Podcasts about My Angel

Following our 3-part "parenthetical" on idolatry, we return to our primary series on the Hebrew word, malaki (in distinction from the book that bears this name). In episode 1 we encountered the very first instance of Malaki, My Angel, in the Bible. It was on Mount Sinai after God had delivered the law, proclaimed and ratified the covenant with Israel. He then promised to send His Angel with them to the promised land, where He would drive out the inhabitants before them if they would simply listen to His voice and obey. It was clear that this angel is the preincarnate Lord Jesus, and that this was his formal introduction to the people. In episode 2 we approached the second appearance of Malaki in scripture, and in this episode we confront it. Like so much of the history of God's chosen people, it is a tragic story of failure with hope attached to it. The failure to listen to and obey the Word of God has the inevitable consequences of separation from God. We explore that theme in this episode. The Bible is every Christian's primary source material. Like the Bereans, we must make it our priority, our authority, our delight in learning from God directly from His own voice. And this includes podcasts, like ours. If we can help you know God and His word, fantastic! It is our job to work ourselves out of a job! "Return to ME and I will return to you, says the LORD of hosts." Malachi 3:7. We really want YOU to study God's word, to listen to His voice and obey. Either God is God, or ... He is not With our Transcendent GOD – Being, Truth and Value – there can be NO COMPROMISE We are the "neo-Fundies," unashamed and proudly proclaiming God's Word as Truth, Life and Light! 'For we are not ashamed of the gospel, for it is the power of God for salvation to everyone who believes' If you enjoy our content, consider donating through PayPal via https://ko-fi.com/thechristianatheist   Take a moment to enjoy our weekly Photos of the Day videos here - short slideshows with relaxing music ...https://youtube.com/playlist?list=PL6dyPLOr6Zb6x0KfOBmd22ntBsnSgqwzL&si=g21wNaUM5EAoeZco   https://www.youtube.com/c/TheChristianAtheist/featured https://www.facebook.com/JnJWiseWords https://wisewordsforyouroccasion.wordpress.com   #thechristianatheist #drjohndwise #drjohnwise #johnwise #christian #atheist #christianity #atheism #jesus #jesuschrist #god #bible #oldtestament #newtestament #nocompromise #rationality #faith #philosophy #philosopher #culture #society #hegelism #hegelianism #hegel #reason #incarnation #history#psychology #theology #literature #humanities #hardquestions #postmodernism #woke #wisdom #ethics #science #poetry #paradox #oxymoron #williamlanecraig #seanmcdowell #adam #adamandeve #eve #genesis

"Mini: Let's review the story of angels protecting Elisha with the songs: "The Lord's Army", "Oh, I am So Thankful," and "My Angel" (thywordcreations.org) with our memory verse Psa.91:15 "I will be with him in trouble." Recorded and produced by: Ashley B. Larson Don't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/ If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.com The Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317. If you would like to purchase your own Memory Verse CD or Songbook, go to Ouachita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=). Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little Lessons All Bible verses are from the NKJV. Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy Nelson Editing assist: Dillon Austin and Josh Larson Music Recording and Editing: Rachel Nelson and Kristy Hall Coloring Pages: Rachel Lamming, Lily Canada, and Evie Rodriguez Theme Music: Lindsey Mills- www.lindseymillsmusic.com  God: who gives talents for us to use for Him

“And I will send My Angel before you, and I will drive out the Canaanite and the Amorite and the Hittite and the Perizzite and the Hivite and the Jebusite.”‭‭Exodus‬ ‭33‬:‭2‬ ‭NKJV‬‬Good morning family, welcome to April we should let God take the Wheel for the rest of the month @Exodus 33:2

Anúna featuring Lucy Champion "Blackthorn" - Celtic Women 3:Ireland Capercaillie "Who Will Raise Their Voice?" - Grace And Pride: The Anthology 1984-2004 Rise "Green Grow" - Posing As Human Black 47 "Livin' In America" - New York Town Black 47 "Staten Island Baby" (featuring David Johansen) - New York Town**************Rebecca Folsom "Brothers" - Sanctuary www.rebeccafolsom.com Tom Freund "Angelus" - East Of Lincoln www.tomfreund.comTim Isberg "Ode To jerry Potts" - Prairie Fire www.timisberg.comMoonfruits "Ladder Song' - Salt www.moonfruits.caLuke Winslow-King "How Could I Forget" - Flash-A-Magic www.lukewinslowking.com Jo Wymer "No Time Left To Cry" - SLG www.jowyer.com LBUM FOCUS:Lucy Kaplansky: The Lucy Story http://www.lucykaplansky.comThis a double-album of mostly unreleased tracks that form a retrospective history of the acclaimed songwriter's musical life. 20 of them have never been released before; the other 5 have never appear on her albums.From the double-album I aired: "High On A Mountain" Goodnight, My Angel" "It Makes No Difference" "Last Days Of Summer" *****************Time Thieves "Cover My Ears' Pushing Veronica "Novocaine' Sove The Second "Green Hills" www.sovethesecond.com Julie & The Howl "Boys Club' www.julesandthehowl.comRobots In Love "Crush' Pulsifier "War Cry"

Canciones que cumplen medio siglo. La confirmación del country rock y del rock sureño que avanza hacia el género “americana” y de la hornada de cantantes compositores; la explosión global del rock progresivo o sinfónico; el brote imparable del funk que devendrá en música disco y del mismo modo la fusión del jazz, el rock y la electrónica; el año dorado de la música popular española. Primer capítulo de la serie de discos magistrales publicados en 1975 con artistas y grupos impregnados del espíritu de Laurel Canyon, de la herencia sonora de The Byrds y Buffalo Springfield, de la reivindicación del solista, del cantautor en su óptima expresión. ¿El sol de California? DISCO 1 THE DOOBIE BROTHERS Sala Key Soquel Rag () DISCO 2 FLEETWOOD MAC Landslide (8) DISCO 3 STEPHEN STILLS My Angel (3) DISCO 4 CROSBY & NASH Carry Me (1)  DISCO 5 NEIL YOUNG Stupid girl (6) DISCO 6 JONI MITCHELL In France They Kiss In Main Street (1) DISCO 7 JAMES TAYLOR Mexico (1) DISCO 8 AMERICA Sister Golden Hair ( )  DISCO 9 SOUTHER HILLMAN FURAY BAND Trouble In Paradise (Cara 1 Corte 1) DISCO 10 EAGLES One Of These Nights (1)  DISCO 11 TOM WAITS Eggs and sausages (In A Cadillac with Susan Michelson) (2) DISCO 12 ANDREW GOLD That’s Why I Love You (1?) DISCO 13 DAN FOGELBERG Old Tennessee (4) DISCO 14 THE DOOBIE BROTHERS Music Man (4)Escuchar audio

James Szubski (Shoob-skee) joins me from Washington State to talk about Sasquatch, Klickitat Ape Cat, Portals and UFO'S. James is a former volunteer Search & Rescue EMT, wildland firefighter and mountain guide. He tells us about the gorge and the paranormal activity that is reported at Margie's outdoor Store located in Bingen, Washington.   He shares his own stories and sightings of the visitors to Columbia River Gorge. Great information. Website Margiesoutdoor.com  My Angel book is out as of December 1st. please let me know how you like it. Write an Amazon Review https://shorturl.at/DrVZq      

Mini: Lessons in song help review the story how God rescued Peter in prison: "My God is SoGreat", "My Angel", and "Faith is the Victory". Memory Verse Acts 5:19, "An Angel of the Lordopened the prison doors."Recorded and produced by: Ashley B. LarsonDon't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/If you have enjoyed this program and would like to know more, go to our website:www.startingwithjesus.comThe Bible and nature story material used in today's devotional podcast has been used withpermission from My Bible First. If you would like your own copy, please visit their website-orcall 1-877-242-5317.If you would like to purchase your own Memory Verse CD or Songbook, go to Ouachita HillsStore (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=).Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, NewSabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs ForJesus, and Scripture Songs and Little LessonsAll Bible verses are from the NKJV.Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonEditing assist: Dillon Austin and Josh LarsonMusic Recording and Editing: Rachel Nelson and Kristy HallColoring Pages: Rachel Lamming, Lily Canada, and Evie RodriguezTheme Music: Lindsey Mills- www.lindseymillsmusic.comGod: who gives talents for us to use for Him

Abrimos con Robe para desearle una pronta recuperación y que vuelva a los escenarios, cuanto antes, pero que se cuide, que la salud es lo primero. Escuchamos el segundo avance del próximo disco de Melifluo, una locura titulada Calavera, con bien de guitarras y fiesta incluida, a pesar del mensaje, y compartimos "Night or Day", el nuevo single de Franz Ferdinand.  ROBE - A La Orilla del RíoEXTREMODURO - Ama Ama AmaNAT SIMONS - ¿Qué Fue Del Siglo XX_ (LIVE)SEN SENRA - PermisoFKA Twigs - _Drums Of DeathROSÉ & Bruno Mars - APTVICTORIAS - OjaláMELIFLUO - CalaveraHERMANA FURIA - TurboSAM FENDER - People WatchingTHE WAR ON DRUGS - Burning (Live...Again)FRANZ FERDINAND - Night Or DayELENA GARCÍA - SamsaraBASIA BULAT - My AngelNIÑOS MUTANTES - Todo Tiene un PrecioTHE BLACK KEYS - Sin CityJACK WHITE - You Got Me SearchingEscuchar audio

Jack White comparte "You Got Me Searching", como cara B de "No Name", su último disco hasta la fecha y aprovecha para anunciar la gira que, de momento, no tiene fechas en Europa. Escuchamos a Sam Fender con "People Watching", una de las canciones que incluirá su tercer disco, a FKA Twigs con "Drums Of Death" y a Basia Bulat cerrando la sesión de hoy con "My Angel MAIKA MAKOVSKI - Just a BoyTHE BLACK KEYS - Sin CityEARLY JAMES - Rag DollLADY GAGA - Disease (Acoustic)ST VINCENT - El Mero CeroLINKIN PARK - Two FacedMELIFLUO - Rosario y VarelaSAM FENDER - People WatchingNIÑOS MUTANTES - La VozHOPE TALA - SurvivalSEN SENRA - KintsugiFKA Twigs - Drums Of DeathHERMANA FURIA - Killer Queen (SHA Reimagined)JACK WHITE - You Got Me SearchingSEX MUSEUM - Walking On My Grave (Dead Moon)BLEACHERS - Merry Christmas, Please Don't CallBASIA BULAT - My AngelEscuchar audio

Patrick Marando joins us today to tell his story of waking up at the age of 28. He is a spiritual teacher and psychologist from Sydney, Australia. His spiritual teachings revolve around bridging the gap between spirituality and psychology. It is from his wealth of experience and knowledge that he continues to teach philosophies he himself delivered and brought into his life. His book was six years in the making as he experienced each emotion as he wrote. Fabulous information for humanity. His website is PatrickMarando.com My Angel book is Available on Amazon for pre-order https://shorturl.at/DrVZq To Book a Psychic Reading. Angel Connection Session or an Energy Healing with me Visit PsychicForHumanity.com

Book: To Live or Maybe Not Website(s): http://jongleurpictures.com Facebook: http://facebook.com/garyrevelmovies If the wicked weather we've witnessed so far in 2024 is any indication, every lyric of Gary Revel's groundbreaking 1977 song “Mother Nature” was spot-on. The singer, songwriter and author is a pioneer in raising awareness about the dangers of global warming. But those pursuits are just scratching the surface. In Gary's fascinating memoir, To Live or Maybe Not, readers are invited to see history through the eyes of a man who lived it, as Gary traces his roots from small-town America to his work in naval intelligence during the Vietnam War to his extraordinary investigations into the killings of Martin Luther King Jr., JFK and RFK. Please consider interviewing Gary Revel, who is a fascinating guest. I would also be happy to send you a copy of his book, To Live or Maybe Not, in consideration of a review or feature. FOR IMMEDIATE RELEASE See History Through the Eyes of a Man Who Lived It: Memoir Packed With Unexpected Gems KILLEEN, Texas, July 15, 2024 — To say that Gary Revel has led a fascinating life is an understatement. From his service in the U.S. Navy to his work for the U.S. government, to his investigations into the deaths of JFK, his brother Bobby and the formidable, iconic, Martin Luther King Jr., even Revel himself is caught off guard by his life's twists and turns. “As you read, you will come to places that you'll say, ‘No way this could be true.' Don't worry, I feel the same way when I remember some things I have done in my life,” Revel writes in the prologue of his memoir To Live or Maybe Not. The story begins with Revel's birth in the small town of Florala, Alabama. His mother and father divorced when he was 5 years old. Music became a friend to Revel, and he formed his first rock 'n' roll band when he was 15. He enlisted in the U.S. Navy after high school, where he served during the Vietnam War. After his honorable discharge from the Navy, Revel went to Hollywood, where he cultivated a music career and became a champion for raising awareness about the dangers of global warming. He later turned from music to focus on his marriage and family, even as he eventually began investigating the assassination of Martin Luther King Jr. To Live or Maybe Not takes readers behind the terrifying walls of the infamous Brushy Mountain Prison of East Tennessee, where Revel walked and talked with none other than James Earl Ray. The book ends with Revel and his family back in Hollywood, where he returns to his passion for music and writing. Today, Revel continues to release and distribute music through his Jongleur Music company as well as develop motion pictures via his Jongleur Pictures company. He is also the author of My Angel from Heaven, Milestones, Grempk and Don't Stop Dancing: Stranger Than Fiction, his investigation into the life of Michael Jackson. To learn more, please visit https://garyrevel.com, or follow him on Facebook (garyrevelmovies), TikTok (@jongleurgroup), Instagram (jongleurpicturesllc), X (GaryNealRevel) and YouTube (https://www.youtube.com/garyrevel). Amazon link: https://www.amazon.com/Live-Maybe-Not-Gary-Revel/dp/B0D7LMZMVS

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. VINCE POPE Vince Pope, a Royal Television Society and BAFTA-nominated composer has gained recognition for his unique blend of sophisticated neo-classical melodies and flawless electronics in noteworthy projects like Undercover, Black Mirror, Tigers Are Not Afraid, and the cult favorite, Misfits. In 2024, he is collaborating again with director Issa Lopez on HBO's critically acclaimed True Detective: Night Country, starring Jodie Foster and Kali Reis. Streaming on HBO and MAX, this promises to be another highlight in Vince's impressive career. Vince secured a place in the hearts of audiences with his work on the beloved Misfits, earning him a BAFTA nomination and ultimately winning the RTS Award for Best Original Score. Further, he expanded his repertoire to include scoring feature films, such as My Angel, starring Timothy Spall and Brenda Blethyn. Vince's knack for creating captivating music led him to projects like Wallander, Undercover (BBC One), and the groundbreaking Netflix dark sci-fi series Black Mirror with episode ‘Be Right Back.' His collaboration with Writer/Director Issa Lopez resulted in the psychological feature Tigers Are Not Afraid in 2017, showcasing the diversity of his talent. Continuing to accumulate accolades, Vince has contributed to projects like BBC's My Name Is Leon, Sky's Wolfe, Aisling Bea's This Way Up, Amazon Prime's Riches, and Channel 4's flagship prison drama, Screw. CHRIS BENSTEAD Academy and BAFTA award winner Chris Benstead, is a British composer with a distinct and captivating voice. His remarkable career spans a multitude of noteworthy projects. Collaborating extensively with director Guy Ritchie, Chris composed the score for the upcoming feature The Ministry Of Ungentlemanly Warfare starring Henry Cavil, and recently finished the much-anticipated NETFLIX series The Gentlemen, a follow up to the 2019 film that Chris also scored. His music for Guy Ritchie's The Covenant (starring Jake Gyllenhaal) and the Jason Statham thrillers Operation Fortune: Ruse de Guerre and Wrath of Man were received to much critical acclaim. Recent additions to his impressive portfolio include scoring the action thrillers Jericho Ridge and Rupture directed by Hamzah Jamjoom. Chris received OSCAR and BAFTA awards for his work as re-recording mixer on Alfonso Cuaron's masterpiece Gravity, starring Sandra Bullock and George Clooney. Chris is a versatile multi-instrumentalist and achieved a First-Class honours in music and sound recording from the University of Surrey. He was also named as Alumni of the year for his ground-breaking achievement in music mixing on ‘Gravity.' TRACKLIST: Vince Pope (feat. Tanya Tagaq) – The Bodies – True Detective: Night Country (Soundtrack from the HBO Original Series)Chris Benstead – Stan's Soiree – The Gentlemen (Soundtrack from the Netflix Series)Chris Benstead – Susie Glass – The Gentlemen (Soundtrack from the Netflix Series)Vince Pope – Ashes – True Detective: Night Country (Soundtrack from the HBO Original Series)Chris Benstead – Operation Postmaster – The Ministry of Ungentlemanly WarfareVince Pope (feat. Tanya Tagaq) – Your Story Never Told – True Detective: Night Country (Soundtrack from the HBO Original Series)Chris Benstead – Freddy Not Happy – The Gentlemen (Soundtrack from the Netflix Series)

Let's review the story of angels protecting Elisha with the songs: "The Lord's Army", "Oh, I am So Thankful,"and "My Angel" (thywordcreations.org) with our memory verse Psa.91:15 "I will be with him in trouble.Recorded and produced by: Ashley B. LarsonDon't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.comThe Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317.If you would like to purchase your own Memory Verse CD or Songbook, go to Ouachita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=).Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little LessonsAll Bible verses are from the NKJV.Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonEditing assist: Dillon Austin and Josh LarsonMusic Recording and Editing: Rachel Nelson and Kristy HallColoring Pages: Rachel Lamming, Lily Canada, and Evie RodriguezTheme Music: Lindsey Mills- www.lindseymillsmusic.com God: who gives talents for us to use for Him

Algunas nuevas, otras de cualquier año o década. Empezamos con el nuevo álbum del legendario Ben Sidran, también incluimos lo último de Katie Pruit, de Luis Prado o de Kasey Musgraves. Un poco de Beatles en maqueta, caprichitos como The Sundays, Dexateens o The Roches y descubrimos a Iraina Mancini o Melody’s Echo Chamber. DISCO 1 BEN SIDRAN PandaDISCO 2 IRAINA MANCINI Sugar HighDISCO 3 THE SUNDAYS Here’s Where The Story Ends DISCO 4 DEXATEENS Hang OnDISCO 5 THE ROCHES Big Nuthin’DISCO 6 MICHAEL SCOTT BOUDREAUX Louisiana RainDISCO 7 KATIE PRUITT Leading ActressDISCO 8 LUIS PRADO Tú y yo sabemosDISCO 9 THE BEATLES Here Comes The Sun Take 9DISCO 10 THE AVETT BROTHERS Will You ReturnDISCO 11 MAGGIE REILLY Save It For A Rainy Day DISCO 12 TOBY BEAU My Angel babyDISCO 13 MELODY’S ECHO CHAMBER The HipnotistDISCO 14 KASEY MUSGRAVES Deeper WellEscuchar audio

Episode 39: Joey PhillipsJoey Phillips embarked on his career at the young age of 13 with a breakthrough role in the sensational musical, 'Billy Elliot'. This production, based on the beloved feature film of the same name, directed by Stephen Daldry and featuring music by Elton John, saw Phillips co-originating the role of Michael, best friend of Billy Elliot.Following this success, Phillips ventured into numerous television roles, including Half- moon Investigations, Doctors, The Royal, Holby City, Casualty and also played opposite Juliet Stevenson, Peter Capaldi and Alfie Allen in Jimmy McGovern's critically acclaimed Accused' for the BBC. Joey made his feature film debut as the leading role of Eddie in Stephen Cookson's ‘My Angel' playing opposite Timothy Spall, Brenda Blethyn and Celia Imrie. He won Best Newcomer at the Monaco International Film Festival for his performance.Phillips went on to train at the prestigious Guildhall School of Music and Drama and after graduating has enjoyed a successful career in theatre including productions such as ‘God's and Monsters' at Southwark Playhouse, Rodolpho in Arthur Miller's ‘A View From the Bridge' at The Gate Theatre Dublin, ‘Who Cares?' At The Lowry theatre in Manchester, ‘Romeo and Juliet' & ‘Richard III' at Shakespeare's Rose Theatre, ‘A Christmas Carol' at the RSC and ‘Breaking the Code' opposite Edward Bennet.Now, after captivating audiences on stage and screen, Joey makes a return to television in the highly anticipated seventh season of Outlander where he portrays Denzell Hunter — a Quaker who faced expulsion from his community after choosing to serve as a surgeon for the Continental Army during the Revolutionary War.#HYGYSTPOD #haveyougotyoursh*ttogether #HYGYST #caitlinoryan #JoeyPhillips #outlanderHave You Got Your Sh*t Together? with Caitlin O'Ryan, is a podcast that celebrates not having your sh*t together! In each episode, Caitlin interviews guests who seemingly “have their sh*t together” - be that in life/love/work/hobbies. Throughout the conversation, the questions unveil whether they actually do, or whether the whole concept is a lie! With a mix of guests from various backgrounds, the podcast is sure to be relatable, honest, and an antidote to Instagram culture. Producer - Ant Hickman (www.ahickman.uk)Artwork - Tim Saunders (www.instagram.com/timsaunders.design)Photography - Patch Bell (www.patchstudio.uk)Music - Cassia - 'Slow' (www.wearecassia.com)Web: www.hygystpod.comInsta: www.instgram.com/hygystpodEmail: hygystpod@gmail.comRSS: https://feeds.acast.com/public/shows/644a8e8eadac0f0010542d86 Hosted on Acast. See acast.com/privacy for more information.

