedía Ray Charles. En sus comienzos Charles era un pianista dotado del don de imitar a sus ídolos: Louis Jordan, Nat King Cole o Charles Brown, pero cuando el Sr. Charles empezó a componer sus propias obras, y la discográfica había sabido esperar pacientemente, todo cambió. Compuso y grabó “I got a woman”, su primer sencillo con el sello que fue número uno de la lista de R&B en enero de 1955. Más tarde, esta canción conocería las versiones unos “desconocidos” tales como Elvis Presley o los Beatles. La bomba Ray Charles estalló en 1959, cuando el hombre compuso, sobre una sencilla pieza, concretamente una antífona, religiosa, de seis minutos de duración y que era mitad revival evangélico, mitad procacidad burdelera. Lo nunca visto!!! La pieza se llamaba, bueno, y se llama… “What’d I Say” Desde ese momento y hasta mediada la década de los 60 rara sería la estrella en ciernes, desde Stevie Wonder a los Searchers, que no citase entre sus influencias a Ray Charles: “el hermano Ray”, “el genio”, “el hermano número uno del soul”… etc. Convencido de sus dotes, el artista picó en otros géneros: primero grabó jazz instrumental; después coqueteó con el country en una revisión del clásico “Georgia on My Mind”, otro número uno en 1.960 En la canción, Ray se enfrenta a dos lealtades encontradas. El sur era su patria, pero en 1960 también era el campo de batalla por los derechos civiles de los negros. Dos años más tarde, Charles grabó un elepé entero con la misma temática. Hacía falta mucho valor para mezclar country y soul, pero también mucha sutileza. A estas alturas, el artista ya había dejado el sello Atlantis para aceptar una jugosa suma de ABC-Paramount. Sin nadie que le parara los pies, el hermano Ray se lanzó de cabeza al “countrypolitan” orquestal y firmó dos de los singles de más éxito en su trayectoria, “I can’t stop loving you” y “You don’t know me” A mediados de la década de 1960 Ray Charles ya había exprimido el truco del country hasta la última gota y perdió tanta credibilidad ante la crítica y los colegas del gremio que al terminar el decenio apenas se hablaba de él. Tal vez una de las estrellas de Atlantis más injustamente infravaloradas fue Bárbara Lewis. Nuestro amigo Bob Stanley, en su libro “La historia del pop moderno” dice de ella: “su voz de jade pulido en “Hello Stranger”, tema con ritmo de shuffle, a caballo entre la música de verbena y la de tocador: morirá feliz el afortunado a quien, siquiera una sola vez en su vida, le canten personalmente esta canción”. Bueno, pues esta es la canción… Pero el mayor fichaje del sello, en todos los sentidos, fue Aretha Franklin. Dueña de una voz capaz de reventar un micrófono a medio kilómetro, Aretha cantaba como una fuerza de la naturaleza. La futura dama del Soul ya había grabado algunos temas para el sello Columbia, pero Ertegun la animó y convenció para cambiar de sello discográfico y en Atlantic echó el resto. Aretha había nacido el 25 de marzo de 1942 en Memphis (Tennessee), y creció en Detroit. Es hija del predicador Clarence LeVaughn Franklin y la cantante de góspel Bárbara Franklin. Su madre abandonó a su familia cuando Aretha era una niña, y poco tiempo después, murió. Su padre vio pronto el talento de Aretha, por lo que quiso que tomara clases de piano, pero ella lo rechazó y prefirió aprender por sí sola con la ayuda de grabaciones. En este tiempo, permanecía en un tour itinerante de góspel, donde uno de los primeros temas que interpretó fue «Precious Lord». Los genios del góspel Clara Ward, James Cleveland y Mahalia Jackson eran íntimos de su familia, por lo que Aretha creció rodeada de ellos. Fue precoz en todos los aspectos de su vida. Con doce años tuvo a su primer hijo, y dos años después tuvo el segundo. Esto que suena es esa primera grabación con su grupo de góspel. Por cierto, ya me diréis si os suena… Cuando Aretha abandonó Columbia para fichar por la compañía discográfica Atlantic Records, el productor Jerry Wexler se propuso sacarle todo el soul que llevaba dentro. El primer single que grabó para Atlantic Records fue «I never loved a man (the way I love you)”. Este tema ha sido avalado por muchos críticos como una de las grandes canciones del soul, y la revista Rolling Stone escribió: «Franklin ha grabado su versión de la maravilla soul, un lamento sobre qué-mal-me-has-tratado, con la Muscle Shoals Rhythm Section, unos chicos blancos de Alabama». El single irrumpió en todas las radios, pero aún lo haría con mucha más fuerza “Respect”, versión de la canción que Otis Redding había grabado en 1965 y con la que Aretha se consagraba definitivamente. La canción se grabó en los estudios de Atlantic, en Nueva York, el 14 de febrero de 1967. A la versión original de Redding