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

Felicia is joined by Ryan Ritter to chat about Gordon Willis' dark imagery in Alan J. Pakula's detective thriller in Klute (1971). We chat about how Gordon Willis uses the camera in service of the actors performance and gives them the space they require to explore their characters. Along with the darkness of the scenery and how that mirrors the dread that is slowly building for our lead protagonists. Send us your thoughts on the episode - what are your thoughts on the use of shadows in this film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ryan here: Letterboxd: @ryanritter Twitter: @popculturehistorians IG: @crittical_analysisblog IG: @popculturehistorianspodcast Website: Crittical Analysis (crittical-analysis.com) Sources: Isabel Sandoval's Top 10 | Current | The Criterion Collection Klute: Trying to See Her | Current | The Criterion Collection Klute at 50: a thriller less interested in a killer and more in character | Jane Fonda | The Guardian Nothing Is Wrong:  Notes on Costume in Klute (1971) – Offscreen "Oh, My Angel!": Why It's Called Klute - Film Cred (film-cred.com) ‘Klute': Alan J. Pakula and the Lewis Brothers' Thriller-Disguised Exploration of Human Interactions, Relationships and Psyche • Cinephilia & Beyond (cinephiliabeyond.org) OUTRO SONG: Bankman by Blerta FILMS MENTIONED: Priscilla (Sofia Coppola 2023) Swamp Thing (Wes Craven 1982) Batman and Robin (Joel Schumacher 1997) Romeo & Juliet (Franco Zeffirelli 1968) The Parallax View (Alan J. Pakula 1974) All the President's Men (Alan J. Pakula 1976) Barry Lyndon (Stanley Kubrick 1975) Annie Hall (Woody Allen 1977) Manhattan (Woody Allen 1979) Jaws (Steven Spielberg 1975) All That Jazz (Bob Fosse 1979) Sorcerer (William Friedkin 1977) The Seven-Ups (Philip D'Antoni 1973) MASH (Robert Altman 1970) The Godfather (Francis Ford Coppola 1972) The Money Pit (Richard Benjamin 1986) The Conversation (Francis Ford Coppola Wait Until Dark (Terrence Young 1967) Funny Face (Richard Benjamin 1957) Mirage (Edward Dmytryk 1965) Body Double (Brian De Palma 1984) Rear Window (Alfred Hitchock 1954)

Mini: Lessons in song help review the story how God rescued Peter in prison: "My God is So Great", "My Angel", and "Faith is the Victory". Memory Verse Acts 5:19, "An Angel of the Lord opened the prison doors."Recorded and produced by: Ashley B. LarsonDon't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.comThe Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317.If you would like to purchase your own Memory Verse CD or Songbook, go to Ouachita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=).If you would like to purchase the full Scripture Songs and Little Lessons CD, go to thehomeplace.org.Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little LessonsAll Bible verses are from the NKJV.Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonEditing assist: Dillon Austin and Josh LarsonMusic Recording and Editing: Rachel Nelson and Kristy HallColoring Pages: Rachel Lamming, Lily Canada, and Evie RodriguezTheme Music: Lindsey Mills- www.lindseymillsmusic.com God: who gives talents for us to use for Him

I've heard it countless times … “As a manager, I feel that all I do is babysit my employees all day”. With that mindset, maybe YOU ARE. The question you should be asking yourself is WHY? This episode explores our relationships that we had with our own parents, maybe some with our own children and how that cycle has transitioned into our professional lives as well. We are adults now, let's pull up our “Big Boy Pants” and address the workplace in a more adult fashion.Special Guest: Anne Alvares, Parent Coach and Founder of the “Masterful Parenting Program”Speaker's Contact Info: annealvares@outlook.comSpecial Thanks: Laura Snider: My Niece, My Angel

Wherein Eric and John conclude their epic diptych exploring the music and stories of women who rock, taking a look at an assortment of amazing female heavy metal artists and their extraordinary music making in the 1980s. Opening clip: Wendy O. Williams Assigned Listening #1: Rock Goddess- "My Angel" https://youtu.be/ezQ6jDaC6Tc?si=DrrizhtdjJXyggxl Assigned Listening #2 : Wendy O. Williams- "It's My Life" ⁠https://youtu.be/J3AJq_a8ETc?si=-NEA49-pHqcc9zds⁠ Assigned Listening #3 : Warlock- "All We Are" https://youtu.be/SX-_-4yBFIg?si=Goqv9bSTHvx59yrt Visit us at: https://podcasters.spotify.com/pod/show/heavymetal101podcast⁠⁠ (you can leave us a voicemail if you're so inclined!) Contact us at: ⁠⁠heavymetal101podcast@gmail.com⁠⁠ Social media: ⁠⁠https://www.facebook.com/HeavyMetal101Podcast⁠⁠ ⁠⁠https://twitter.com/heavy_101⁠⁠ ⁠⁠https://www.instagram.com/heavymetal101podcast/⁠⁠ https://www.tiktok.com/@heavymetal101podcast?is_from_webapp=1&sender_device=pc The Heavy Metal 101 blog: ⁠⁠https://schwartzmuzak.wixsite.com/heavymetal101podcast/heavymetal101podcastblog⁠⁠ New Heavy Metal 101 episodes are released monthly every 3rd Monday. See ya again soon!!! Underscore music attributions: 1) 'Filaments' by Scott Buckley is under a Creative Commons license Attribution 3.0 Unported (CC BY 3.0) 2) Dark Techno / EBM / Industrial Type Beat 'WITCHTRIPPER' | Background Music Aim To Head Official / scottbuckley Music promoted by BreakingCopyright: https://bit.ly/filaments-song Infraction Music 3) ►ROYALTY FREE Rock Music Background / Sport Rock Background Music Royalty Free by MUSIC4VIDEO 4) Symphonic Metal "Home" (Inspirational, Epic) Royalty Free Song! TurboSol 5) [FREE] KAWAII METAL TYPE BEAT (Babymetal, PassCode) | "FINAL BATTLE" INSTRUMENTAL (Deville Producer) 210bpm/105bpm --- Send in a voice message: https://podcasters.spotify.com/pod/show/heavymetal101podcast/message

Buckle Up! We will be shouting from the ROOFTOPS in today's episode. “FUN”… what is it? And, why can't it be in our EVERYDAY lives? … especially at work. It has been said and proven that FUN in the workplace builds the foundation for CREATIVITY, which leads to more PRODUCTIVITY and then…less attrition within the workforce. Listen to learn new possible reasons for implementing FUN in your life … personally & professionally.Special Guest: Dana Sardano, Co-Founder of Uniquely Phenom Collaboration and Author.Special Thanks: “Laura Snider...My Niece, My Angel”

When does it happen…we realize that we no longer have that unique childlike creativity. Where we honestly believed that we could do anything that our imagination could dream up. THEN, as we enter the adult workplace, we find a whole new set of boundaries to our own unique thinking process. This episode will discuss various options in which to regain that CREATIVITY and make the workplace a safer, more embracing and interactive workplace…LET'S HAVE SOME FUN AT WORK!!!Special Guest: Gabor George Burt - Founder of the Slingshot Group, Pioneer in Business Transformation, Blue Ocean Strategist and Author of “Slingshot”Special Thanks: Laura Snider…My Niece, My Angel

David Morales Presents The Face - Needin’ U / Mousse T Vs. Hot 'N' Juicy - Horny / Nightcrawlers - Push The Feeling On / Paul Johnson - Get Get Down / Powerhouse Feat. Duane Harden - What You Need / Kim Lukas - All I Really Want / Eiffel 65 - Blue (Da Ba Dee) / 2 Eivissa - Oh La La La / Whigfield - Sexy Eyes / B.B Team - The Ibiza's Angel / Miranda - Vamos A La Playa / Celvin Rotane - I Believe / B.B.E. - Seven Days And One Week / Faithless - Insomnia / DJ Jean - The Launch / Nalin & Kane - Beachball / Rene & Peran - Give It To Me / Camisra - Let Me Show You / Red 5 - Lift Me Up / Vengaboys - Up and Down / Sash! - La Primavera / 740 Boyz - Shimmy Shake / Maxx - No More (I Can't Stand It) / Bandido Feat. Piropo - I Drove All Nite Medley With Power Of The Time / Gorgeous - Don't Stop / Gouryella - Gouryella / System F - Out Of The Blue / G.E.M. - Yo Te Siento Así / Essential Feat. Alex - Don't Leave Me Now / Absolom - Where? / Object One - Typewriter / DJ Visage Feat. Clarissa - The Return / Ross - Maria / Status - Break The Silence / DJ Sylvan - Guitar Spell / Indiana - All I Need Is Love / Jens - Loops & Tings / Bass Bumpers - Keep on Pushing / Speed Limit - Paradise / DJ Sammy Feat. Carisma - You're My Angel

We wrap up the week with Phillip Cole...a one man band from Palm Harbor, Florida.Music includes My Angel, Somedays and The Only One.Join us next week as we head to the great state of Georgia!

Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:00:00] Sons of the Pioneers - "Tumbling Tumbleweeds" [0:04:46] Tennessee Ernie Ford - "Down Deep" [0:07:42] Carl Story - "Follow Him" [0:09:31] Ernest Tubb - "Thirty Days (To Come Back Home)" [0:11:47] Hank Snow - "Conscience I'm Guilty" [0:14:19] Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:18:25] Howard Fogg and The Lonesome Valley Boys - "Matamoros" [0:21:10] Skeeter Davis - "You Call This Love" [0:24:17] Phil Sullivan - "Hearts Are Lonely" [0:26:40] Curley Eames - "Honky Tonk Heart" [0:29:07] Jules Gaspard - "She's Leaving Tomorrow" [0:31:25] Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:33:59] Charlie Gracie - "You Got A Heart Like A Rock" [0:36:33] Jimmy Dee and the Offbeats With The Montclairs - "Henrietta" [0:38:38] Lee Finn - "Lonesome Road" [0:41:11] Billy 'Crash' Craddock - "She's My Angel" [0:43:37] Bobby Lee Trammell & the Paulettes - "New Dance In France" [0:46:26] Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:48:23] Ray Stevens - "Gitarzan" [0:50:34] Stan Jr. - "Doll Gone Lonesome" [0:53:55] https://www.wfmu.org/playlists/shows/131334

Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:00:00] Sons of the Pioneers - "Tumbling Tumbleweeds" [0:04:46] Tennessee Ernie Ford - "Down Deep" [0:07:42] Carl Story - "Follow Him" [0:09:31] Ernest Tubb - "Thirty Days (To Come Back Home)" [0:11:47] Hank Snow - "Conscience I'm Guilty" [0:14:19] Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:18:25] Howard Fogg and The Lonesome Valley Boys - "Matamoros" [0:21:10] Skeeter Davis - "You Call This Love" [0:24:17] Phil Sullivan - "Hearts Are Lonely" [0:26:40] Curley Eames - "Honky Tonk Heart" [0:29:07] Jules Gaspard - "She's Leaving Tomorrow" [0:31:25] Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:33:59] Charlie Gracie - "You Got A Heart Like A Rock" [0:36:33] Jimmy Dee and the Offbeats With The Montclairs - "Henrietta" [0:38:38] Lee Finn - "Lonesome Road" [0:41:11] Billy 'Crash' Craddock - "She's My Angel" [0:43:37] Bobby Lee Trammell & the Paulettes - "New Dance In France" [0:46:26] Music behind DJ: Kalox Rhythm Boys Band - "Getting It On" [0:48:23] Ray Stevens - "Gitarzan" [0:50:34] Stan Jr. - "Doll Gone Lonesome" [0:53:55] https://www.wfmu.org/playlists/shows/131334

We all have experienced from time to time co-workers not getting along, managers upset with an employee for not accomplishing a task correctly or on time. We are all human and are susceptible to making mistakes. But, are these scenarios a result of an actual mistake or because of something deeper, like a personality or learning disorder. This episode will help explain why these scenarios occur and describe what the signs may be in order to distinguish these outbursts and come up with a workable solution where everyone wins!Special Guest: Jenny Aguilar-DrennanSpecial Thanks: Laura Snider…"My Niece, My Angel”

A great deal of us have been conditioned to SEE things a certain way. IS IT THE RIGHT AND IDEL WAY? There are a lot of different ways to answer that question. The bottom line, we need to be re-taught and conditioned to see things from a more optimistic point of view than a negative, DEFICIT point of view. This episode will introduce you to the Principle of ASSET-BASED THINKING and its overall REAL benefits.Special Guest: Hank Wasiak, Adjunct Professor – Marshall School of Business at USC, Partner – The Concept FarmSpecial Thanks: Laura Snider - My Niece, My Angel

Today, especially today, the message through the news networks, social media or just the daily interaction with others has created that feeling of EMPTINESS. You know that feeling, where your mind won't accept anything, won't produce anything … creativity, curiosity and the energy to engage has gone dormant or worse yet, dried up. Individuals in their professional careers, workplace environments and social gatherings are literally craving, just like when we get hungry, that need for that nourishment that is not only more healthy, but VERY FUN and inspiring to continue with a positive mindset. In this episode, you will learn the symptoms of “Feeling Empty” and some remedies (call them recipes) to overcome and flourish in your life… both personally & professionally.Special Guest: Angela Jamieson, Transformational Life Coach and Director at Row 5 DistributorsSpecial Thanks: “Laura Snider, My Niece, My Angel”

Getting connected and staying connected within the business community has always been challenging. The 1x2 inch business card is “old School”. Today's replacement is either hosting a long-standing podcast or being an author of a book within your field of expertise. This episode will introduce you to an individual who authored a book and has seen many doors and opportunities open.Special Guest: John Mark Watson, Executive Coach & Mentor and Author of “Joyous Leadership”Special Thanks: “Laura Snider…My Niece, My Angel”

Everyone truly has a story(s). Today it seems that individuals, especially in the workplace are becoming more and more divided. Our belief is that the right story, shared genuinely, authentically while being PRESENT is a solution to help CONNECT. Learn the real power of storytelling to help us all connect and live more fuller lives with others!Special Guest: JuLee Brand - Founder & Publisher of W. Brand PublishingSpecial Thanks: “Laura Snider, My Niece, My Angel”

"Mini: Let's review the story of angels protecting Elisha with the songs: "The Lord's Army", "Oh, I am So Thankful," and "My Angel" (thywordcreations.org) with our memory verse Psa.91:15 "I will be with him in trouble."Recorded and produced by: Ashley B. LarsonDon't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.comThe Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317.If you would like to purchase your own Memory Verse CD or Songbook, go to Ouachita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=).If you would like to purchase the full Scripture Songs and Little Lessons CD, go to thehomeplace.org.Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little LessonsAll Bible verses are from the NKJV.Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonEditing assist: Dillon Austin and Josh LarsonMusic Recording and Editing: Rachel Nelson and Kristy HallColoring Pages: Rachel Lamming, Lily Canada, and Evie RodriguezTheme Music: Lindsey Mills- www.lindseymillsmusic.com God: who gives talents for us to use for Him

Darren Styles, born Darren Mew (1975 in Colchester, Essex, England) is a Hardcore DJ, Record Producer and Song Writer.Darren has been on the dance scene for over 13 years despite, having started DJ-ing in the world of underground Hardcore at just 16. He started producing and writing tracks with Paul Force in 1993...rapidly becoming two of the biggest names on a new scene which was just beginning. Over the next few years they continued writing and producing together and were responsible for a host of Hardcore classics – they were the first hardcore DJ's to produce a Mix for Pete Tong's Essential Mix on Radio One. They gained awards as best producers, best DJ's and best tracks in numerous Hardcore Awards.Encouraged from an early age by his father, an avid blues fan, Darren had always possessed a passionate craving for music. Many late nights were spent enthusiastically mastering his natural ability on the keyboard, engineering it into an undisputed skill whilst developing his own style, ever inspired by Dance music.Armed with this passion and well-earned musical talent, this 16 year old with serious ambition was to become one of the biggest ever names in the Hardcore arena, which he did with his releases “Back to the old school” and “Feeling Me”. Now Darren makes seriously uplifting hard trance with his single “Black Magic” and has made remixes for labels like Honey Pot and Nukleuz Records with his biggest hit being his stellar remix of “Silence” which was canned by the likes of Paul van Dyk.Aliases name – Stylesplay with groups – 4 Rising Stars, 69, A Sense Of Summer, Force & Styles, Futureworld, Infextious, Styles & Breeze, Unique, United In Dance **TRACKLIST** * N-Force V Darren Styles - Right By Your Side (Re-Con Remix) * Darren Styles & Francis Hill - Come Running * Darren Styles - Skydivin' * Styles & Breeze - I Will Be * Darren Styles - Getting Better (Re-Con Remix) * Styles & Breeze - Black Magic, Bad Magic * Hixxy & Styles - Happiness * Darren Styles - Takin' Me Higher * Darren Styles & Francis Hill ft. Lucy - Here Tonight * Styles & Breeze - Slide Away (Original Mix) * Breeze & Styles - You're Shining * Styles, Breeze & Re-Con - Love Garden * Darren Styles - Cuttin' Deep * Force & Styles - Follow Me (Styles & Breeze Remix) * Breeze & Styles - Heart Beats * Hixxy & Styles - The Theme * Styles & Breeze - Oxygen * Hixxy & Styles - Rushins * Breeze & Styles - 2 The Dancefloor * Darren Styles - Drop Zone * Hixxy & Styles - Elevate * Styles & Breeze - You're My Angel

I had the pleasure of speaking again with LaJune Singleton recently, and we had fun catching up. LaJune is an incredible health and nutrition coach, lifestyle coach and author. She is a Board Certified Health & Wellness Coach, and provides the tools you need to redefine your mind so that you can create the space necessary for important positive shifts in your health and wellness. In November and December of 2022, she had zoom meetings about breaking bad habits. Her first book, Releasing my Trauma – the Root of Self-Sabotage, can be found everywhere books are sold, and her second book, to be released soon, is called My Daddy is My Angel. After our first podcast, LaJune inspired me to lose some of the weight I gained during quarantine and when I let her know on LinkedIn, she was extremely supportive! The below is taken directly from her website: HOW I WILL ASSIST YOU WITH IMPROVING YOUR BOARD CERTIFIED HEALTH AND WELLNESS As your BOARD CERTIFIED HEALTH COACH, here are the TOP FIVE areas I will coach you in: 1. IDENTIFYING YOUR HEALTH VISION AND GOALS SO YOU CAN GET FOCUSED 2. CREATING A DETAILED ACTION PLAN FOR ACHIEVING YOUR HEALTH GOALS 3. KEEPING YOU ACCOUNTABLE TO ACHIEVING YOUR GOALS 4. CELEBRATING YOUR ACHIEVEMENTS AS YOU REACH IMPORTANT MILESTONES 5. PROVIDING ONGOING SUPPORT AND ENCOURAGEMENT AS YOU NAVIGATE THE PROCESS LaJune's contact information is: www.lajunesingleton.com www.instagram.com/iamlajunesingleton www.linkedin.com/in/lajune-singleton and a youtube achannel – you will have to google that one! --- Support this podcast: https://anchor.fm/michelemarotta/support

Episodio emitido el 5 de febrero de 2023 en www.rockinvasionradio.com Playlist: Lockhart – No Chance In Heaven Sortilège – Derrière les portes de Babylone Chevalier – Into the Dragon’s Lair Trezor – Brana do pekel Estertor – Worship the Black Goat Nuclear Revenge – Agonic Tormentor Setherial – Summon the Lord with Horns Hexorcist – Veneration of Irreverence Ashen – Ritual Desultory – Tears Hellcrash – Okkvlthammer Iron Curtain – Metal Gladiator Atom Smasher – The Law Air Raid – Thunderblood Rock Goddess – My Angel ¿Te gusta el programa? ¡Déjame una propina aquí!: https://ko-fi.com/rockinvasionradio

MiniMini lessons in song help review the story how God rescued Peter in prison: "My God is So Great", "My Angel", and "Faith is the Victory". Memory Verse Acts 5:19, "An Angel of the Lord opened the prison doors."Recorded and produced by: Ashley B. LarsonDon't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.comThe Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317.If you would like to purchase your own Memory Verse CD or Songbook, go to Ouchita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=).If you would like to purchase the full Scripture Songs and Little Lessons CD, go to thehomeplace.org.Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little LessonsAll Bible verses are from the NKJV.Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonEditing assist: Dillon Austin and Josh LarsonMusic Recording and Editing: Rachel Nelson and Kristy HallColoring Pages: Rachel Lamming, Lily Canada, and Evie RodriguezTheme Music: Lindsey Mills- www.lindseymillsmusic.com God: who gives talents for us to use for Him

Pastor Lowell Nelson teaches on Exodus 33: 1-6 "The Command to Leave Sinai" on 11/21/2022 for our Upper Room Bible Study. Exodus 33:1-6 The Command to Leave Sinai 33 Then the Lord said to Moses, “Depart and go up from here, you and the people whom you have brought out of the land of Egypt, to the land of which I swore to Abraham, Isaac, and Jacob, saying, ‘To your descendants I will give it.' 2 And I will send My Angel before you, and I will drive out the Canaanite and the Amorite and the Hittite and the Perizzite and the Hivite and the Jebusite. 3 Go up to a land flowing with milk and honey; for I will not go up in your midst, lest I consume you on the way, for you are a stiff-necked people.” 4 And when the people heard this bad news, they mourned, and no one put on his ornaments. 5 For the Lord had said to Moses, “Say to the children of Israel, ‘You are a stiff-necked people. I could come up into your midst in one moment and consume you. Now therefore, take off your [c]ornaments, that I may know what to do to you.' ” 6 So the children of Israel stripped themselves of their ornaments by Mount Horeb.

Pastor Lowell Nelson teaches on Exodus 32: 30-35 "Sin and Atonement" on 11/14/2022 for our Upper Room Bible Study. Exodus 32:30-35 30 Now it came to pass on the next day that Moses said to the people, “You have committed a great sin. So now I will go up to the Lord; perhaps I can make atonement for your sin.” 31 Then Moses returned to the Lord and said, “Oh, these people have committed a great sin, and have made for themselves a god of gold! 32 Yet now, if You will forgive their sin—but if not, I pray, blot me out of Your book which You have written.” 33 And the Lord said to Moses, “Whoever has sinned against Me, I will blot him out of My book. 34 Now therefore, go, lead the people to the place of which I have spoken to you. Behold, My Angel shall go before you. Nevertheless, in the day when I visit for punishment, I will visit punishment upon them for their sin.” 35 So the Lord plagued the people because of what they did with the calf which Aaron made.

去一座小城参加朋友的婚礼，也难得从都市生活中逃离了几天——很久没见的朋友们走在不同的轨道上，交集虽然短暂，却依然有说不完的话。几个三十多岁的人走在高中校园里，迎面走来一些稚气未脱的面庞，这边与那边同样是两个男生三个女生，仿佛在落日时分形成了一种呼应，过去与现在，此刻与未来。 连这一期节目中挑选的歌曲，仿佛也装下了好多漂亮的回忆。 曲目单： (00:22) Alabama Shakes - Be Mine (05:17) Pinegrove - Old Friends (08:32) 傻子与白痴 - Pinky Sunset (13:30) Nulbarich - Magic Ways (17:53) The Four Seasons - December, 1963 (Oh What a Night!) (21:56) 韦礼安 - 两脚书橱的逃亡 (25:29) Jason Mraz - Curbside Prophet (29:36) The Beatles - Something (32:35) 缓缓 - 拥挤的城市还开着灯 (37:11) Snow Patrol - The Planets Bend Between Us (41:17) She & Him - Lotta Love (45:30) Billy Joel - Lullabye (Goodnight, My Angel) (48:55) Sufjan Stevens - Mystery of Love (52:57) Amy Winehouse - Love Is A Losing Game (Live From The Mercury Prize Awards, 2007) (55:28) 宫阁 - 人间会一如平常 → 选曲/撰稿/配音/制作/包装：方舟 → 主题音乐：Yu Su → 题图版式：六花 → 私信/合作联络： 微博/网易云/小宇宙/汽水儿 @线性方舟 → Key Change 随便听歌的分号《KC Jukebox》 → 《周末变奏》WX听友群敲门群主：aharddaysnight

"Mini: Let's review the story of angels protecting Elisha with the songs: "The Lord's Army", "Oh, I am So Thankful,"and "My Angel" (thywordcreations.org) with our memory verse Psa.91:15 "I will be with him in trouble."Recorded and produced by: Ashley B. LarsonDon't forget to check out the coloring pages that go along with each lesson! https://startingwithjesus.com/spb-cp/If you have enjoyed this program and would like to know more, go to our website: www.startingwithjesus.comThe Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317.If you would like to purchase your own Memory Verse CD or Songbook, go to Ouchita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=).If you would like to purchase the full Scripture Songs and Little Lessons CD, go to thehomeplace.org.Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little LessonsAll Bible verses are from the NKJV.Singers for this Quarter: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonEditing assist: Dillon Austin and Josh LarsonMusic Recording and Editing: Rachel Nelson and Kristy HallColoring Pages: Rachel Lamming, Lily Canada, and Evie RodriguezTheme Music: Lindsey Mills- www.lindseymillsmusic.com God: who gives talents for us to use for Him

"I exhort…….that…intercessions..be made." 1Ti 2:1 NKJVPaul writes: "I exhort…that…intercessions…be madefor all men, for kings and all who are in authority, thatwe may lead a quiet and peaceable life in all godlinessand reverence. For this is good and acceptable in thesight of God our Savior, who desires all men to besaved and to come to the knowledge of the truth" (vV.1-4 NKJV). Intercession means "to mediate betweenparties with a view to reconciling those who differ orcontend." It happens every day in the court systemwhen lawyers intercede on behalf of their clients. Italso happened in Scripture. When Israel made agolden calf and worshiped it, Moses interceded withGod on their behalf, saying: "Oh, these people havecommitted a great sin...Yet now, if You will forgive theirsin-but if not, I pray, blot me out of Your book whichYou have written" (Ex 32:31-32 NKJV). And it worked.God told Moses, "Go, lead the people to the place ofwhich I have spoken to you. Behold, My Angel shall gobefore you" (v. 34 NKJV). Later when Israel turnedagain to worship false gods, Samuel said, "Gather allIsrael to Mizpah, and I will pray [intercede] to the Lordfor you" (1Sa 7:5 NKJV). As a result, the Lord sent aloud thunder upon the Philistines that day, and soconfused them that they were defeated before Israel(See 1Sa 7:10 NKJV). Interceding can be a lonelybusiness, and it's also hard work: "Always laboringfervently for you in prayers, that you may standperfect and complete in all the will of God" (Col 4:12NKJV). But when nothing else works, intercessoryprayer does!When nothing else works, intercessory prayer does!Instacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://rccgvtchantilly.buzzsprout.com/)

David Rose Orchestra medley My Heart At Thy Sweet Voice, Dance For Harpsichord, Carry Me Back To Old Virginia. Maxine Gray Sings Do I Worry. The Orchestra with Mucho and Melody in F. Maxine with My Angel. Rose concludes with his Plantation Moods.

Lullabye (Goodnight, My Angel) is the seventh song on River of Dreams. Lullabye was released as the fourth and final single from the album and only made it to number 77 on the charts. Everyone loves this song except Dave who compares it to the scene in "A Clockwork Orange" where it make him physically sick. Which, of course, makes this, an epic episode. See acast.com/privacy for privacy and opt-out information.

Mini lessons in song help review the story how God rescued Peter in prison: "My God is So Great", "My Angel", and "Faith is the Victory". Memory Verse Acts 5:19, "An Angel of the Lord opened the prison doors." CreditsProduced and recorded by: Ashley B. Larson. Contact: Ashley@StartingWithJesus.com If you have enjoyed this program, would like to know more, or keep in touch with us, go to our website: startingwithjesus.com/seedpod The Bible and nature story material used in today's devotional podcast has been used with permission from My Bible First. If you would like your own copy, please visit their website-or call 1-877-242-5317. If you would like to purchase your own Memory Verse CD or Songbook, go to Ouchita Hills Store (https://www.ouachitahillsacademy.org/store?page=1&store_category_id=0&sort_by=title&is_ascending=1&search=). If you would like to purchase the full Scripture Songs and Little Lessons CD, go to Thehomeplace.org. Thy Word Creations songs by Linda McCabe, Jennifer Schwarzer. You can purchase cds and songbooks at thywordcreations.com. Songs from: Little Voices Praise Him, SDA Hymnal, Sabbath Songs For Tiny Tots, New Sabbath Songs For Tiny Tots, Memory Verse Verse Songs for Cradle Roll, Children's Songs For Jesus, and Scripture Songs and Little Lessons All Bible verses are from the NKJV. Special Thanks to children helpers forBible Readings, closing prayers, and lesson interaction: Audrey and Heidi Larson, Kent and Patience Rose, Dylan Johnson, Benjamin, Ezekiel and Issac Whitt, Emma Erasmus, Sam Rebello, Issac Andres, Cora and Eliza Raquepaw Singers: Tory, Caleb, and Enoch Hall, Hudson Reeves, Michael and Amy NelsonRachel Nelson & Kristina Hall: Music Recording and EditingRachel Lamming: story coloring pages Joy Canada and Evie Rodriquez: coloring pagesGod: who gives talents for us to use for Him

But to which of the angels said he at any times, Sit on my right hand, until I make thine enemies thy footstool? Are they not all ministering spirits, sent forth to minister for them who shall be heirs of salvation? (Hebrews 1:13-14) 30 Here not long ago, a man met me; he said, “Brother Branham, I tried to search your ministry, your teaching, but there's only thing…” and this a full Gospel brother. He said, “There's only one thing that you make a mistake in.” He said, “That is: talking about an Angel.” Said, “That's God.” I said… He said, “There's no Angels of the New Testament. Angels was of the Old Testament.” Said, “Daniel had Angels, and so forth, that followed him, and the old prophets and so forth. But in the New Testament the Holy Spirit governs and leads the Church.” I said, “You're correct. The Holy Spirit does. But still we have Angels which are ministering Spirits sent from God.” And he said, “Not in the New Testament, Brother Branham.” And I said, “Yes.” I said, “How about the Angel Gabriel with Mary?” Said, “That was before Pentecost.” I said, “Then you mean after Pentecost?” He said, “Yes.” I said, “Do you believe that Philip had the Holy Ghost?” He said, “Sure.” I said, “Who was It that called him away from that big revival down there and sent him out into the—the desert, Gaza, then? What was it? Was it the Holy Ghost or was It the Angel of the Lord?” It was the Angel of the Lord. 31 I said, “Who would doubt, but what that great Saint Peter had the baptism of the Holy Ghost? You believe that, don't you? And when he was in jail that night, and they was going to behead him the next morning, and down at John Mark's house was having a prayer meeting, Who was it come in like a big Pillar of Light and shined in on him, and loosened him up? Was it the Holy Ghost? No, sir. It was the Angel of the Lord.” That's right. Who would say that Saint Paul didn't have the Holy Ghost? And out there on that ship, and it waterlogged, fourteen days and nights no moon or stars, and all hopes they'd ever be saved was gone. And he went down in the gallery to pray, and when he come back out, said, “Be of a good courage, for the Angel of God, Whose servant I am, stood by me last night, saying, ‘Fear not, Paul. Thou must be brought before Caesar, and lo, God has give all these that sail with you to you.'” Said, “Wherefore, be of a good courage. For I believe God, that'll be just as He told me.” Amen. Paul had the Holy Ghost. 32 And look the whole Book of Revelations was wrote, sent, a Message by an Angel. “I, Jesus, have sent My Angel to signify these things which must shortly come to pass.” Now, a true angel, you're going to throw back Joseph Smith and so forth, to me. But, watch. It don't work with the Scripture. A real true Angel will come and vindicate this Scripture to the dot. Yes, sir. Notice, that John fell down and wanted to worship that Angel. And He said, “See that you do it not, for I am thy fellow, thy fellow servants, and of the prophets worship God.” A true Angel won't be worshiped. It's not worship of Angels; it's a ministry of Angels that comes from God. Now, these minor Angels comes, perhaps, it's Angels with us, or comes to your—your humble servant. And that's probably a minor Angel. But when Gabriel comes, brother, there's something really on the road, something major going to happen. May… Gabriel announced the first coming of the Lord Jesus, and Gabriel will announce the second coming of the Lord Jesus. Amen. 55-0612 - "The Presence Of The Lord Jesus" Rev. William Marrion Branham ---------------------------------------------------------------------------------- Order your own copy of the Family Altar at http://store.bibleway.org --- Send in a voice message: https://anchor.fm/ten-thousand-worlds/message Support this podcast: https://anchor.fm/ten-thousand-worlds/support

Actress/singer/songwriter/producer Sarah Schroeder-Matzkin talks about her latest project “Not Alone” featuring “Look to the Stars” along with how she started growing up in Idaho as the youngest of 8 children, her collaboration with her brother Kelly Schroeder, played basketball in Australia, and had a featured role in the 2006 release with Christopher Plummer “Man In The Chair”! Sarah also talks about music including “Betrayal”, “My Angel”, etc., and was executive producer in “Bloodshot” with Vin Diesel and ”The Tax Collector” with Shia LaBeouf and a Golden Globe winner for best original screenplay! Check out the amazing Sarah Schroeder-Matzkin on all streaming platforms and www.imdb.com/name/nm1038151 ! #kellyschroeder #maninthechair #sarahschroeder #sarahschroedermatzkin #notalone #looktothestars #christopherplummer #betrayal #myangel #basketball #australia #bloodshot #vindiesel #thetaxcollector #shialebouf #goldenglobe #amazon #audible #iheartradio #spreaker #spotify #itunes #googleplay #applemusic #youtube #anchorfm #mikewagner #themikewagnershow #mikewagnersarahschroedermatzkin #themikewagnershowsarahschroedermatzkin --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

Actress/singer/songwriter/producer Sarah Schroeder-Matzkin talks about her latest project “Not Alone” featuring “Look to the Stars” along with how she started growing up in Idaho as the youngest of 8 children, her collaboration with her brother Kelly Schroeder, played basketball in Australia, and had a featured role in the 2006 release with Christopher Plummer “Man In The Chair”! Sarah also talks about music including “Betrayal”, “My Angel”, etc., and was executive producer in “Bloodshot” with Vin Diesel and ”The Tax Collector” with Shia LaBeouf and a Golden Globe winner for best original screenplay! Check out the amazing Sarah Schroeder-Matzkin on all streaming platforms and www.imdb.com/name/nm1038151 ! #kellyschroeder #maninthechair #sarahschroeder #sarahschroedermatzkin #notalone #looktothestars #christopherplummer #betrayal #myangel #basketball #australia #bloodshot #vindiesel #thetaxcollector #shialebouf #goldenglobe #amazon #audible #iheartradio #spreaker #spotify #itunes #googleplay #applemusic #youtube #anchorfm #mikewagner #themikewagnershow #mikewagnersarahschroedermatzkin #themikewagnershowsarahschroedermatzkin

Purusha Rivera is the President of My Baby's Heartbeat Bear and My FurBaby's Heartbeat Bear located, where else but Bear, Delaware. A lifelong passion for children led her on a journey to a career in pregnancy sonograms and a life full of three happy children at home. After graduating in 2000 with a degree in Diagnostic Medical Sonography, Purusha became a Registered Diagnostic Medical Sonographer specializing in OB/GYN. With a determined spirit, and a heart for the trade, she paved her way into the medical pregnancy community. In 2009, Purusha discovered the amazing bears that record a baby's heartbeat while in utero. She was working as a private contractor after 8 years working in a hospital and decided to go the contractor route so she could spend more time with her children and focus on my dream – providing expecting mothers with the ultrasound experience she thought they deserved. Part of that included creating a memory that would last a lifetime, one that each mother could hold near and dear to her heart – her baby's heartbeat. Purusha started offering the bears to her patients and they loved them! It didn't take long before grandparents–to-be, other family members, and friends started purchasing the bears as gifts for expecting mothers. Big siblings wanted in on the bears too! Purusha began recording their sweet little voices sending messages to their soon-to-be baby sibling. The My Baby's Heartbeat Bear kit comes with an adorable stuffed animal and a red “heart” recorder. A second recorder can be ordered to include a voice message from someone special. Purusha says, “This journey is still in its infancy. As we are growing and expanding each day. I will always celebrate the joy that this gift brings to expecting families. I love what I do, and that I am surrounded by family each day of work. I am blessed to have found my passion, pursued it, and am able to share it with the world. I hope that My Baby's Heartbeat Bear can bring you as much happiness as it's brought me and my family.” Learn more about My Baby's Heartbeat Bear and all of the plush animals Purusha currently sells by checking out her website: https://www.mybabysheartbeatbear.com/ Learn more about My Angel's Heartbeat Bear at their website: https://myangelsheartbeatbear.com/ Animal lovers can learn more about the My FurBaby's Heartbeat Bears on their companion website: https://myfurbabysheartbeatbear.com/