se le añadió un puente y un solo de saxo, de la mano de King Curtis. El 10 de marzo de 1967 se editaba un álbum en el que Aretha también contribuyó como compositora con varios temas. Destacamos este "Dr. Feelgood (Love Is a Serious Business)". Un precioso blues. Ese mismo año, consiguió dos premios Grammy, siendo la segunda mujer en hacerlo. También en 1967, concretamente el 4 de agosto, editó un nuevo disco del que nos apetece destacar uno de sus temas. Se trata de “Satisfaction”, el éxito de los Rolling. Vamos a oir una versión, grabada en directo, en el Olimpia de Paris en el año 1968. Nos despedimos del programa de hoy y de nuestra admirada Aretha Franklin, ahora si, para siempre, porque como sabeis, Aretha Franklin falleció el pasado día 16 de agosto, a la edad de 76 años en su domicilio de Detroit. No obstante, su larga trayectoria profesional da para muchas más horas de programación, horas que le dedicaremos con muchísimo gusto. Cerramos pues este programa con su gran éxito "Chain of fools", un tema incluido en su disco Lady Soul, editado en 1.968, y con el que volvería a conocer el éxito masivo.

Hace ya unas semanas tratamos brevemente el tema del Soul. Hoy iniciamos una mini serie de programas para abordar un estilo de música que merece mucha más atención de la que le dimos en su momento. Y, como no, nos situamos en la decada de los 60, … otra vez!!! En ese momento, sobre el año 1963, el término “rhytm’n blues” no significaba ni mucho menos lo mismo para los estadounidenses que para los Rolling Stones. Los bluesmen a los que estos idolatraban eran de una generación anterior. En Estados Unidos la urbana e inmaculada “Sherry”, de los Four Seasons, encabezaba la lista de “R&B” a finales de 1962, pese a tratarse de un dudua italoamericano puro y duro, y la razón era muy simple: a los adolescentes negros les gustaba ese sonido tanto como a los blancos. Los Four Seasons de Nueva Jersey, los Impressions de Chicago, los Miracles de Detroit, las Shirelles de Nueva York, todos ellos estaban guisando un estofado posrock’n’roll que daría paso a algo que, más tarde, se llamó SOUL. Si bien el uso de la palabra soul como denominación popular del género no se verificaría hasta la aparición en 1966 de “What is Soul”, el sencillo de Ben E. King, el sonido en sí ya se había introducido en la conciencia del pop en 1957, concretamente el día en que Sam Cooke cambió el espiritual negro por la música profana. Pero fue nuestro amigo Ben E. King el que perfiló con precisión el nuevo estilo. Esto es “What is Soul”. Sam Cooke no fue el primero que adjuró de la iglesia para derretir a las jovencitas: el primer guaperas del góspel de posguerra había sido Sonny Til, el líder de los Orioles, pero Cooke mezclaba como nadie la finura con el rugido del espiritual negro, y cantaba con intensidad y sin esfuerzo. Nació en Clarksdale (Misisipi) en 1931. Cuando tenía nueve años se unió al coro de sus hermanos y hermanas que acompañaban a su padre, pastor baptista, en sus viajes de predicación. Su decisión de abandonar la música religiosa en 1957 cayó muy mal en la feligresía. Así, su primer single “Lovable”, paso sin pena ni gloria y esto le hizo pensar si su decisión había sido acertada. Lo supo cuando publicó su segundo disco “You Send Me”. Éxito instantáneo, el sencillo se aupó al número uno y allí permaneció tres semanas, durante las cuales Cooke se convirtió en ídolo no solo de las chicas negras del Bronx, el público al que en principio se dirigía, sino también de las señoritas judías de Brooklyn. Los éxitos se sucedieron en cascada. Cooke no se explicaba su don: “Me pongo a cantar y me viene solo” declaró en cierta ocasión. Sea como fuese, en todas sus creaciones latía un trasfondo abrasivo que indicaba a las claras que, por mucha cara de bueno que tuviese, más valía no dejarlo a solas con la hermana pequeña de uno. Perfectamente podía haber hecho carrera como delincuente. Era, a un tiempo, ángel y diablo y en su música podemos apreciar al predicador fervoroso y al pecador arrepentido. Pero para todo el mundo era el chico de oro y siempre iba por delante del resto. Tras echar los cimientos de la música soul, fundó su propia discográfica, SAR, con brazo editorial incluido. Eran maniobras prácticamente inauditas en un artista de raza negra. En 1962 la música de Cook adquirió una nueva intensidad, como se aprecia en la cruda “Bring It Home To Me” Y es que, algo estaba cambiando. En ese año, el gobierno de Kennedy había obligado al Comité de Comercio Interestatal a dictar una nueva orden contra la segregación racial en virtud de la cual los pasajeros de los autobuses podían sentarse donde quisieran. Se retiraron de las estaciones los letreros de “blanco” y “negro”, y en los mostradores de las cafeterías se empezó a atender a los clientes con independencia del color de su piel. En septiembre un adolescente llamado James Meredith ganó un pleito y logró que lo admitiesen en la Universidad de Misisipi. Los disturbios subsiguientes se cobraron dos víctimas mortales, pero gracias a la escolta de una guardia armada, Meredith pudo asistir a clase. En la desgarrada “That’s Where It’s At” de 1963, resuenan el orgullo negro y las tribulaciones de la raza aunque, según Bob Stanley, nuestro biógrafo de cabecera, la letra no respondiese tanto al estado de la nación como a la vida del propio Cooke, que por aquel entonces se deshacía en jirones: su esposa Bárbara estaba perdiendo la cabeza por la afición del artista al alcohol y las mujeres, y ese verano, el hijo de ambos, se había ahogado en la piscina de la casa familiar. Una tragedia. Tenía para todo. El día 11 de diciembre de 1964 se lió con quien no debía, una prostituta que huyó con la ropa del cantante mientras él estaba en el baño. Medio desnudo y gritando como un poseso, Cooke asustó tanto a la dueña del motel que la mujer lo mató de un balazo. Nuestras felicitaciones a la asociación del rifle. Su último trabajo fue un sencillo en el que se incluía “A chage is gonna come”, una canción que Cooke compuso después de escuchar el “Blowin in the wind” de Bob Dylan y concluyó que debería escribir algo que reflejase su vida personal y la de sus amigos. La canción es un augurio entreverado de esperanza y optimismo. Es una pena que fuera su epitafio. Si Sam Cooke era la voz del soul, el sello Stax era el molde. Los hermanos Estelle y Jim Stewart fundaron este sello y se instalaron en el ruinoso cine Capitol. El puesto de palomitas de la entrada se convirtió en una tienda de discos llamada Satellite, con cuyos ingresos se sufragaba el estudio de grabación. El hijo de Estelle, Pachy, había estado ensayando con unos chicos del instituto, entre ellos el guitarrista Steve Cropper (apuntad este nombre) y el bajista Donald Dunn, alias “Pato Donald”, que se hacían llamar los Royal Spades y que experimentaban con el country, el R&B y el rockabilly, y que, a fuerza de ensayar, se convirtieron en un grupo conjuntado al máximo, capaz de acompañar a cualquier artista de paso. Y así fue como, un día, se presentó por allí Rufus Thomas, locutor de una emisora local: su hija Carla había compuesto una cancioncilla titulada “Gee Whiz” y quería grabarla. Una vez pasada por el tamiz de los Royal Spades, la canción llegó al top 10. Y es esta… Poco después, un instrumental de una sola nota, sucio y con predominio de metales, titulado “Last Night”, obra de los Royal Spades pero publicado con el nombre los Mar-Keys, llegó nada menos que al número dos. El sello Stax estaba en marcha. Los numerosos éxitos que acumularon en el año 1962 hicieron que el sello Stax se convirtiera en el sonido Memphis y, por ello, se ganó el derecho a colgar un letrero encima de la tienda de discos que rezaba “Souls-ville USA”. Uno de estos éxitos fue, sin lugar a dudas, su famoso “Green Onions”. Los músicos empezaron a demandar el estilo Stax y por el estudio terminó pasando gente como Sam & Dave, Otis Redding, Judy Clay, Eddie Floyd y Johnnie Taylor. El sonido Stax no tardó en hacerse más importante que el artista, y el sello se convirtió en el equivalente sureño de la factoría Spector. Pero no estaban solos. La otra discográfica que definió el floreciente género del soul fue la neoyorquina Atlantic Records. Uno de sus fundadores, el Sr. Ertegun, era un gran amante del blues y, justamente, del blues procedía Ray Charles. En sus comienzos Charles era un pianista dotado del don de imitar a sus ídolos: Louis Jordan, Nat King Cole o Charles Brown, pero cuando el Sr. Charles empezó a componer sus propias obras, y la discográfica había sabido esperar pacientemente, todo cambió. Compuso y grabó “I got a woman”, su primer sencillo con el sello que fue número uno de la lista de R&B en enero de 1955. Más tarde, esta canción conocería las versiones unos “desconocidos” tales como Elvis Presley o los Beatles. La bomba Ray Charles estalló en 1959, cuando el hombre compuso, sobre una sencilla pieza, concretamente una antífona, religiosa, de seis minutos de duración y que era mitad revival evangélico, mitad procacidad burdelera. Lo nunca visto!!! La pieza se llamaba, bueno, y se llama… “What’d I Say” Desde ese momento y hasta mediada la década de los 60 rara sería la estrella en ciernes, desde Stevie Wonder a los Searchers, que no citase entre sus influencias a Ray Charles: “el hermano Ray”, “el genio”, “el hermano número uno del soul”… etc. Convencido de sus dotes, el artista picó en otros géneros: primero grabó jazz