Special investigator Gary Revel discusses his inquiry into the assassination of Martin Luther King Jr. The fascinating story of his investigation and what he unearthed became the inspiration for the original song, They Slew the Dreamer was briefly included in his recent book, To Live or Maybe Not. Now, his remarkable journey is being developed into a motion picture, They Slew the Dreamer: MLK-The Gary Revel Story. Gary Revel, whose extraordinary history of investigations into the killings of MLK, JFK and RFK make him a compelling guest. Revel is also a songwriter, musician and author. “The worst times in our lives are often roads to the best times, waiting ahead. Stay safe and prayerful, as you find your way into tomorrow.” – Gary Revel A single bullet silenced the voice, but not the dream, of Martin Luther King Jr. on April 4, 1968. Whether or not James Earl Ray pulled the trigger and why has been the subject of speculation for more than five decades. In 1977, 27-year-old special investigator Gary Revel, in association with the House Select Committee on Assassinations, launched his own search for the unvarnished truth about King's assassination. Danger, intrigue and murder followed. Revel's journey took him into Brushy Mountain Prison, where he met and became a personal confidant to the accused assassin, James Earl Ray. From there, Revel followed the clues wherever they led, including Memphis, Tennessee; New Orleans, Louisiana; Miami, Florida; and other undisclosed locations. Along the way, Revel had to navigate chaotic twists and turns as he uncovered information pointing to what he refers to as the involvement of organized crime and the highly placed people in the U.S. government. Revel also lost his younger brother and an associate to murder during his investigation. The captivating story of his investigation and what he unearthed is now being developed into a feature motion picture, They Slew the Dreamer: MLK-The Gary Revel Story. Revel's quest for the truth also became the inspiration for the song, “They Slew the Dreamer,” and is introduced in his book, To Live or Maybe Not. More than 30 years after his investigation into Martin Luther King Jr.'s death, Revel continues to “shine the light of truth into the darkest halls of injustice”; and finds he can't quit until the world knows what he found. Songwriter, musician, author and special investigator Gary Revel was born in Florala, Alabama, and he formed his first band when he was 15. In the midst of a promising career in music, Revel found himself investigating the assassination of Martin Luther King Jr. in association with the U.S. government's House Select Committee on Assassinations. Revel continues to release and distribute music via his Jongleur Music company as well as developing motion pictures via his Jongleur Pictures company. He is also the author of My Angel from Heaven, Milestones, Grempk and Don't Stop Dancing: Stranger Than Fiction, his investigation into the life of Michael Jackson. Gary is also founder of Mother Nature Festival Live Inc., a 501(c)3 nonprofit corporation. For more information, please visit http://garyrevel.com/. To hear or to download the song, “They Slew the Dreamer,” please visit https://garyrevel.com/theyslewthedreamer.html. To Live or Maybe Not Publisher: Jongleur Books ISBN-13: 978-1097923304 ISBN-10: 1097923304 Available from Amazon.com About the show: ► Website: http://www.ashsaidit.com ► Need Goli Gummies? https://go.goli.com/1loveash5 ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH584216 ►For discount Pangea Products: https://embracepangaea.grsm.io/ashsaiditmedia3226 ► Want the ‘coldest' water? https://thecoldestwater.com/?ref=ashleybrown12 ► Become A Podcast Legend: http://ashsaidit.podcastersmastery.zaxaa.com/s/6543767021305 ► Review Us: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ► SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ► Instagram: https://www.instagram.com/1loveash ► Facebook: https://www.facebook.com/ ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog ► Pinterest: https://www.pinterest.com/1LoveAsh/ ► Newsletter: manage1.com/subscribe?u=2a2ca3b799467f125b53863http://ashsaidit.us11.list-c8&id=a6f43cd472 #atlanta #ashsaidit #ashsaidthat #ashblogsit #ashsaidit® Ash Brown is a gifted American producer, blogger, speaker, media personality and event emcee. The blog on AshSaidit.com showcases exclusive event invites, product reviews and so much more. Her motivational podcast "Ash Said It Daily" is available on major media platforms such as iTunes, iHeart Radio & Google Play. This program has over half a million streams worldwide. She uses these mediums to motivate & encourage her audience in the most powerful way. She keeps it real!

Special investigator Gary Revel discusses his inquiry into the assassination of Martin Luther King Jr. The fascinating story of his investigation and what he unearthed became the inspiration for the original song, They Slew the Dreamer was briefly included in his recent book, To Live or Maybe Not. Now, his remarkable journey is being developed into a motion picture, They Slew the Dreamer: MLK-The Gary Revel Story. Gary Revel, whose extraordinary history of investigations into the killings of MLK, JFK and RFK make him a compelling guest. Revel is also a songwriter, musician and author. “The worst times in our lives are often roads to the best times, waiting ahead. Stay safe and prayerful, as you find your way into tomorrow.” – Gary Revel A single bullet silenced the voice, but not the dream, of Martin Luther King Jr. on April 4, 1968. Whether or not James Earl Ray pulled the trigger and why has been the subject of speculation for more than five decades. In 1977, 27-year-old special investigator Gary Revel, in association with the House Select Committee on Assassinations, launched his own search for the unvarnished truth about King's assassination. Danger, intrigue and murder followed. Revel's journey took him into Brushy Mountain Prison, where he met and became a personal confidant to the accused assassin, James Earl Ray. From there, Revel followed the clues wherever they led, including Memphis, Tennessee; New Orleans, Louisiana; Miami, Florida; and other undisclosed locations. Along the way, Revel had to navigate chaotic twists and turns as he uncovered information pointing to what he refers to as the involvement of organized crime and the highly placed people in the U.S. government. Revel also lost his younger brother and an associate to murder during his investigation. The captivating story of his investigation and what he unearthed is now being developed into a feature motion picture, They Slew the Dreamer: MLK-The Gary Revel Story. Revel's quest for the truth also became the inspiration for the song, “They Slew the Dreamer,” and is introduced in his book, To Live or Maybe Not. More than 30 years after his investigation into Martin Luther King Jr.'s death, Revel continues to “shine the light of truth into the darkest halls of injustice”; and finds he can't quit until the world knows what he found. Songwriter, musician, author and special investigator Gary Revel was born in Florala, Alabama, and he formed his first band when he was 15. In the midst of a promising career in music, Revel found himself investigating the assassination of Martin Luther King Jr. in association with the U.S. government's House Select Committee on Assassinations. Revel continues to release and distribute music via his Jongleur Music company as well as developing motion pictures via his Jongleur Pictures company. He is also the author of My Angel from Heaven, Milestones, Grempk and Don't Stop Dancing: Stranger Than Fiction, his investigation into the life of Michael Jackson. Gary is also founder of Mother Nature Festival Live Inc., a 501(c)3 nonprofit corporation. For more information, please visit http://garyrevel.com/. To hear or to download the song, “They Slew the Dreamer,” please visit https://garyrevel.com/theyslewthedreamer.html. To Live or Maybe Not Publisher: Jongleur Books ISBN-13: 978-1097923304 ISBN-10: 1097923304 Available from Amazon.com About the show: ► Website: http://www.ashsaidit.com ► Need Goli Gummies? https://go.goli.com/1loveash5 ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH584216 ►For discount Pangea Products: https://embracepangaea.grsm.io/ashsaiditmedia3226 ► Want the ‘coldest' water? https://thecoldestwater.com/?ref=ashleybrown12 ► Become A Podcast Legend: http://ashsaidit.podcastersmastery.zaxaa.com/s/6543767021305 ► Review Us: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ► SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ► Instagram: https://www.instagram.com/1loveash ► Facebook: https://www.facebook.com/ ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog ► Pinterest: https://www.pinterest.com/1LoveAsh/ ► Newsletter: manage1.com/subscribe?u=2a2ca3b799467f125b53863http://ashsaidit.us11.list-c8&id=a6f43cd472 #atlanta #ashsaidit #ashsaidthat #ashblogsit #ashsaidit® Ash Brown is a gifted American producer, blogger, speaker, media personality and event emcee. The blog on AshSaidit.com showcases exclusive event invites, product reviews and so much more. Her motivational podcast "Ash Said It Daily" is available on major media platforms such as iTunes, iHeart Radio & Google Play. This program has over half a million streams worldwide. She uses these mediums to motivate & encourage her audience in the most powerful way. She keeps it real!

James Lott Jr connects with one of the producers of the Oscar Nominated Film The Trial of the Chicago 7! Sarah Schroeder-Matzkin: actress, singer, songwriter, and producer, known for “Man in the Chair” (2006). Creativity and entertainment was sparked in Sarah from a very young age. During her high school years, she worked with her brother Kelly Schroeder, who was a director, AD, and producer for TV and film. She later went to college on an academic and basketball scholarship, graduating with a BA in Finance. Throughout college and several years after in Australia, she modeled for Quick Silver, Hot Tuna and Billabong and played professional basketball for the Perth Eagles. Arriving back in the United States she started a Finance company, flourishing throughout the Northwest.Sarah’s career pivoted in 2006 with a role in “Man in the Chair” starring Christopher Plummer. She also served as a producer. This film motivated her to sell her finance company in 2008, so she could focus full time on acting, singing and producing. Recently Sarah completed a short film, “Unfortunate Circumstances” that she co-wrote, produced and starred in opposite Gena Rowlands. She was then casted and starred in the film “Not Alone” also starring Pat Healy and Richard Lawson. She also was asked to sing the song “Look Too the Stars” which plays during the end credits of the movie Not Alone. In 2020 she recorded “Betrayal” and “My Angel”. In 2020 she recorded music videos for her songs Look too the Stars and Betrayal, set to release 2021. On the movie front in 2020 she Executive produced “Bloodshot”, starring Vin Diesel, “The Tax Collector”, starring Shia LeBouf, directed and written by David Ayer. “Not Alone” Trailer https://youtu.be/zRM-j9ysI2gSarah Schroeder- Matzkin IMDbhttps://www.imdb.com/name/nm1038151/?ref_=fn_al_nm_1 Sarah Schroeder- Matzkin EPKhttps://youtu.be/HQjvtff8dEwFollow: FB / IG Sarah Schroeder Matzkin #oscars #thetrialsofchicago7 #sarahschroeder

On this episode, we sit down with Shaniece Brown. With deep roots in the community, we discuss her experience growing up in Beacon and her journey to becoming a successful entrepreneur in home care and health services. To learn more about My Angel's Homecare visit their website here: https://myangelshomecare.org --- Send in a voice message: https://anchor.fm/iambeacon/message Support this podcast: https://anchor.fm/iambeacon/support

原唱：戴佩妮 曲名：一九九九 作詞：戴佩妮 作曲：戴佩妮 編曲：戴佩妮/吳慶隆/劉寶龍 翻唱：me 翻唱製作：me 1999那年將要畢業之際我做了一個決定決定要帶著我的guitar到很遠的地方去 朋友聽到這個消息之後都紛紛做出回應不斷的給我鼓勵給我提醒給我追逐的勇氣 他們說雖然我的個性太過直率太過任性又不懂得掩飾情緒容易就傷了和氣 但是夢想若能成真是件很快樂的事情應該別顧慮太多去跨越自己 Good bye My Angel再見了天使的心我和我未知的夢要離開這裡 Good bye My Angel再見了天使的心我會帶著一個答案回來這裡 就在離家不久之後我的媽媽生了一場大病但他們卻企圖隱瞞我不讓我擔心 每次打電話回家的時候我媽媽總是哭泣別的通通一字不提只叫我多照顧自己 她說我一個人在外別總是粗心大意記得別挨餓記得休息別累壞自己 還說記得天氣變冷時多加件外衣若想家的時候就放聲哭泣 Good bye My Angel再見了天使的心我和我未知的夢要離開這裡 Good bye My Angel再見了天使的心我會帶著一個答案回來這裡 回來這裡1999 1999回到那裡 口白： 在1999年的時候我第一次帶著這麼多的行李離開我生長的地方 還記得要飛的那一天並沒有很多的朋友來送我 因為我不喜歡送別的場面也承受不了那種很捨不得的目光 當飛機起飛的那一瞬間我心裡有一種很深很深的感覺 感覺就像我離開了我的天堂離開了守護著我的天使而家就是天堂 你們就是我的天使謝謝你們不管未來的路是怎樣 那一年有你們的支持我想我是幸運的 Powered by Firstory Hosting

This week, we have a super energetic (!) discussion about a few songs that are incredibly meaningful to us. Songs discussed are John Mayer’s “Slow Dancing in a Burning Room,” Billy Joel’s “Lullabye (Goodnight, My Angel)”, and “West Virginia,” by The Front Bottoms. Connect with Us: Email us with questions, comments and recommendations for future episode topics → whatislifedudeshow@gmail.com Sarah’s Instagram → https://www.instagram.com/thesarahsullivan/ Eric’s Instagram → https://www.instagram.com/theericames/ Cute Threat’s Instagram → https://www.instagram.com/cutethreat/ --- Support this podcast: https://anchor.fm/whatislifedude/support

Good afternoon everyone, this is Denise Gardiner owner of Health Becomes Fitness Podcast, and today I am interviewing Brenda Garza West on her Keto Diet Journey in Episode 6. Brenda is a proud "Home-Grown" Texas girl. She was born in El Campo, Texas a very small town that is about an hour's drive outside of Houston. She and her husband of over 24 years have a blended family of three boys. They are now grown with families and wives of their own. Baxter and Riley, are their two little Miniature Schnauzer's who rule the house! She started her blog which she named, “My Angel's Voice in May 2019. With her writing, she shares her stories with the reader along with their many travels, and adventures in their RV. She shares thoughts of inspiration, motivation, family, her favorite things, but more recently her Keto journey. Brenda and I met as fellow bloggers a little over a year ago and became fast friends and supporters of each other. I highly recommend you follow her blog for inspiration! The link to her blog is below, but here is one of the blog posts on the Keto diet: How Keto Changed Me! Key Notes: She will share how her sister-in-law introduced her to the diet. How she and her husband were able to get off certain medications and lost weight with Keto. How they feel better and look better. She mentioned she is back to her weight she was at in high school. This became a lifestyle change, not a diet. She has some great recipes that she will be sharing. Social Media Platforms: Facebook Pinterest Instagram Twitter Blog I want to thank the audience for listening today and hope you found this podcast episode helpful. Feel free to subscribe, like or share this episode, or leave a question or comment, and join our community. Join us again for more interviews and information on health and fitness. Have a blessed day! --- Send in a voice message: https://podcasters.spotify.com/pod/show/denise-gardiner/message

Good evening everyone, this is a special episode that I wanted to post. I actually did a Facebook Live several months ago talking about my diagnosis with epilepsy. I wanted to turn this into a podcast episode so you guys can understand my condition. This weeks episode features an r&b artist name JaMarquis Littlejohn. Everyone please support him as I will play a snippet of his song My Angel. He is available on all music platforms. Hope everyone enjoys!  I Do Not Own The Rights! NO COPYRIGHT INTENDED! My Angel · MarqVince  My Angel  ℗ 2018 MarqVince  Released on: 2018-03-28  SAMHSA's National Helpline, 1-800-662-HELP (4357), or TTY: 1-800-487-4889[The Substance Abuse and Mental Health Services Administration] National Suicide Prevention Lifeline, 1-800-273-TALK (8255)  Support the show (https://cash.app/$lilant89)

Robyn is the author of several young adult novels, including YOU DON’T LIVE HERE, which comes out June 2nd. Robyn can be found on Instagram @robynschneider and Twitter @robynschneider. Her website is robynschneider.com.Mentioned in this Episode:Our Black Lives Matter post with lists and linksOur Modern Minstrelsy by Kekla MagoonBlack Book, TV Show, and Movie Recommendations #BlackOutTuesday by Akilah BrownKristina Forest Believes Black Girls Deserve Happy Endings TooThe Beginning of Everything by Robyn SchneiderExtraordinary Means by Robyn SchneiderInvisible Ghosts by Robyn SchneiderThe Fault in Our Stars by John GreenBuffy the Vampire SlayerGrey’s AnatomyThe West WingSee Jane Write: A Girl’s Guide to Writing Chick Lit by Sarah Mlynowski and Farrin JacobsThe Ten Thousand Doors of January by Alix E. HarrowInfinity Son by Adam SilveraThe Beautiful by Renee AhdiehThe Murderbot Diaries by Martha WellsThe Great on HuluThe Witcher on NetflixThe FavouriteHayao Miyazaki scores on SpotifyZoey’s Extraordinary PlaylistLullaby (Goodnight, My Angel) on Zoey’s Extraordinary PlaylistLullaby (Goodnight, My Angel) original by Billy JoelVeronica MarsThe OCAbout Us:Truer Words is created and produced by Melissa Baumgart and Kathryn Benson. Our music was composed by Mike Sayre, and our logo was designed by Marianne Murphy.You can follow us on Twitter @truerwordspod and on Instagram @truerwordspodcast. Contact us via our website, truerwordspodcast.com, or email us at truerwordspodcast@gmail.com.

Epic failures in life, although they create pain and difficulty for a season, can be the cornerstones of a life of influence and success. There is a calling fulfilled by taking something which may have devastated you or your family, a personal failure or loss, an insurmountable tragedy, and using that as a baseline for helping others who may be going through something similar. Many of you have heard my story. I saw the vast need in the world: countless others who had been abused, raped, tormented by guilt, entangled with emotional connections they could not seem to shake. Tens of thousands have found hope and freedom as a result of me sharing my story, and publishing a book which became accessible around the world. This is also the case of my special guest today! Rebecca Vijay: Rebecca Vijay is an author, blogger, editor, and designer. During a career spanning a decade and a half, after working in various industries, while heading a commissioning team in Oxford University Press when she took a break to spend time with her two kids and explore ways to make a difference. During this break, she started blogging and it reignited her love for writing. In May 2017, she published her first book, My Angel in Heaven, in memory of her firstborn twin son, Jacob. It's a book about finding comfort and hope in HIM in the midst of the grief.   By the grace of GOD, it was a #1 Amazon bestseller on Amazon US, UK, India and Australia!   She is a contributor to an inspirational book, When You're DONE Expecting, which has been written by over 100 moms from around the world. (Also a #1 Amazon bestseller in various countries.)   She published her debut YA novel, Break Free, Super Squad Series, Book 1, about four friends with superpowers, in November last year. (Another #1 Amazon bestseller on Amazon India.)   Rebecca likes working with children and the youth and is a Sunday school and VBS teacher. She is also the Vice President of the Women's Fellowship of her Church and was recently elected as a Pastorate Committee member there.   She is working on starting her own creative services and publishing company that would cater to individuals around the world who would like to self-publish on Amazon and other online platforms. Closing thoughts: EARLY BIRD PRICING ENDS IN JUST A FEW DAYS! Creating and publishing books, audio programs, or even video training courses is not as difficult as you may think. In fact, with a little coaching and training, you will be empowered with the knowledge, systems, and confidence to make it happen. This one-day workshop is designed to provide you exactly that. You'll learn how to leverage your concept or message for maximum impact and effectiveness You'll learn our proven system for writing, publishing, and marketing your books. You'll learn how to use different forms of media to extend the reach of your difference-making message. You will leave the training with a bulletproof plan for becoming a published author And so much more! There are only 50 seats available, and a number of those have already been sold, so you need to secure yours ASAP. If you have ever considered writing a book, creating an audio program, or launching an online course, this is the opportunity for you. I am inviting you to make a decision today … a decision to step up, step out, and say YES to the opportunity you have to make an impact.

20/20: The Power of Vision! Sunday, February 9, 2020 Joshua 1:1-3 NKJV After the death of Moses the servant of the Lord, it came to pass that the Lord spoke to Joshua the son of Nun, Moses’ assistant, saying: 2 “Moses My servant is dead. Now therefore, arise, go over this Jordan, you and all this people, to the land which I am giving to them—the children of Israel. 3 Every place that the sole of your foot will tread upon I have given you, as I said to Moses. Habakkuk 2:1-2 NKJV I will stand my watch And set myself on the rampart, And watch to see what He will say to me, And what I will answer when I am corrected. 2 “Then the Lord answered me and said: “Write the vision And make it plain on tablets, That he may run who reads it." “A man without vision is a man without a future. A man without a future will always return to his past.” “A church without a vision is a church without a future. A church without a future will always try to recreate the past.” Helen Keller was asked “What would be worse than being born blind?” She replied, “The only thing worse than being blind is to have sight without vision.” Vision; the ability to think about or plan the future with imagination or wisdom, (a mental image of what the future will or could be like). Vision comes from the latin Videre, to see. Visio… Verdero, Transliterated video. Vision is an ongoing revelation of God’s will. Vision is never static. It is dynamic, fluid, ever evolving! Proverbs 29:18 18 Where there is no vision, the people perish: but he that keepeth the law, happy is he. NKJV Where there is no revelation, the people cast off restraint; But happy is he who keeps the law. Where there is not ongoing, progressive, prophetic revelation, the people cast off restraint…. Vision = ongoing, progressive, prophetic revelation. Restraint= Guidance. Structure. Path to follow. Law = instruction, direction. body of prophetic teaching. Vision is introduced by the spirit of god. Habakkuk 2:2 2 Then the Lord answered me and said: “Write the vision And make it plain on tablets, That he may run who reads it. Joshua 1:2 “Moses My servant is dead. Now therefore, arise, go over this Jordan, you and all this people, to the land which I am giving to them—the children of Israel.” A vision that is not introduced by The Lord is not a vision from The Lord. Anything you begin on your own, you will have to sustain on your own. Receiving vision; Habakkuk 1:1-3 I will stand my watch And set myself on the rampart, And watch to see what He will say to me, And what I will answer when I am corrected. The Just Live by Faith Meet with The Lord. “I will stand my watch, set myself on a rampart. Look for God to speak. “And watch to see what He will say to me” Oral Roberts “If you can see the invisible, you can do the impossible!” Wait! Believe! “The Just live by faith!” 2 Then the Lord answered me and said:“Write the vision And make it plain on tablets, That he may run who reads it. 3 For the vision is yet for an appointed time; But at the end it will speak, and it will not lie. Though it tarries, wait for it; Because it will surely come, It will not tarry. Vision is birthed from a burden (not ambition). Habakkuk 2:2 was preceded by Habakkuk 1:1 (NKJV) 1 The burden which the prophet Habakkuk saw. A burden leads to a mandate or an assignment. A mandate, when accepted, will give place for God to release the vision. A burden will produce a vision. A burden is the seed that produces vision. The vision is the seed maturing and the manifestation of the vision is the seed being birthed. The vision is how you accomplish the mandate God has given you! Mandate; an official order or commission to do something. Give (someone) authority to act in a certain way. To assign (territory). 3 Every place that the sole of your foot will tread upon I have given you, as I said to Moses. Tread is a military term. It means to march upon. Vision will always includes the presence of god! Joshua 1:5 No man shall be able to stand before you all the days of your life; as I was with Moses, so I will be with you. I will not leave you nor forsake you. Immanuel. God with us. Immanuel is not so much a name of God to be expresses as it is to be a name of God to be experienced! Leave; to stay behind. Forsake; to go ahead of. God would never call you to do anything and then stand back and make you do it on your own. God would never call you to do something and then get so far out in front that you have to catch up on your own. This is God’s promise to us, but I believe it should be our promise to Him as well. Vision will always be lead by the presence of god! Joshua 3:1 Then Joshua rose early in the morning; and they set out from Acacia Grove and came to the Jordan, he and all the children of Israel, and lodged there before they crossed over. 2 So it was, after three days, that the officers went through the camp; 3 and they commanded the people, saying, “When you see the ark of the covenant of the Lord your God, and the priests, the Levites, bearing it, then you shall set out from your place and go after it.” The presence of God is the mark of a God given vision! Exodus 33:1 Then the Lord said to Moses, “Depart and go up from here, you and the people whom you have brought out of the land of Egypt, to the land of which I swore to Abraham, Isaac, and Jacob, saying, ‘To your descendants I will give it.’ 2 And I will send My Angel before you, and I will drive out the Canaanite and the Amorite and the Hittite and the Perizzite and the Hivite and the Jebusite. 3 Go up to a land flowing with milk and honey; for I will not go up in your midst, lest I consume you on the way, for you are a stiff-necked people.” Ex 33:15 15 Then he said to Him, “If Your Presence does not go with us, do not bring us up from here. Vision always requires faith to accomplish. Joshua 1:6 6 Be strong and of good courage, for to this people you shall divide as an inheritance the land which I swore to their fathers to give them. 7 Only be strong and very courageous, that you may observe to do according to all the law which Moses My servant commanded you; do not turn from it to the right hand or to the left, that you may prosper wherever you go. 8 This Book of the Law shall not depart from your mouth, but you shall meditate in it day and night, that you may observe to do according to all that is written in it. For then you will make your way prosperous, and then you will have good success. 9 Have I not commanded you? Be strong and of good courage; do not be afraid, nor be dismayed, for the Lord your God is with you wherever you go.” In Joshua chapter 1 “Be strong and of good courage” occurs 4 times! Joshua 3:4 …that you may know the way by which you must go, for you have not passed this way before.” Vision always inspires and requires commitment from God’s people. Joshua 3: 5 And Joshua said to the people, “Sanctify yourselves, for tomorrow the Lord will do wonders among you.” A God given vision requires both God and man to fulfill!

Welcome to episode forty-seven of A History of Rock Music in Five Hundred Songs. This one looks at “Goodnight My Love” by Jesse Belvin, and at the many groups he performed with, and his untimely death. . Click the full post to read liner notes, links to more information, and a transcript of the episode.  Patreon backers also have a ten-minute bonus podcast, on “In the Still of the Night” by the Five Satins.—-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. My principal source for this episode was this CD, whose liner notes provided the framework to which I added all the other information from a myriad other books and websites, including but not limited to Jackie Wilson Lovers, Marv Goldberg’s website, and Etta James’ autobiography. But as I discuss in this episode this is one of those where I’ve pulled together information from so many sources, a full list would probably be longer than the episode itself. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we begin, a quick content warning. This episode contains material dealing with the immediate aftermath of a death in a car crash. While I am not explicit, this might be upsetting for some. Jesse Belvin is a name that not many people recognise these days — he’s a footnote in the biographies of people like Sam Cooke or the Penguins, someone whose contribution to music history is usually summed up in a line or two in a book about someone else. The problem is that Jesse Belvin was simply too good, and too prolific, to have a normal career. He put out a truly astonishing number of records as a songwriter, performer, and group leader, under so many different names that it’s impossible to figure out the true extent of his career. And people like that don’t end up having scholarly books written about them. And when you do find something that actually talks about Belvin himself, you find wild inaccuracies. For example, in researching this episode, I found over and over again that people claimed that Barry White played piano on the song we’re looking at today, “Goodnight My Love”. Now, White lived in the same neigbourhood as Belvin, and they attended the same school, so on the face of it that seems plausible. It seems plausible, at least, until you realise that Barry White was eleven when “Goodnight My Love” came out. Even so, on the offchance, I tracked down an interview with White where he confirmed that no, he was not playing piano on doo-wop classics before he hit puberty. But that kind of misinformation is all over everything to do with Jesse Belvin. The end result of this is that Jesse Belvin is someone who exists in the gaps of other people’s histories, and this episode is an attempt to create a picture out of what you find when looking at the stories of other musicians. As a result, it will almost certainly be less accurate than some other episodes. There’s so little information about Belvin that if you didn’t know anything about him, you’d assume he was some unimportant, minor, figure. But in 1950s R&B — among musicians, especially those on the West Coast — there was no bigger name than Jesse Belvin. He had the potential to be bigger than anyone, and he would have been, had he lived. He was Stevie Wonder’s favourite singer of all time, and Etta James argued to her dying day that it was a travesty that she was in the rock and roll hall of fame while he wasn’t. Sam Cooke explicitly tried to model his career after Belvin, to the extent that after Cooke’s death, his widow kept all of Cooke’s records separate from her other albums — except Belvin’s, which she kept with Cooke’s. Marv Goldberg, who is by far the pre-eminent expert on forties and fifties black vocal group music, refers to Belvin as the genre’s “most revered stylist”. And at the time he died, he was on the verge of finally becoming as well known as he deserved to be. So let’s talk about the life — and the tragic death — of Mr Easy himself: [Excerpt: Jesse Belvin, “Goodnight My Love”] Like so many greats of R&B and jazz, Belvin had attended Jefferson High School and studied music under the great teacher Samuel Browne, who is one of the great unsung heroes of rock and roll music. One of the other people that Browne had taught was the great rhythm and blues saxophone player Big Jay McNeely. McNeely was one of the all-time great saxophone honkers, inspired mostly by Illinois Jacquet, and he had become the lead tenor saxophone player with Johnny Otis’ band at the Barrelhouse Club, and played on records like Otis’ “Barrel House Stomp”: [Excerpt: Johnny Otis, “Barrel House Stomp”] As with many of the musicians Otis worked with, McNeely soon went on to a solo career of his own, and he formed a vocal group, “Three Dots and a Dash”. Three Dots and a Dash backed McNeely’s saxophone on a number of records, and McNeely invited Belvin to join them as lead singer. Belvin’s first recording with the group was on “All That Wine is Gone”, an answer record to “Drinking Wine Spo-De-O-Dee”. [Excerpt: Big Jay McNeely with Three Dots and a Dash, “All That Wine is Gone”] After recording two singles with McNeely, Belvin went off to make his own records, signing to Specialty Records. His first solo single, “Baby Don’t Go”, was not especially successful, so he teamed up with the songwriter Marvin Phillips in a duo called Jesse and Marvin. The two of them had a hit with the song “Dream Girl”: [Excerpt: Jesse and Marvin, “Dream Girl”] “Dream Girl” went to number two on the R&B charts, and it looked like Jesse and Marvin were about to have a massive career. But shortly afterwards, Belvin was drafted. It was while he was in the armed forces that “Earth Angel” became a hit — a song he co-wrote, and which we discussed in a previous episode, which I’ll link in the show notes. Like many of the songs Belvin wrote, he ended up not getting credit for that one — but unlike most of the others, he went to court over it and got some royalties in the end. Marvin decided to continue the duo without Jesse, renaming it “Marvin and Johnny”, and moved over to Modern Records, but he didn’t stick with a single “Johnny”. Instead “Johnny” would be whoever was around, sometimes Marvin himself double-tracked. He had several minor hit singles as “Marvin and Johnny”, including “Cherry Pie”, on which the role of “Johnny” was played by Emory Perry: [Excerpt: Marvin and Johnny, “Cherry Pie”] “Cherry Pie” was a massive hit, but none of Marvin and Johnny’s other records matched its success. However, on some of the follow-ups, Jesse Belvin returned as one of the Johnnies, notably on a cover version of “Ko Ko Mo”, which didn’t manage to outsell either the original or Perry Como’s version: [Excerpt: Marvin and Johnny, “Ko Ko Mo”] Meanwhile, his time in the armed forces had set Belvin’s career back, and when he came out he started recording for every label, and under every band name, he could. Most of the time, he would also be writing the songs, but he didn’t get label credit on most of them, because he would just sell all his rights to the songs for a hundred dollars. Why not? There was always another song. As well as recording as Marvin and Johnny for Modern Records, he also sang with the Californians on Federal: [Excerpt: The Californians, “My Angel”] The Sheiks, also on Federal : [Excerpt: The Sheiks, “So Fine”] The Gassers, on Cash: [Excerpt: The Gassers, “Hum De Dum”] As well as recording under his own name on both Specialty and on John Dolphin’s Hollywood Records. But his big project at the time was the Cliques, a duo he formed with Eugene Church, who recorded for Modern. Their track, “The Girl in My Dreams” was the closest thing he’d had to a big success since the similarly-named “Dream Girl” several years earlier: [Excerpt: The Cliques, “The Girl in my Dreams”] That went to number forty-five on the pop chart — not a massive hit, but a clear commercial success. And so, of course, at this point Belvin ditched the Cliques name, rather than follow up on the minor hit, and started making records as a solo artist instead. He signed to Modern Records as a solo artist, and went into the studio to record a new song. Now, I am going to be careful how I phrase this, because John Marascalco, who is credited as the co-writer of “Goodnight My Love”, is still alive. And I want to stress that Marascalco is, by all accounts, an actual songwriter who has written songs for people like Little Richard and Harry Nilsson. But there have also been accusations that at least some of his songwriting credits were not deserved — in particular the song “Bertha Lou” by Johnny Faire: [Excerpt: Johnny Faire, “Bertha Lou”] Johnny Faire, whose real name was Donnie Brooks, recorded that with the Burnette brothers, and always said that the song was written, not by Marascalco, but by Johnny Burnette, who sold his rights to the song to Marascalco for fifty dollars — Burnette’s son Rocky backs up the claim. Now, in the case of “Goodnight My Love”, the credited writers are George Motola and Marascalco, but the story as it’s normally told goes as follows — Motola had written the bulk of the song several years earlier, but had never completed it. He brought it into the studio, and Jesse Belvin came up with the bridge — but he said that rather than take credit, he just wanted Motola to give him four hundred dollars. Motola didn’t have four hundred dollars on him, but Marascalco, who was also at the session and is the credited producer, said he could get it for Belvin, and took the credit himself. That’s the story, and it would fit with both the rumour that Marascalco had bought an entire song from Johnny Burnette and with Belvin’s cavalier attitude towards credit. On the other hand, Marascalco was also apparently particularly good at rewriting and finishing other people’s half-finished songs, and so it’s entirely plausible that he could have done the finishing-up job himself. Either way, the finished song became one of the most well-known songs of the fifties: [Excerpt: Jesse Belvin, “Goodnight My Love”] Belvin’s version of the song went to number seven in the R&B charts, but its impact went beyond its immediate chart success. Alan Freed started to use the song as the outro music for his radio show, making it familiar to an entire generation of American music lovers. The result was that the song became a standard, recorded by everyone from James Brown to Gloria Estefan, the Four Seasons to Harry Connick Jr. If John Marascalco *did* buy Jesse Belvin’s share of the songwriting, that was about the best four hundred dollars he could possibly have spent. Over the next year, Belvin recorded a host of other singles as a solo artist, none of which matched the level of success he’d seen with “Goodnight My Love”, but which are the artistic foundation on which his reputation now rests. The stylistic range of these records is quite astonishing, from Latin pop like “Senorita”, to doo-wop novelty songs like “My Satellite”, a song whose melody owes something to “Hound Dog”, credited to Jesse Belvin and the Space Riders, and released to cash in on the space craze that had started with the launch of the Russian satellite Sputnik: [Excerpt: Jesse Belvin and the Space Riders, “My Satellite”] That featured Alex Hodge of the Platters on backing vocals. Hodge’s brother Gaynel Hodge, who like Belvin would form groups at the drop of a hat, joined Jesse in yet another of the many groups he formed. The Saxons consisted of Belvin, Gaynel Hodge, Eugene Church (who had been in the Cliques with Belvin) and another former Jefferson High student, Belvin’s friend Johnny “Guitar” Watson. Watson would later become well known for his seventies “gangster of love” persona and funk records, but at this point he was mostly making hard electric blues records like “Three Hours Past Midnight”: [Excerpt: “Three Hours Past Midnight”, Johnny “Guitar” Watson] But when he worked with Belvin in the Saxons and other groups, he recorded much more straightforward doo-wop and rock and roll, like this example, “Is It True”: [Excerpt: The Saxons, “Is It True”] The Saxons also recorded as the Capris (though with Alex Hodge rather than Gaynel in that lineup of the group) and, just to annoy everyone who cares about this stuff and drive us all into nervous breakdowns, there was another group, also called the Saxons, who also recorded as the Capris, on the same label — at least one single actually came out with one of the groups on one side and the other on the other. Indeed, the side featuring our Saxons had previously been released as a Jesse Belvin solo record. Anyway, I hope in this first half of the story I’ve given some idea of just how many different groups Jesse Belvin recorded with, and under how many different names, though I haven’t listed even half of them. This is someone who seemed to form a new group every time he crossed the street, and make records with most of them, and a surprising number of them had become hits — and “Goodnight My Love” and “Earth Angel” had become the kind of monster perennial standard that most musicians dream of ever writing. And, of course, Belvin had become the kind of musician that most record companies and publishers dream of finding — the kind who will happily make hit records and sell the rights for a handful of dollars. That was soon to change. Belvin was married; I haven’t been able to find out exactly when he married, but his wife also became his songwriting partner and his manager, and in 1958 she seemed to finally take control of his career for him. But before she did, there was one last pickup group hit to make. Frankie Ervin had been Charles Brown’s replacement in Johnny Moore’s Three Blazers, and had also sung briefly with Johnny Otis and Preston Love. While with Brown’s group, he’d developed a reputation for being able to perform novelty cash-in records — he’d made “Dragnet Blues”, which had resulted in a lawsuit from the makers of the TV show Dragnet, and he’d also done his Johnny Ace impression on “Johnny Ace’s Last Letter”, a single that had been rush-released by the Blazers after Johnny Ace’s death: [Excerpt: Johnny Moore’s Three Blazers, “Johnny Ace’s Last Letter”] Ervin was looking for a solo career after leaving the Blazers, and he was put in touch with George Motola, who had a suggestion for him. A white group from Texas called The Slades had recorded a track called “You Cheated”, which looked like it could possibly be a big hit — except that the label it was on wasn’t willing to come to terms with some of the big distributors over how much they were charging per record: [The Slades, “You Cheated”] Motola wanted to record a soundalike version of the song with Jesse Belvin as the lead singer, but Belvin had just signed a record contract with RCA, and didn’t want to put out lead vocals on another label. Would Ervin like to put out the song as a solo record? Ervin hated the song — he didn’t like doo-wop generally, and he thought the song was a particularly bad example of the genre — but a gig was a gig, and it’d be a solo record under his own name. Ervin agreed to do it, and Motola got Jesse Belvin to put together a scratch vocal group for the session. Belvin found Johnny “Guitar” Watson and Tommy “Buster” Williams at a local ballroom and got them to come along, and on the way to the session they ran into “Handsome” Mel Williams and pulled him in. They were just going to be the uncredited backing vocalists on a Frankie Ervin record, and didn’t spend much time thinking about what was clearly a soundalike cash-in. But when it came out it was credited as “The Shields” rather than Frankie Ervin: [Excerpt: The Shields, “You Cheated”] That’s Belvin singing that wonderful falsetto part. Frankie Ervin was naturally annoyed that he wasn’t given the label credit for the record. The recording was made as an independent production but leased to Dot Records, and somewhere along the line someone decided that it was better to have a generic group name rather than promote it as by a solo singer who might get ideas about wanting money. In a nice bit of irony, the Shields managed to reverse the normal course of the music industry — this time a soundalike record by a black group managed to outsell the original by a white group. “You Cheated” ended up making number twelve on the pop charts — a massive hit for an unknown doo-wop group at the time. Ervin started touring and making TV appearances as the Shields, backed by some random singers the record label had pulled together — the rest of the vocalists on the record had been people who were under contract to other labels, and so couldn’t make TV appearances. But the original Shields members reunited for the followup single, “Nature Boy”, where they were joined by the members of the Turks, who were yet another group that Belvin was recording with, and who included both Hodge brothers: [Excerpt: “Nature Boy”, the Shields] That, according to Ervin, also sold a million copies, but it was nothing like as successful as “You Cheated”. The record label were getting sick of Ervin wanting credit and royalties and other things they didn’t like singers, especially black ones, asking for. So the third Shields record only featured Belvin out of the original lineup, and subsequent recordings didn’t even feature him. But while Belvin had accidentally put together yet another million-selling group, he had also moved on to bigger things. His wife had now firmly taken control of his career, and they had a plan. Belvin had signed to a major label — RCA, the same label that Elvis Presley was on — and he was going to make a play for the big time. He could still keep making doo-wop records with Johnny “Guitar” Watson and Eugene Church and the Hodge brothers and whoever else, if he felt like it, but his solo career was going to be something else. He was going to go for the same market as Nat “King” Cole, and become a smooth ballad singer. He was going to be a huge star, and he actually got to record an album, Just Jesse Belvin. The first single off that album was “Guess Who?”, a song written by his wife Jo Anne, based on a love letter she had written to him: [Excerpt: Jesse Belvin, “Guess Who?”] That song made the top forty — hitting number thirty-three on the pop chart and managed to reach number seven on the R&B charts. More importantly, it gained Grammy nominations for both best R&B performance and best male vocal performance. He lost to Dinah Washington and Frank Sinatra, and it’s not as if losing to Dinah Washington or Frank Sinatra would have been an embarrassment. But by the time he lost those Grammies, Jesse was already dead, and so was Jo Anne. And here we get into the murkiest part of the story. There are a lot of rumours floating around about Jesse Belvin’s death, and a lot of misinformation is out there, and frankly I’ve not been able to get to the bottom of exactly what happened. When someone you love dies young, especially if that someone is a public figure, there’s a tendency to look for complex explanations, and there’s also a tendency to exaggerate stories in the telling. That’s just human nature. And in some cases, that tendency is exploited by people out to make money. And Jesse and Jo Anne Belvin were both black people who died in the deep South, and so no real investigation was ever carried out. That means that by now, with almost everyone who was involved dead, it’s impossible to tell what really happened. Almost every single sentence of what follows may be false. It’s my best guess as to the order of events and what happened, based on the limited information out there. On February the sixth, 1960, there was a concert in Little Rock Arkansas, at the Robinson Auditorium. Billed as “the first rock and roll show of 1960”, the headliner was Jackie Wilson, a friend of Belvin’s. Jesse had just recorded his second album, “Mr Easy”, which would be coming out soon, and while he was still relatively low on the bill, he was a rising star. That album was the one that was going to consolidate Belvin’s turn towards pop balladry in the Nat “King” Cole style, but it would end up being a posthumous release: [Excerpt: Jesse Belvin with the Marty Paich Orchestra, “Blues in the Night”] It was an all-black lineup on stage, but according to some reports it was an integrated audience. In fact some reports go so far as to say it was the first integrated audience ever in Little Rock. Little Rock was not a place where the white people were fans of integration — in fact they were so against it that the National Guard had had to be called in only two years earlier to protect black children when the first school in Little Rock had been integrated. And so apparently there was some racial abuse shouted by members of the audience. But it was nothing that the musicians hadn’t dealt with before. After the show they all drove on towards Dallas. Jackie Wilson had some car problems on the way, and got to their stop in Dallas later than he was expecting to. The Belvins hadn’t arrived yet, and so Wilson called Jesse’s mother in LA, asking if she’d heard from them. She hadn’t. Shortly after setting off, the car with Jesse and Jo Anne in had been in a crash. Jesse and the drivers of both cars had been killed instantly. Kirk Davis, Belvin’s guitarist on that tour, who had apparently been asleep in the back seat, was seriously injured but eventually came out of his coma. And Jesse had apparently reacted fast enough to shield his wife from the worst of the accident. But she was still unconscious, and seriously injured. The survivors were rushed to the hospital, where, according to Etta James, who heard the story from Jackie Wilson, they refused to treat Jo Anne Belvin until they knew that they would get money. She remained untreated until someone got in touch with Wilson, who drove down from Dallas Texas to Hope, Arkansas, where the hospital was, with the cash. But she died of her injuries a few days later. Now, here’s the thing — within a fortnight of the accident, there were rumours circulating widely enough to have been picked up by the newspapers that Belvin’s car had had its tyres slashed. There were also stories, never confirmed, that Belvin had received death threats before the show. And Jackie Wilson had also had car trouble that night — and according to some sources so had at least one other musician on the bill. So it’s possible that the car was sabotaged. On the other hand, Belvin’s driver, Charles Shackleford, had got the job with Belvin after being fired by Ray Charles. He was fired, according to Charles, because he kept staying awake watching the late-night shows, not getting enough sleep, and driving dangerously enough to scare Ray Charles — who was fearless enough that he used to ride motorbikes despite being totally blind. So when Jesse and Jo Anne Belvin died, they could have been the victims of a racist murder, or they could just have been horribly unlucky. But we’ll never know for sure, because the institutional racism at the time meant that there was no investigation. When they died, they left behind two children under the age of five, who were brought up by Jesse’s mother. The oldest, Jesse Belvin Jr, became a singer himself, often performing material written or made famous by his father: [Excerpt: Jesse Belvin Jr, “Goodnight My Love”] Jesse Jr. devoted his life to finding out what actually happened to his parents, but never found any answers.