instrumental; después coqueteó con el country en una revisión del clásico “Georgia on My Mind”, otro número uno en 1.960 En la canción, Ray se enfrenta a dos lealtades encontradas. El sur era su patria, pero en 1960 también era el campo de batalla por los derechos civiles de los negros. Dos años más tarde, Charles grabó un elepé entero con la misma temática. Hacía falta mucho valor para mezclar country y soul, pero también mucha sutileza. A estas alturas, el artista ya había dejado el sello Atlantis para aceptar una jugosa suma de ABC-Paramount. Sin nadie que le parara los pies, el hermano Ray se lanzó de cabeza al “countrypolitan” orquestal y firmó dos de los singles de más éxito en su trayectoria, “I can’t stop loving you” y “You don’t know me” A mediados de la década de 1960 Ray Charles ya había exprimido el truco del country hasta la última gota y perdió tanta credibilidad ante la crítica y los colegas del gremio que al terminar el decenio apenas se hablaba de él. Tal vez una de las estrellas de Atlantis más injustamente infravaloradas fue Bárbara Lewis. Nuestro amigo Bob Stanley, en su libro “La historia del pop moderno” dice de ella: “su voz de jade pulido en “Hello Stranger”, tema con ritmo de shuffle, a caballo entre la música de verbena y la de tocador: morirá feliz el afortunado a quien, siquiera una sola vez en su vida, le canten personalmente esta canción”. Bueno, pues esta es la canción… Pero el mayor fichaje del sello, en todos los sentidos, fue Aretha Franklin. Dueña de una voz capaz de reventar un micrófono a medio kilómetro, Aretha cantaba como una fuerza de la naturaleza. La futura dama del Soul ya había grabado algunos temas para el sello Columbia, pero Ertegun la animó y convenció para cambiar de sello discográfico y en Atlantic echó el resto. Aretha había nacido el 25 de marzo de 1942 en Memphis (Tennessee), y creció en Detroit. Es hija del predicador Clarence LeVaughn Franklin y la cantante de góspel Bárbara Franklin. Su madre abandonó a su familia cuando Aretha era una niña, y poco tiempo después, murió. Su padre vio pronto el talento de Aretha, por lo que quiso que tomara clases de piano, pero ella lo rechazó y prefirió aprender por sí sola con la ayuda de grabaciones. En este tiempo, permanecía en un tour itinerante de góspel, donde uno de los primeros temas que interpretó fue «Precious Lord». Los genios del góspel Clara Ward, James Cleveland y Mahalia Jackson eran íntimos de su familia, por lo que Aretha creció rodeada de ellos. Fue precoz en todos los aspectos de su vida. Con doce años tuvo a su primer hijo, y dos años después tuvo el segundo. Esto que suena es esa primera grabación con su grupo de góspel. Por cierto, ya me diréis si os suena… Cuando Aretha abandonó Columbia para fichar por la compañía discográfica Atlantic Records, el productor Jerry Wexler se propuso sacarle todo el soul que llevaba dentro. El primer single que grabó para Atlantic Records fue «I never loved a man (the way I love you)”. Este tema ha sido avalado por muchos críticos como una de las grandes canciones del soul, y la revista Rolling Stone escribió: «Franklin ha grabado su versión de la maravilla soul, un lamento sobre qué-mal-me-has-tratado, con la Muscle Shoals Rhythm Section, unos chicos blancos de Alabama». El single irrumpió en todas las radios, pero aún lo haría con mucha más fuerza “Respect”, versión de la canción que Otis Redding había grabado en 1965 y con la que Aretha se consagraba definitivamente. La canción se grabó en los estudios de Atlantic, en Nueva York, el 14 de febrero de 1967. A la versión original de Redding se le añadió un puente y un solo de saxo, de la mano de King Curtis. El 10 de marzo de 1967 se editaba un álbum en el que Aretha también contribuyó como compositora con varios temas. Destacamos este "Dr. Feelgood (Love Is a Serious Business)". Un precioso blues. Ese mismo año, consiguió dos premios Grammy, siendo la segunda mujer en hacerlo. También en 1967, concretamente el 4 de agosto, editó un nuevo disco del que nos apetece destacar uno de sus temas. Se trata de “Satisfaction”, el éxito de los Rolling. Vamos a oir una versión, grabada en directo, en el Olimpia de Paris en el año 1968. Nos despedimos del programa de hoy y de nuestra admirada Aretha Franklin, ahora si, para siempre, porque como sabeis, Aretha Franklin falleció el pasado día 16 de agosto, a la edad de 76 años en su domicilio de Detroit. No obstante, su larga trayectoria profesional da para muchas más horas de programación, horas que le dedicaremos con muchísimo gusto. Cerramos pues este programa con su gran éxito "Chain of fools", un tema incluido en su disco Lady Soul, editado en 1.968, y con el que volvería a conocer el éxito masivo.