Welcome to episode forty-seven of A History of Rock Music in Five Hundred Songs. This one looks at “Goodnight My Love” by Jesse Belvin, and at the many groups he performed with, and his untimely death. . Click the full post to read liner notes, links to more information, and a transcript of the episode.  Patreon backers also have a ten-minute bonus podcast, on “In the Still of the Night” by the Five Satins.—-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. My principal source for this episode was this CD, whose liner notes provided the framework to which I added all the other information from a myriad other books and websites, including but not limited to Jackie Wilson Lovers, Marv Goldberg’s website, and Etta James’ autobiography. But as I discuss in this episode this is one of those where I’ve pulled together information from so many sources, a full list would probably be longer than the episode itself. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we begin, a quick content warning. This episode contains material dealing with the immediate aftermath of a death in a car crash. While I am not explicit, this might be upsetting for some. Jesse Belvin is a name that not many people recognise these days — he’s a footnote in the biographies of people like Sam Cooke or the Penguins, someone whose contribution to music history is usually summed up in a line or two in a book about someone else. The problem is that Jesse Belvin was simply too good, and too prolific, to have a normal career. He put out a truly astonishing number of records as a songwriter, performer, and group leader, under so many different names that it’s impossible to figure out the true extent of his career. And people like that don’t end up having scholarly books written about them. And when you do find something that actually talks about Belvin himself, you find wild inaccuracies. For example, in researching this episode, I found over and over again that people claimed that Barry White played piano on the song we’re looking at today, “Goodnight My Love”. Now, White lived in the same neigbourhood as Belvin, and they attended the same school, so on the face of it that seems plausible. It seems plausible, at least, until you realise that Barry White was eleven when “Goodnight My Love” came out. Even so, on the offchance, I tracked down an interview with White where he confirmed that no, he was not playing piano on doo-wop classics before he hit puberty. But that kind of misinformation is all over everything to do with Jesse Belvin. The end result of this is that Jesse Belvin is someone who exists in the gaps of other people’s histories, and this episode is an attempt to create a picture out of what you find when looking at the stories of other musicians. As a result, it will almost certainly be less accurate than some other episodes. There’s so little information about Belvin that if you didn’t know anything about him, you’d assume he was some unimportant, minor, figure. But in 1950s R&B — among musicians, especially those on the West Coast — there was no bigger name than Jesse Belvin. He had the potential to be bigger than anyone, and he would have been, had he lived. He was Stevie Wonder’s favourite singer of all time, and Etta James argued to her dying day that it was a travesty that she was in the rock and roll hall of fame while he wasn’t. Sam Cooke explicitly tried to model his career after Belvin, to the extent that after Cooke’s death, his widow kept all of Cooke’s records separate from her other albums — except Belvin’s, which she kept with Cooke’s. Marv Goldberg, who is by far the pre-eminent expert on forties and fifties black vocal group music, refers to Belvin as the genre’s “most revered stylist”. And at the time he died, he was on the verge of finally becoming as well known as he deserved to be. So let’s talk about the life — and the tragic death — of Mr Easy himself: [Excerpt: Jesse Belvin, “Goodnight My Love”] Like so many greats of R&B and jazz, Belvin had attended Jefferson High School and studied music under the great teacher Samuel Browne, who is one of the great unsung heroes of rock and roll music. One of the other people that Browne had taught was the great rhythm and blues saxophone player Big Jay McNeely. McNeely was one of the all-time great saxophone honkers, inspired mostly by Illinois Jacquet, and he had become the lead tenor saxophone player with Johnny Otis’ band at the Barrelhouse Club, and played on records like Otis’ “Barrel House Stomp”: [Excerpt: Johnny Otis, “Barrel House Stomp”] As with many of the musicians Otis worked with, McNeely soon went on to a solo career of his own, and he formed a vocal group, “Three Dots and a Dash”. Three Dots and a Dash backed McNeely’s saxophone on a number of records, and McNeely invited Belvin to join them as lead singer. Belvin’s first recording with the group was on “All That Wine is Gone”, an answer record to “Drinking Wine Spo-De-O-Dee”. [Excerpt: Big Jay McNeely with Three Dots and a Dash, “All That Wine is Gone”] After recording two singles with McNeely, Belvin went off to make his own records, signing to Specialty Records. His first solo single, “Baby Don’t Go”, was not especially successful, so he teamed up with the songwriter Marvin Phillips in a duo called Jesse and Marvin. The two of them had a hit with the song “Dream Girl”: [Excerpt: Jesse and Marvin, “Dream Girl”] “Dream Girl” went to number two on the R&B charts, and it looked like Jesse and Marvin were about to have a massive career. But shortly afterwards, Belvin was drafted. It was while he was in the armed forces that “Earth Angel” became a hit — a song he co-wrote, and which we discussed in a previous episode, which I’ll link in the show notes. Like many of the songs Belvin wrote, he ended up not getting credit for that one — but unlike most of the others, he went to court over it and got some royalties in the end. Marvin decided to continue the duo without Jesse, renaming it “Marvin and Johnny”, and moved over to Modern Records, but he didn’t stick with a single “Johnny”. Instead “Johnny” would be whoever was around, sometimes Marvin himself double-tracked. He had several minor hit singles as “Marvin and Johnny”, including “Cherry Pie”, on which the role of “Johnny” was played by Emory Perry: [Excerpt: Marvin and Johnny, “Cherry Pie”] “Cherry Pie” was a massive hit, but none of Marvin and Johnny’s other records matched its success. However, on some of the follow-ups, Jesse Belvin returned as one of the Johnnies, notably on a cover version of “Ko Ko Mo”, which didn’t manage to outsell either the original or Perry Como’s version: [Excerpt: Marvin and Johnny, “Ko Ko Mo”] Meanwhile, his time in the armed forces had set Belvin’s career back, and when he came out he started recording for every label, and under every band name, he could. Most of the time, he would also be writing the songs, but he didn’t get label credit on most of them, because he would just sell all his rights to the songs for a hundred dollars. Why not? There was always another song. As well as recording as Marvin and Johnny for Modern Records, he also sang with the Californians on Federal: [Excerpt: The Californians, “My Angel”] The Sheiks, also on Federal : [Excerpt: The Sheiks, “So Fine”] The Gassers, on Cash: [Excerpt: The Gassers, “Hum De Dum”] As well as recording under his own name on both Specialty and on John Dolphin’s Hollywood Records. But his big project at the time was the Cliques, a duo he formed with Eugene Church, who recorded for Modern. Their track, “The Girl in My Dreams” was the closest thing he’d had to a big success since the similarly-named “Dream Girl” several years earlier: [Excerpt: The Cliques, “The Girl in my Dreams”] That went to number forty-five on the pop chart — not a massive hit, but a clear commercial success. And so, of course, at this point Belvin ditched the Cliques name, rather than follow up on the minor hit, and started making records as a solo artist instead. He signed to Modern Records as a solo artist, and went into the studio to record a new song. Now, I am going to be careful how I phrase this, because John Marascalco, who is credited as the co-writer of “Goodnight My Love”, is still alive. And I want to stress that Marascalco is, by all accounts, an actual songwriter who has written songs for people like Little Richard and Harry Nilsson. But there have also been accusations that at least some of his songwriting credits were not deserved — in particular the song “Bertha Lou” by Johnny Faire: [Excerpt: Johnny Faire, “Bertha Lou”] Johnny Faire, whose real name was Donnie Brooks, recorded that with the Burnette brothers, and always said that the song was written, not by Marascalco, but by Johnny Burnette, who sold his rights to the song to Marascalco for fifty dollars — Burnette’s son Rocky backs up the claim. Now, in the case of “Goodnight My Love”, the credited writers are George Motola and Marascalco, but the story as it’s normally told goes as follows — Motola had written the bulk of the song several years earlier, but had never completed it. He brought it into the studio, and Jesse Belvin came up with the bridge — but he said that rather than take credit, he just wanted Motola to give him four hundred dollars. Motola didn’t have four hundred dollars on him, but Marascalco, who was also at the session and is the credited producer, said he could get it for Belvin, and took the credit himself. That’s the story, and it would fit with both the rumour that Marascalco had bought an entire song from Johnny Burnette and with Belvin’s cavalier attitude towards credit. On the other hand, Marascalco was also apparently particularly good at rewriting and finishing other people’s half-finished songs, and so it’s entirely plausible that he could have done the finishing-up job himself. Either way, the finished song became one of the most well-known songs of the fifties: [Excerpt: Jesse Belvin, “Goodnight My Love”] Belvin’s version of the song went to number seven in the R&B charts, but its impact went beyond its immediate chart success. Alan Freed started to use the song as the outro music for his radio show, making it familiar to an entire generation of American music lovers. The result was that the song became a standard, recorded by everyone from James Brown to Gloria Estefan, the Four Seasons to Harry Connick Jr. If John Marascalco *did* buy Jesse Belvin’s share of the songwriting, that was about the best four hundred dollars he could possibly have spent. Over the next year, Belvin recorded a host of other singles as a solo artist, none of which matched the level of success he’d seen with “Goodnight My Love”, but which are the artistic foundation on which his reputation now rests. The stylistic range of these records is quite astonishing, from Latin pop like “Senorita”, to doo-wop novelty songs like “My Satellite”, a song whose melody owes something to “Hound Dog”, credited to Jesse Belvin and the Space Riders, and released to cash in on the space craze that had started with the launch of the Russian satellite Sputnik: [Excerpt: Jesse Belvin and the Space Riders, “My Satellite”] That featured Alex Hodge of the Platters on backing vocals. Hodge’s brother Gaynel Hodge, who like Belvin would form groups at the drop of a hat, joined Jesse in yet another of the many groups he formed. The Saxons consisted of Belvin, Gaynel Hodge, Eugene Church (who had been in the Cliques with Belvin) and another former Jefferson High student, Belvin’s friend Johnny “Guitar” Watson. Watson would later become well known for his seventies “gangster of love” persona and funk records, but at this point he was mostly making hard electric blues records like “Three Hours Past Midnight”: [Excerpt: “Three Hours Past Midnight”, Johnny “Guitar” Watson] But when he worked with Belvin in the Saxons and other groups, he recorded much more straightforward doo-wop and rock and roll, like this example, “Is It True”: [Excerpt: The Saxons, “Is It True”] The Saxons also recorded as the Capris (though with Alex Hodge rather than Gaynel in that lineup of the group) and, just to annoy everyone who cares about this stuff and drive us all into nervous breakdowns, there was another group, also called the Saxons, who also recorded as the Capris, on the same label — at least one single actually came out with one of the groups on one side and the other on the other. Indeed, the side featuring our Saxons had previously been released as a Jesse Belvin solo record. Anyway, I hope in this first half of the story I’ve given some idea of just how many different groups Jesse Belvin recorded with, and under how many different names, though I haven’t listed even half of them. This is someone who seemed to form a new group every time he crossed the street, and make records with most of them, and a surprising number of them had become hits — and “Goodnight My Love” and “Earth Angel” had become the kind of monster perennial standard that most musicians dream of ever writing. And, of course, Belvin had become the kind of musician that most record companies and publishers dream of finding — the kind who will happily make hit records and sell the rights for a handful of dollars. That was soon to change. Belvin was married; I haven’t been able to find out exactly when he married, but his wife also became his songwriting partner and his manager, and in 1958 she seemed to finally take control of his career for him. But before she did, there was one last pickup group hit to make. Frankie Ervin had been Charles Brown’s replacement in Johnny Moore’s Three Blazers, and had also sung briefly with Johnny Otis and Preston Love. While with Brown’s group, he’d developed a reputation for being able to perform novelty cash-in records — he’d made “Dragnet Blues”, which had resulted in a lawsuit from the makers of the TV show Dragnet, and he’d also done his Johnny Ace impression on “Johnny Ace’s Last Letter”, a single that had been rush-released by the Blazers after Johnny Ace’s death: [Excerpt: Johnny Moore’s Three Blazers, “Johnny Ace’s Last Letter”] Ervin was looking for a solo career after leaving the Blazers, and he was put in touch with George Motola, who had a suggestion for him. A white group from Texas called The Slades had recorded a track called “You Cheated”, which looked like it could possibly be a big hit — except that the label it was on wasn’t willing to come to terms with some of the big distributors over how much they were charging per record: [The Slades, “You Cheated”] Motola wanted to record a soundalike version of the song with Jesse Belvin as the lead singer, but Belvin had just signed a record contract with RCA, and didn’t want to put out lead vocals on another label. Would Ervin like to put out the song as a solo record? Ervin hated the song — he didn’t like doo-wop generally, and he thought the song was a particularly bad example of the genre — but a gig was a gig, and it’d be a solo record under his own name. Ervin agreed to do it, and Motola got Jesse Belvin to put together a scratch vocal group for the session. Belvin found Johnny “Guitar” Watson and Tommy “Buster” Williams at a local ballroom and got them to come along, and on the way to the session they ran into “Handsome” Mel Williams and pulled him in. They were just going to be the uncredited backing vocalists on a Frankie Ervin record, and didn’t spend much time thinking about what was clearly a soundalike cash-in. But when it came out it was credited as “The Shields” rather than Frankie Ervin: [Excerpt: The Shields, “You Cheated”] That’s Belvin singing that wonderful falsetto part. Frankie Ervin was naturally annoyed that he wasn’t given the label credit for the record. The recording was made as an independent production but leased to Dot Records, and somewhere along the line someone decided that it was better to have a generic group name rather than promote it as by a solo singer who might get ideas about wanting money. In a nice bit of irony, the Shields managed to reverse the normal course of the music industry — this time a soundalike record by a black group managed to outsell the original by a white group. “You Cheated” ended up making number twelve on the pop charts — a massive hit for an unknown doo-wop group at the time. Ervin started touring and making TV appearances as the Shields, backed by some random singers the record label had pulled together — the rest of the vocalists on the record had been people who were under contract to other labels, and so couldn’t make TV appearances. But the original Shields members reunited for the followup single, “Nature Boy”, where they were joined by the members of the Turks, who were yet another group that Belvin was recording with, and who included both Hodge brothers: [Excerpt: “Nature Boy”, the Shields] That, according to Ervin, also sold a million copies, but it was nothing like as successful as “You Cheated”. The record label were getting sick of Ervin wanting credit and royalties and other things they didn’t like singers, especially black ones, asking for. So the third Shields record only featured Belvin out of the original lineup, and subsequent recordings didn’t even feature him. But while Belvin had accidentally put together yet another million-selling group, he had also moved on to bigger things. His wife had now firmly taken control of his career, and they had a plan. Belvin had signed to a major label — RCA, the same label that Elvis Presley was on — and he was going to make a play for the big time. He could still keep making doo-wop records with Johnny “Guitar” Watson and Eugene Church and the Hodge brothers and whoever else, if he felt like it, but his solo career was going to be something else. He was going to go for the same market as Nat “King” Cole, and become a smooth ballad singer. He was going to be a huge star, and he actually got to record an album, Just Jesse Belvin. The first single off that album was “Guess Who?”, a song written by his wife Jo Anne, based on a love letter she had written to him: [Excerpt: Jesse Belvin, “Guess Who?”] That song made the top forty — hitting number thirty-three on the pop chart and managed to reach number seven on the R&B charts. More importantly, it gained Grammy nominations for both best R&B performance and best male vocal performance. He lost to Dinah Washington and Frank Sinatra, and it’s not as if losing to Dinah Washington or Frank Sinatra would have been an embarrassment. But by the time he lost those Grammies, Jesse was already dead, and so was Jo Anne. And here we get into the murkiest part of the story. There are a lot of rumours floating around about Jesse Belvin’s death, and a lot of misinformation is out there, and frankly I’ve not been able to get to the bottom of exactly what happened. When someone you love dies young, especially if that someone is a public figure, there’s a tendency to look for complex explanations, and there’s also a tendency to exaggerate stories in the telling. That’s just human nature. And in some cases, that tendency is exploited by people out to make money. And Jesse and Jo Anne Belvin were both black people who died in the deep South, and so no real investigation was ever carried out. That means that by now, with almost everyone who was involved dead, it’s impossible to tell what really happened. Almost every single sentence of what follows may be false. It’s my best guess as to the order of events and what happened, based on the limited information out there. On February the sixth, 1960, there was a concert in Little Rock Arkansas, at the Robinson Auditorium. Billed as “the first rock and roll show of 1960”, the headliner was Jackie Wilson, a friend of Belvin’s. Jesse had just recorded his second album, “Mr Easy”, which would be coming out soon, and while he was still relatively low on the bill, he was a rising star. That album was the one that was going to consolidate Belvin’s turn towards pop balladry in the Nat “King” Cole style, but it would end up being a posthumous release: [Excerpt: Jesse Belvin with the Marty Paich Orchestra, “Blues in the Night”] It was an all-black lineup on stage, but according to some reports it was an integrated audience. In fact some reports go so far as to say it was the first integrated audience ever in Little Rock. Little Rock was not a place where the white people were fans of integration — in fact they were so against it that the National Guard had had to be called in only two years earlier to protect black children when the first school in Little Rock had been integrated. And so apparently there was some racial abuse shouted by members of the audience. But it was nothing that the musicians hadn’t dealt with before. After the show they all drove on towards Dallas. Jackie Wilson had some car problems on the way, and got to their stop in Dallas later than he was expecting to. The Belvins hadn’t arrived yet, and so Wilson called Jesse’s mother in LA, asking if she’d heard from them. She hadn’t. Shortly after setting off, the car with Jesse and Jo Anne in had been in a crash. Jesse and the drivers of both cars had been killed instantly. Kirk Davis, Belvin’s guitarist on that tour, who had apparently been asleep in the back seat, was seriously injured but eventually came out of his coma. And Jesse had apparently reacted fast enough to shield his wife from the worst of the accident. But she was still unconscious, and seriously injured. The survivors were rushed to the hospital, where, according to Etta James, who heard the story from Jackie Wilson, they refused to treat Jo Anne Belvin until they knew that they would get money. She remained untreated until someone got in touch with Wilson, who drove down from Dallas Texas to Hope, Arkansas, where the hospital was, with the cash. But she died of her injuries a few days later. Now, here’s the thing — within a fortnight of the accident, there were rumours circulating widely enough to have been picked up by the newspapers that Belvin’s car had had its tyres slashed. There were also stories, never confirmed, that Belvin had received death threats before the show. And Jackie Wilson had also had car trouble that night — and according to some sources so had at least one other musician on the bill. So it’s possible that the car was sabotaged. On the other hand, Belvin’s driver, Charles Shackleford, had got the job with Belvin after being fired by Ray Charles. He was fired, according to Charles, because he kept staying awake watching the late-night shows, not getting enough sleep, and driving dangerously enough to scare Ray Charles — who was fearless enough that he used to ride motorbikes despite being totally blind. So when Jesse and Jo Anne Belvin died, they could have been the victims of a racist murder, or they could just have been horribly unlucky. But we’ll never know for sure, because the institutional racism at the time meant that there was no investigation. When they died, they left behind two children under the age of five, who were brought up by Jesse’s mother. The oldest, Jesse Belvin Jr, became a singer himself, often performing material written or made famous by his father: [Excerpt: Jesse Belvin Jr, “Goodnight My Love”] Jesse Jr. devoted his life to finding out what actually happened to his parents, but never found any answers.

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Welcome to episode thirty-three of A History of Rock Music in Five Hundred Songs. This one looks at “Mystery Train” by Elvis Presley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. I’m also relying heavily on another book by Guralnick — Sam Phillips: the Man Who Invented Rock and Roll — for all the episodes dealing with Phillips and Sun Records. The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. All the Sun Records excerpted here — the ones by Junior Parker, Elvis Presley, Rufus Thomas, and Johnny Cash, are on this ten-disc set, which charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles for an absurdly low price. And this three-CD box set contains literally every recording Elvis made from 1953 through 1955, including live recordings and session outtakes, along with a handsome book.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   We talked a few weeks back about how Elvis Presley got started in the music business, but of course Elvis was important enough to rock and roll that we’re not going to stop there. Today we’re going to look at the rest of his career at Sun Records — and at how and why he ended up leaving Sun for a major label, with consequences that would affect the whole of music history. We’re going to tell a tale of two Parkers. The first Parker we’re going to talk about is Junior Parker, the blues musician who had been one of the Beale Streeters with Johnny Ace, Bobby “Blue” Bland, and B.B. King. Junior Parker had been working with Howlin’ Wolf for a while, before in 1952 he formed his own band, the Blue Flames (which should not be confused with all the other Flames bands we’ve talked about — for some reason there is a profusion of Flames that we’ll be dealing with well into the seventies). Ike Turner discovered them, and initially got them signed to Modern Records, though as with many Modern Records acts they were recording mostly in Sam Phillips’ studio. Turner contributed piano to the Blue Flames’ first single, “You’re My Angel”: [Excerpt: Junior Parker and the Blue Flames, “You’re My Angel”] But after that one single, Parker and his band started recording directly for Sun records. The first single they recorded for Sun was a minor hit, but wasn’t particularly interesting — “Feelin’ Good” was basically a John Lee Hooker knock-off: [Excerpt: Little Junior’s Blue Flames: “Feelin’ Good”] But it’s their second single for Sun we want to talk about here, and both sides of it. The A-side of Junior Parker and the Blue Flames’ second Sun single is one of the best blues records Sun ever put out, “Love my Baby”: [Excerpt: Junior Parker, “Love My Baby”] That record was one that Sam Phillips — a man who made a lot of great records — considered among the greatest he’d ever made. Talking to his biographer Peter Guralnick about it decades later, he said “I mean you tell me a better record that you’ve ever heard,” and Guralnick couldn’t. But it was the B-side that made an impression. The B-side was a song called “Mystery Train”. That song actually dates back to the old folk song, “Worried Man Blues”, which was recorded in 1930 by the Carter Family: [excerpt: “Worried Man Blues”, the Carter Family] The Carter Family were, along with Jimmie Rodgers, the people who defined what country music is. Everyone in country music followed from either the Carters or Rodgers, and we’ll be seeing some members of the extended Carter family much later. But the important thing here is that A.P. Carter, the family patriarch, was one of the most important songwriters of his generation, but he would also go out and find old folk songs that he would repurpose and credit himself with having written. “Worried Man Blues” was one of those, and those lyrics, “the train arrived, sixteen coaches long” became part of the floating lyrics that all blues singers could call upon, and they became the basis for Junior Parker’s song: [Excerpt: Junior Parker, “Mystery Train”] That song’s composition was credited to Parker and to Sam Phillips. Phillips would later claim that he made three major changes to the song, and that these were why he got the co-writing credit. The first was to give the song the title “Mystery Train”, which has been a big part of the song’s appeal ever since. The second was to insist that the number of coaches for the train should be sixteen — Parker had been singing “fifty coaches long”. And the final one was to suggest that the band start the song slowly and build up the tempo like a train gathering steam. Parker and his Blue Flames also backed Rufus Thomas on “Tiger Man”, a song that Elvis would later go on to perform in the sixties, and would play as a medley with “Mystery Train” in the seventies: [Excerpt: Rufus Thomas, “Tiger Man”] But the Rufus Thomas connection proved a signifier of what was to come. Don Robey was still annoyed with Sam Phillips over “Bear Cat”, the track that Phillips had produced for Thomas as an answer to “Hound Dog”, and Robey would take pleasure in poaching Phillips’ artists for his own label. Phillips was soon reading in Cash Box magazine that Robey was grooming Little Junior Parker for big things. Robey signed Parker to an exclusive contract, and even an unsuccessful hundred-thousand-dollar lawsuit from Sam Phillips couldn’t stop Robey from having Parker on his label. Junior Parker would go on to have a distinguished career in R&B, having occasional hit singles until shortly before his death from a brain tumour in 1971. Luckily for Phillips, he had other artists he could work with, not least of them Elvis Presley. But before we talk more about Elvis, let’s talk about that other Parker. Tom Parker was to become the most well-known manager in the music industry, even though for most of his career he only managed one act, so today we’re going to look at him in some detail, as he became the template for all the worst, most grasping, managers in the music business. When we deal with Allen Klein or Peter Grant or Don Arden, we’ll be dealing with people who are following in the Colonel’s footsteps. It’s difficult to separate fact from fiction in the case of Colonel Parker, though there are biographies devoted entirely to doing so, with some success. What we know for sure was that Parker was an undocumented immigrant to the United States, originally from the Netherlands, who had taken the name Parker upon his arrival. We also know that the same day that he disappeared from his home in the Netherlands to travel to the US for the final time, a woman was found bludgeoned to death in his home town. And we know that he was dishonourably discharged from the US Army as a psychopath. And that there were rumours around his home town decades later that Parker was responsible for the murder. We also know that he desperately hid his undocumented status long past the time when he would have been eligible for citizenship, and that he completely cut off all contact with his family, even though he had been close to them before emigrating. Whether he was a killer or not, Parker was certainly an unsavoury character — as, to be fair, were most people involved in the business side of the music industry in the 1950s. He had his start in the entertainment industry as a con-man, and throughout his life he loved to manipulate people, playing humiliating practical jokes on them that weren’t so much jokes as demonstrations of his power over them. He was, by all accounts, a cruel man who loved to hurt people — except when he loved to be outlandishly sentimental towards them instead, of course. Parker had started out as a carny — working in travelling shows, doing everything from running a dancing chicken show (in which he’d put a hot-plate under a chicken’s feet so it would keep lifting its legs up and look like it was dancing) to telling fortunes, to being the person whose job it was to tempt the geek to come back to the show with a bottle of whisky when he became too sickened by his job. (The geek, for those who don’t know, was a person in a carnival who would perform acts that would disgust most people, such as biting the head off live chickens, to the amused disgust of the audience. Usually a geek would be someone who had severe mental health and substance abuse problems, degrading himself as the only way to make enough money to feed his habit.) All this had taught Parker a lot — it had led him to the conclusion that audiences were there to be ripped off, and that absolutely nothing mattered to them other than the promise of sexuality. As far as Parker was concerned, in showbusiness it didn’t matter what the show was — what mattered was how you sold it to the audience, and how much merchandise you could sell during the show. In his time with the carnivals, Parker had become extremely good at creating publicity stunts. One that he did many times was to fake a public wedding. He and a female staff member would pretend to be just two customers in love, and they would “get married” at the top of the Ferris wheel, drawing huge crowds. It was during World War II that Parker had moved into country music promotion. He first became involved in music when he got to know Gene Austin, one of the biggest stars of the 1920s: [Excerpt: Gene Austin, “Ain’t She Sweet?”] Austin had been a huge star, but by the time Parker got to know him in the late thirties, he was much less popular. Parker helped him organise some shows (according to some claims, Parker was his manager, though other sources disagree), but at this time Austin had fallen on such hard times that he would fill his car at a petrol station, pay by cheque, and then tell them that his autograph was probably worth more than the money, so why not just leave that cheque uncashed and frame it? Parker learned a valuable lesson from Austin, with whom he would remain friends for years. That lesson was that the stars come and go, and rise and fall in popularity, but managers can keep making money no matter how old they are. Parker determined to get into music management. And given that he didn’t actually like music himself, he decided to go for the music of the common people, the music that was selling to the same people who’d been coming to the carnivals. Country music. And so to start with he put on a show by the up-and-coming star Roy Acuff: [Excerpt: Roy Acuff, “You’re the Only Star in My Blue Heaven”] In later years Roy Acuff would become, for a time, the single biggest star in country music, and Hank Williams would say of him, “For drawing power in the South, it was Roy Acuff, then God.” But in 1941 he was merely very popular, rather than a superstar. And Parker had used his promotional knowledge to make the show he promoted one of the biggest in Acuff’s career thus far. In particular, he’d tried a new trick that no-one else had ever done before. He’d cut a deal with a local grocery chain that they would sell cut-price tickets to anyone who brought in a clipping from a newspaper. This meant that the show had, in effect, multiple box offices, while the grocery chain paid for the advertising to increase their own footfall. Having seen what kind of money he could make from country music, Parker approached Acuff about becoming Acuff’s manager. Acuff was initially interested, but after a couple of dates he was put off from working further with Parker, because Parker had what Acuff thought an un-Christian attitude to money. Acuff was playing dates for fixed fees, and Parker started insisting that as well as the fixed fee, Acuff should get a percentage of the gross. Acuff didn’t want to be that grasping, and so he gave up on working with Parker — though as a consolation, Acuff did give Parker a stake in his merchandising — Parker got the rights to market Roy Acuff Flour in Florida. But Acuff did more than that. He pointed Parker in the direction of Eddy Arnold, a young singer who was then working with Pee Wee King’s Golden West Cowboys. He told Parker that Arnold would almost certainly be going solo soon, and that he would need a manager. Arnold was a fan of Gene Austin, and so eagerly linked up with Parker. Parker quickly got Arnold signed to RCA records as a solo artist, and Arnold’s second single, in 1945, “Each Minute Seems Like a Million Years”, reached number five in the country charts: [Excerpt: Eddy Arnold, “Each Minute Seems Like a Million Years”] Eddy Arnold was to go on to become one of the biggest stars in country music, and that was in large part because of the team that Tom Parker built around him. Parker would handle the management, Steve Sholes, the head of country and R&B at RCA, would handle the record production. Parker cut a deal with Hill and Range music publishers so that Arnold would perform songs they published in return for kickbacks, and any songs that Arnold wrote himself would go through them. And the William Morris Agency would handle the bookings. Both Sholes and Arnold were given money by Hill and Range for Arnold recording the publishers’ songs, Parker had Sholes in his pocket because he knew that Sholes was taking kickbacks and could inform Sholes’ bosses at RCA, and Parker in turn took twenty-five percent of the twenty thousand dollar bribe that Hill and Range paid Arnold, as Arnold’s manager. This whole team, put together by a mutual love of ripping each other and their artists off, would go on to work with Parker on every other artist he managed, and would be the backbone of his success in the industry. Parker soon used his music industry connections to get an honorary Colonel’s commission from Louisiana Governor Jimmie Davis, himself a former country musician, and from that point until the end of his life insisted on being addressed as “Colonel”, even though in reality he was a draft-dodger who had deliberately piled on weight during the Second World War so he could become too fat to draft. But Parker and Arnold eventually split up — Parker was originally meant to be Arnold’s exclusive manager, but in 1953 Arnold found out that Parker was putting together a tour of other RCA acts, headed by Hank Snow. Arnold fired the Colonel, and the Colonel quickly instead became the “exclusive” manager of Hank Snow. [Excerpt: Hank Snow, “I Went to Your Wedding”] Of course, Parker didn’t leave his association with Eddy Arnold empty handed — he insisted on Arnold giving him a severance package of fifty thousand dollars, because of how much money Arnold was making from the contracts that Parker had negotiated for him. His association with Hank Snow would only last two years, and would break up very acrimoniously — with Snow later saying “I have worked with several managers over the years and have had respect for them all except one. Tom Parker was the most egotistical, obnoxious human being I’ve ever had dealings with.” The reason Snow said this was because the Colonel tricked Snow out of the greatest business opportunity in the history of the music business. The two of them had formed a management company to manage other artists, and when Parker found another artist he wanted to manage, Snow naturally assumed that they were partners — right up until he discovered they weren’t. Since his first single, Elvis Presley had been putting out singles on Sun that largely stuck to the same formula — a blues number on one side, a country number on the other, and a sparse backing by Elvis, Scotty, and Bill. In general, the blues sides were rather better than the country sides, not least because the country sides, after the first couple of singles, started to be songs that were especially written for Elvis by outside songwriters, and tended to be based on rather obvious wordplay — songs like “I’m Left, You’re Right, She’s Gone”. [Excerpt: Elvis Presley, “I’m Left, You’re Right, She’s Gone”] The blues songs, on the other hand, were chosen from among Elvis’ own favourites and songs that got kicked around in the studio. This would set the template for his work in the future — whenever Elvis got to choose his own material, and follow his own instincts, the results would be good music. Whenever he was working on music that was chosen for him by someone else — even someone as sympathetic to his musical instincts as Sam Phillips — the music would suffer, though at this stage even the songs Elvis wasn’t as keen on sounded great. By the time of Elvis’ last Sun single, he had finally made one more change that would define the band he would work with for the rest of the fifties. He had introduced a drummer, DJ Fontana, and while Fontana didn’t play on the single – session drummer Johnny Bernero played on it instead – he would be a part of the core band from now on. The trio of Elvis, Scotty, and Bill had now become a singer and his backup band — Elvis Presley and the Blue Moon Boys. The A-side of Elvis’ fifth single for Sun Records was one of those country songs that had been written especially for Elvis, “I Forgot to Remember to Forget”: [Excerpt: Elvis Presley, “I Forgot to Remember to Forget”] That’s a perfectly adequate country pop song, but the B-side, his version of “Mystery Train”, was astonishing. It was actually a merger of elements from the A-side and the B-side of Junior Parker’s single, as “Love My Baby” provided the riff that Scotty Moore used on Elvis’ version of “Mystery Train”. Elvis, Scotty, and Bill melded the two different songs together, and they came up with something that would become an absolute classic of the rockabilly genre: [Excerpt: Elvis Presley, “Mystery Train”] The song was probably chosen because Sam Phillips was one of the credited songwriters — as he was currently battling Don Robey in court over Junior Parker, he naturally wanted to make as much money off his former artist as he could. But at the same time, it was a song Elvis clearly liked, and one he would still be performing live in the 1970s. This wasn’t a song that was being forced on to Elvis. Indeed, Elvis almost certainly saw Junior Parker live when he was playing with the Beale Streeters — B.B. King would talk in later years about the teenage Elvis having been one of the very few white people who went to see them, and even allowing for later exaggerations, it’s likely that he did see them at least a few times. So this was one of those rare cases where the financial and artistic incentives perfectly overlapped. But while he was recording for Sun, Elvis was also touring, and he was drawing bigger and bigger crowds, and they were going wilder and wilder. And when Tom Parker saw one of those crowds, he knew he had to have Elvis. He didn’t understand at all why those girls were screaming at him — he would never, in all his life, ever understand the appeal of Elvis’ music — but he knew that a crowd like that would spend money, and he definitely understood that. Parker worked on Elvis, and more importantly he worked on Elvis’ family — and even more importantly than that, he got Hank Snow to work on Elvis’ family. Elvis’ parents were big Hank Snow fans, and after being told by their idol how much the Colonel had helped him they were practically salivating to get Elvis signed with him. Elvis himself was young, and naive, and would go along with whatever his parents suggested. Carl Perkins would later describe him as the most introverted person ever to enter a recording studio, and he just wanted to make some money to look after his parents. His daddy had a bad back and couldn’t work, and his mama was so tired and sick all the time. If they said the Colonel would help him earn more money, well, he’d do what his parents said. Maybe he could earn them enough money to buy them a nice big house, so his mama could give up her job. They could maybe raise chickens in the yard. It was only after the documents were signed that Snow realised that the contracts didn’t mention himself at all. His partner had cut him out, and the two parted company. Meanwhile, Sam Phillips was finding some more country singers he could work with, and starting to transition into country and rockabilly rather than the blues. A couple of months before “Mystery Train”, he put out another single by a two-guitar and bass rockabilly act – “Hey Porter” by Johnny Cash and the Tennessee Two: [Excerpt: Johnny Cash, “Hey Porter”] We’ll be hearing more from Johnny Cash later, but right now he didn’t seem to be star material. Colonel Parker knew that if Elvis was to become the star he could become, he would have to move to one of the major labels. Sun Records was a little nothing R&B label in Memphis; it barely registered on the national consciousness. If Elvis was going to do what Tom Parker wanted him to do, he was going to have to move to a big label — a big label like RCA Records. Colonel Parker was in the country music business after all, and if you were going to be anything at all in the country music business, you were going to work in Nashville. Not Memphis. Parker started hinting to people that Sam Phillips wanted to sell Elvis’ contract, without bothering to check with Phillips. The problem was that Sam Phillips didn’t want to give up on Elvis so easily. Phillips was, after all, a great judge of talent, and not only had he discovered Elvis, he had nurtured his ability. It was entirely likely that without Sam Phillips, Elvis would never have been anything more than a truck driver with a passable voice. Elvis the artist was as much the creation of Sam Phillips as he was of Elvis Presley himself. But there was a downside to Elvis’ success, and it was one that every independent label dreads. Sun Records was having hits. And the last thing you want as an indie is to have a hit. The problem is cashflow. Suppose the distributors want a hundred thousand copies of your latest single. That’s great! Except they will not pay you for several months — if they pay you at all. And meanwhile, you need to pay the pressing plant for the singles *before* you get them to the distributors. If you’ve been selling in small but steady numbers and you suddenly start selling a lot, that can destroy your company. Nothing is more deadly to the indie label than a hit. And then on top of that there was the lawsuit with Don Robey over Junior Parker. That was eating Phillips’ money, and he didn’t have much of it. But at that point, Sam Phillips didn’t have any artists who could take Elvis’ place. He’d found the musician he’d been looking for — the one who could unite black and white people in Phillips’ dream of ending racism. So he came up with a plan. He decided to tell Tom Parker that Elvis’ contract would be for sale, like Parker wanted — but only for $35,000. Now, that doesn’t sound like a huge amount for Elvis’ contract *today*, but in 1955 that would be the highest sum of money ever paid for a recording artist’s contract. It was certainly an absurd amount for someone who had so far failed to trouble the pop charts at all. Phillips’ view was that it was a ridiculous amount to ask for, but if he got it he could cover his spiralling costs, and if he didn’t — as seemed likely — he would still have Elvis. As Phillips later said, “I thought, hey, I’ll make ’em an offer that I know they will refuse, and then I’ll tell ’em they’d better not spread this poison any more. I absolutely did not think Tom Parker could raise the $35,000, and that would have been fine. But he raised the money, and damn, I couldn’t back out then.” He gave the Colonel an unreasonably tight deadline to get him a five thousand dollar unrefundable deposit, and another unreasonably tight deadline to get the other thirty thousand. Amazingly, the Colonel called his bluff. He got him the five thousand almost straight away out of his own pocket, and by the deadline had managed to persuade Steve Sholes at RCA to pay it back to him, to pay Sam Phillips the outstanding thirty thousand, and to pay Elvis a five thousand dollar signing bonus — of which, of course, a big chunk went directly into Tom Parker’s pocket. RCA quickly reissued “I Forgot to Remember to Forget” and “Mystery Train”, while they were waiting for Elvis’ first recording session for his new label. With Elvis was now on a major label, and Sam Phillips had to find a new rockabilly star to promote. Luckily, there was a new young country boy who had come to audition for him. Carl Perkins had definite possibilities.