This week, John and Stewart are joined by singer/songwriter and co-founder of Drive-By Truckers, Patterson Hood. Patterson grew up in Muscle Shoals, Alabama. His father, David, was the bass player in the legendary Muscle Shoals Rhythm Section. Through osmosis and a deep love of music, Patterson became an artist to be reckoned in his own right. Whether with the Drive-By Truckers, or as a solo artist, or as a producer, he has established a wonderful legacy all his own.

David Hood is one of the most recorded bass players of all time. He was the bass player of FAME recording studio’s rhythm section in Muscle Shoals and later a founding member of the Muscle Shoals Rhythm Section which started the Muscle Shoals Sound recording studio. He has recorded with Wilson Pickett, Aretha Franklin, Bob Seger, Cher, The Staple Singers, Rod Stewart, Paul Simon, Joe Cocker, Levon Helm and many, many more. He toured with Traffic and the Waterboys and is also a member of Muscle Shoals favorites The Decoys. His son is the Drive-By Truckers’ Patterson Hood. The Crazy Chester Radio Hour is created and hosted by record producer Andreas Werner. This episode was recorded at the NuttHouse recording studio in Sheffield, Alabama. The theme song is performed by Jimmy Hall & Funky Chester and written by Andreas Werner (Crazy Chester Music, BMI). Used with permission.

Will’s been an integral part of the Muscle Shoals Rhythm Section since 1980, and has played on dozens of hit records. He also played and recorded with Bonnie Raitt for 6 years prior to this... Will has a great sense of phrasing, and his tone is just beautiful. And, he’s one of the most soulful individuals you’ll ever meet. Yet, his own life has been filled with trials and heartbreak, which he shares with you on this call. Today though, Will is in a great place, both personally and musically… and you’d have a hard time finding anyone who’s more deserving of peace and success, than Will... Subscribe https://www.EveryoneLovesGuitar.com Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar

Guest:  Jason Fowler, Musician About Jason: Jason Fowler's sound is a mix of melodic passion, with roots that can be traced to a musically inspired family. Fowler first displayed his talents for music and writing in the band Ultraphonic. The band went on to win a $250,000 recording contract with Garage Band Records. Ultraphonic would begin recording its third album with legendary producer, Johnny Sandlin (Allman Bros. Band/Widespread Panic), complemented by industry force, Muscle Shoals Rhythm Section, (aka The Swampers). Later Fowler was the front man for the band Speed X alongside Mike Stone of '80s metal band Queensryche, Josh Sattler of Double Drive, as well as Nick Catanese and Mike Froedge of Black Label Society. The band proved to be a force in the hard-rock music scene for several years. Fowler currently performs with industry heavyweights Will Turpin of Collective Soul and Shane Evans, the original drummer for Collective Soul. Fowler released his solo debut Letters from the Inside in 2014 as a musical journal of his experience, newfound strength and hope in his recovery from substance abuse and homelessness. In March 2016, Fowler released his debut Christian album I Fall In. He currently lives in Atlanta, where he has served as the worship pastor of Refuge City Church, with his wife and two sons.  www.jasonfowlermusic.com The opinions expressed during this radio/podcast broadcast are for inspiration, information and entertainment purposes. This show is a production of Atlanta Life Radio to learn more visit us at www.atlantaliferadio.com

This week David Hood, bass player and original member of the Muscle Shoals Rhythm Section, also known as The Swampers, talks with Community Arts Program manager Deb Boykin. He recalls his early years as a musician and his work as a session player at FAME. Hood also describes the recording process at the Muscle Shoal Sounds Studio and talks about what it was like to work with the wide range of musicians who recorded there.