Welcome to episode thirty-three of A History of Rock Music in Five Hundred Songs. This one looks at “Mystery Train” by Elvis Presley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. I’m also relying heavily on another book by Guralnick — Sam Phillips: the Man Who Invented Rock and Roll — for all the episodes dealing with Phillips and Sun Records. The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. All the Sun Records excerpted here — the ones by Junior Parker, Elvis Presley, Rufus Thomas, and Johnny Cash, are on this ten-disc set, which charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles for an absurdly low price. And this three-CD box set contains literally every recording Elvis made from 1953 through 1955, including live recordings and session outtakes, along with a handsome book.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   We talked a few weeks back about how Elvis Presley got started in the music business, but of course Elvis was important enough to rock and roll that we’re not going to stop there. Today we’re going to look at the rest of his career at Sun Records — and at how and why he ended up leaving Sun for a major label, with consequences that would affect the whole of music history. We’re going to tell a tale of two Parkers. The first Parker we’re going to talk about is Junior Parker, the blues musician who had been one of the Beale Streeters with Johnny Ace, Bobby “Blue” Bland, and B.B. King. Junior Parker had been working with Howlin’ Wolf for a while, before in 1952 he formed his own band, the Blue Flames (which should not be confused with all the other Flames bands we’ve talked about — for some reason there is a profusion of Flames that we’ll be dealing with well into the seventies). Ike Turner discovered them, and initially got them signed to Modern Records, though as with many Modern Records acts they were recording mostly in Sam Phillips’ studio. Turner contributed piano to the Blue Flames’ first single, “You’re My Angel”: [Excerpt: Junior Parker and the Blue Flames, “You’re My Angel”] But after that one single, Parker and his band started recording directly for Sun records. The first single they recorded for Sun was a minor hit, but wasn’t particularly interesting — “Feelin’ Good” was basically a John Lee Hooker knock-off: [Excerpt: Little Junior’s Blue Flames: “Feelin’ Good”] But it’s their second single for Sun we want to talk about here, and both sides of it. The A-side of Junior Parker and the Blue Flames’ second Sun single is one of the best blues records Sun ever put out, “Love my Baby”: [Excerpt: Junior Parker, “Love My Baby”] That record was one that Sam Phillips — a man who made a lot of great records — considered among the greatest he’d ever made. Talking to his biographer Peter Guralnick about it decades later, he said “I mean you tell me a better record that you’ve ever heard,” and Guralnick couldn’t. But it was the B-side that made an impression. The B-side was a song called “Mystery Train”. That song actually dates back to the old folk song, “Worried Man Blues”, which was recorded in 1930 by the Carter Family: [excerpt: “Worried Man Blues”, the Carter Family] The Carter Family were, along with Jimmie Rodgers, the people who defined what country music is. Everyone in country music followed from either the Carters or Rodgers, and we’ll be seeing some members of the extended Carter family much later. But the important thing here is that A.P. Carter, the family patriarch, was one of the most important songwriters of his generation, but he would also go out and find old folk songs that he would repurpose and credit himself with having written. “Worried Man Blues” was one of those, and those lyrics, “the train arrived, sixteen coaches long” became part of the floating lyrics that all blues singers could call upon, and they became the basis for Junior Parker’s song: [Excerpt: Junior Parker, “Mystery Train”] That song’s composition was credited to Parker and to Sam Phillips. Phillips would later claim that he made three major changes to the song, and that these were why he got the co-writing credit. The first was to give the song the title “Mystery Train”, which has been a big part of the song’s appeal ever since. The second was to insist that the number of coaches for the train should be sixteen — Parker had been singing “fifty coaches long”. And the final one was to suggest that the band start the song slowly and build up the tempo like a train gathering steam. Parker and his Blue Flames also backed Rufus Thomas on “Tiger Man”, a song that Elvis would later go on to perform in the sixties, and would play as a medley with “Mystery Train” in the seventies: [Excerpt: Rufus Thomas, “Tiger Man”] But the Rufus Thomas connection proved a signifier of what was to come. Don Robey was still annoyed with Sam Phillips over “Bear Cat”, the track that Phillips had produced for Thomas as an answer to “Hound Dog”, and Robey would take pleasure in poaching Phillips’ artists for his own label. Phillips was soon reading in Cash Box magazine that Robey was grooming Little Junior Parker for big things. Robey signed Parker to an exclusive contract, and even an unsuccessful hundred-thousand-dollar lawsuit from Sam Phillips couldn’t stop Robey from having Parker on his label. Junior Parker would go on to have a distinguished career in R&B, having occasional hit singles until shortly before his death from a brain tumour in 1971. Luckily for Phillips, he had other artists he could work with, not least of them Elvis Presley. But before we talk more about Elvis, let’s talk about that other Parker. Tom Parker was to become the most well-known manager in the music industry, even though for most of his career he only managed one act, so today we’re going to look at him in some detail, as he became the template for all the worst, most grasping, managers in the music business. When we deal with Allen Klein or Peter Grant or Don Arden, we’ll be dealing with people who are following in the Colonel’s footsteps. It’s difficult to separate fact from fiction in the case of Colonel Parker, though there are biographies devoted entirely to doing so, with some success. What we know for sure was that Parker was an undocumented immigrant to the United States, originally from the Netherlands, who had taken the name Parker upon his arrival. We also know that the same day that he disappeared from his home in the Netherlands to travel to the US for the final time, a woman was found bludgeoned to death in his home town. And we know that he was dishonourably discharged from the US Army as a psychopath. And that there were rumours around his home town decades later that Parker was responsible for the murder. We also know that he desperately hid his undocumented status long past the time when he would have been eligible for citizenship, and that he completely cut off all contact with his family, even though he had been close to them before emigrating. Whether he was a killer or not, Parker was certainly an unsavoury character — as, to be fair, were most people involved in the business side of the music industry in the 1950s. He had his start in the entertainment industry as a con-man, and throughout his life he loved to manipulate people, playing humiliating practical jokes on them that weren’t so much jokes as demonstrations of his power over them. He was, by all accounts, a cruel man who loved to hurt people — except when he loved to be outlandishly sentimental towards them instead, of course. Parker had started out as a carny — working in travelling shows, doing everything from running a dancing chicken show (in which he’d put a hot-plate under a chicken’s feet so it would keep lifting its legs up and look like it was dancing) to telling fortunes, to being the person whose job it was to tempt the geek to come back to the show with a bottle of whisky when he became too sickened by his job. (The geek, for those who don’t know, was a person in a carnival who would perform acts that would disgust most people, such as biting the head off live chickens, to the amused disgust of the audience. Usually a geek would be someone who had severe mental health and substance abuse problems, degrading himself as the only way to make enough money to feed his habit.) All this had taught Parker a lot — it had led him to the conclusion that audiences were there to be ripped off, and that absolutely nothing mattered to them other than the promise of sexuality. As far as Parker was concerned, in showbusiness it didn’t matter what the show was — what mattered was how you sold it to the audience, and how much merchandise you could sell during the show. In his time with the carnivals, Parker had become extremely good at creating publicity stunts. One that he did many times was to fake a public wedding. He and a female staff member would pretend to be just two customers in love, and they would “get married” at the top of the Ferris wheel, drawing huge crowds. It was during World War II that Parker had moved into country music promotion. He first became involved in music when he got to know Gene Austin, one of the biggest stars of the 1920s: [Excerpt: Gene Austin, “Ain’t She Sweet?”] Austin had been a huge star, but by the time Parker got to know him in the late thirties, he was much less popular. Parker helped him organise some shows (according to some claims, Parker was his manager, though other sources disagree), but at this time Austin had fallen on such hard times that he would fill his car at a petrol station, pay by cheque, and then tell them that his autograph was probably worth more than the money, so why not just leave that cheque uncashed and frame it? Parker learned a valuable lesson from Austin, with whom he would remain friends for years. That lesson was that the stars come and go, and rise and fall in popularity, but managers can keep making money no matter how old they are. Parker determined to get into music management. And given that he didn’t actually like music himself, he decided to go for the music of the common people, the music that was selling to the same people who’d been coming to the carnivals. Country music. And so to start with he put on a show by the up-and-coming star Roy Acuff: [Excerpt: Roy Acuff, “You’re the Only Star in My Blue Heaven”] In later years Roy Acuff would become, for a time, the single biggest star in country music, and Hank Williams would say of him, “For drawing power in the South, it was Roy Acuff, then God.” But in 1941 he was merely very popular, rather than a superstar. And Parker had used his promotional knowledge to make the show he promoted one of the biggest in Acuff’s career thus far. In particular, he’d tried a new trick that no-one else had ever done before. He’d cut a deal with a local grocery chain that they would sell cut-price tickets to anyone who brought in a clipping from a newspaper. This meant that the show had, in effect, multiple box offices, while the grocery chain paid for the advertising to increase their own footfall. Having seen what kind of money he could make from country music, Parker approached Acuff about becoming Acuff’s manager. Acuff was initially interested, but after a couple of dates he was put off from working further with Parker, because Parker had what Acuff thought an un-Christian attitude to money. Acuff was playing dates for fixed fees, and Parker started insisting that as well as the fixed fee, Acuff should get a percentage of the gross. Acuff didn’t want to be that grasping, and so he gave up on working with Parker — though as a consolation, Acuff did give Parker a stake in his merchandising — Parker got the rights to market Roy Acuff Flour in Florida. But Acuff did more than that. He pointed Parker in the direction of Eddy Arnold, a young singer who was then working with Pee Wee King’s Golden West Cowboys. He told Parker that Arnold would almost certainly be going solo soon, and that he would need a manager. Arnold was a fan of Gene Austin, and so eagerly linked up with Parker. Parker quickly got Arnold signed to RCA records as a solo artist, and Arnold’s second single, in 1945, “Each Minute Seems Like a Million Years”, reached number five in the country charts: [Excerpt: Eddy Arnold, “Each Minute Seems Like a Million Years”] Eddy Arnold was to go on to become one of the biggest stars in country music, and that was in large part because of the team that Tom Parker built around him. Parker would handle the management, Steve Sholes, the head of country and R&B at RCA, would handle the record production. Parker cut a deal with Hill and Range music publishers so that Arnold would perform songs they published in return for kickbacks, and any songs that Arnold wrote himself would go through them. And the William Morris Agency would handle the bookings. Both Sholes and Arnold were given money by Hill and Range for Arnold recording the publishers’ songs, Parker had Sholes in his pocket because he knew that Sholes was taking kickbacks and could inform Sholes’ bosses at RCA, and Parker in turn took twenty-five percent of the twenty thousand dollar bribe that Hill and Range paid Arnold, as Arnold’s manager. This whole team, put together by a mutual love of ripping each other and their artists off, would go on to work with Parker on every other artist he managed, and would be the backbone of his success in the industry. Parker soon used his music industry connections to get an honorary Colonel’s commission from Louisiana Governor Jimmie Davis, himself a former country musician, and from that point until the end of his life insisted on being addressed as “Colonel”, even though in reality he was a draft-dodger who had deliberately piled on weight during the Second World War so he could become too fat to draft. But Parker and Arnold eventually split up — Parker was originally meant to be Arnold’s exclusive manager, but in 1953 Arnold found out that Parker was putting together a tour of other RCA acts, headed by Hank Snow. Arnold fired the Colonel, and the Colonel quickly instead became the “exclusive” manager of Hank Snow. [Excerpt: Hank Snow, “I Went to Your Wedding”] Of course, Parker didn’t leave his association with Eddy Arnold empty handed — he insisted on Arnold giving him a severance package of fifty thousand dollars, because of how much money Arnold was making from the contracts that Parker had negotiated for him. His association with Hank Snow would only last two years, and would break up very acrimoniously — with Snow later saying “I have worked with several managers over the years and have had respect for them all except one. Tom Parker was the most egotistical, obnoxious human being I’ve ever had dealings with.” The reason Snow said this was because the Colonel tricked Snow out of the greatest business opportunity in the history of the music business. The two of them had formed a management company to manage other artists, and when Parker found another artist he wanted to manage, Snow naturally assumed that they were partners — right up until he discovered they weren’t. Since his first single, Elvis Presley had been putting out singles on Sun that largely stuck to the same formula — a blues number on one side, a country number on the other, and a sparse backing by Elvis, Scotty, and Bill. In general, the blues sides were rather better than the country sides, not least because the country sides, after the first couple of singles, started to be songs that were especially written for Elvis by outside songwriters, and tended to be based on rather obvious wordplay — songs like “I’m Left, You’re Right, She’s Gone”. [Excerpt: Elvis Presley, “I’m Left, You’re Right, She’s Gone”] The blues songs, on the other hand, were chosen from among Elvis’ own favourites and songs that got kicked around in the studio. This would set the template for his work in the future — whenever Elvis got to choose his own material, and follow his own instincts, the results would be good music. Whenever he was working on music that was chosen for him by someone else — even someone as sympathetic to his musical instincts as Sam Phillips — the music would suffer, though at this stage even the songs Elvis wasn’t as keen on sounded great. By the time of Elvis’ last Sun single, he had finally made one more change that would define the band he would work with for the rest of the fifties. He had introduced a drummer, DJ Fontana, and while Fontana didn’t play on the single – session drummer Johnny Bernero played on it instead – he would be a part of the core band from now on. The trio of Elvis, Scotty, and Bill had now become a singer and his backup band — Elvis Presley and the Blue Moon Boys. The A-side of Elvis’ fifth single for Sun Records was one of those country songs that had been written especially for Elvis, “I Forgot to Remember to Forget”: [Excerpt: Elvis Presley, “I Forgot to Remember to Forget”] That’s a perfectly adequate country pop song, but the B-side, his version of “Mystery Train”, was astonishing. It was actually a merger of elements from the A-side and the B-side of Junior Parker’s single, as “Love My Baby” provided the riff that Scotty Moore used on Elvis’ version of “Mystery Train”. Elvis, Scotty, and Bill melded the two different songs together, and they came up with something that would become an absolute classic of the rockabilly genre: [Excerpt: Elvis Presley, “Mystery Train”] The song was probably chosen because Sam Phillips was one of the credited songwriters — as he was currently battling Don Robey in court over Junior Parker, he naturally wanted to make as much money off his former artist as he could. But at the same time, it was a song Elvis clearly liked, and one he would still be performing live in the 1970s. This wasn’t a song that was being forced on to Elvis. Indeed, Elvis almost certainly saw Junior Parker live when he was playing with the Beale Streeters — B.B. King would talk in later years about the teenage Elvis having been one of the very few white people who went to see them, and even allowing for later exaggerations, it’s likely that he did see them at least a few times. So this was one of those rare cases where the financial and artistic incentives perfectly overlapped. But while he was recording for Sun, Elvis was also touring, and he was drawing bigger and bigger crowds, and they were going wilder and wilder. And when Tom Parker saw one of those crowds, he knew he had to have Elvis. He didn’t understand at all why those girls were screaming at him — he would never, in all his life, ever understand the appeal of Elvis’ music — but he knew that a crowd like that would spend money, and he definitely understood that. Parker worked on Elvis, and more importantly he worked on Elvis’ family — and even more importantly than that, he got Hank Snow to work on Elvis’ family. Elvis’ parents were big Hank Snow fans, and after being told by their idol how much the Colonel had helped him they were practically salivating to get Elvis signed with him. Elvis himself was young, and naive, and would go along with whatever his parents suggested. Carl Perkins would later describe him as the most introverted person ever to enter a recording studio, and he just wanted to make some money to look after his parents. His daddy had a bad back and couldn’t work, and his mama was so tired and sick all the time. If they said the Colonel would help him earn more money, well, he’d do what his parents said. Maybe he could earn them enough money to buy them a nice big house, so his mama could give up her job. They could maybe raise chickens in the yard. It was only after the documents were signed that Snow realised that the contracts didn’t mention himself at all. His partner had cut him out, and the two parted company. Meanwhile, Sam Phillips was finding some more country singers he could work with, and starting to transition into country and rockabilly rather than the blues. A couple of months before “Mystery Train”, he put out another single by a two-guitar and bass rockabilly act – “Hey Porter” by Johnny Cash and the Tennessee Two: [Excerpt: Johnny Cash, “Hey Porter”] We’ll be hearing more from Johnny Cash later, but right now he didn’t seem to be star material. Colonel Parker knew that if Elvis was to become the star he could become, he would have to move to one of the major labels. Sun Records was a little nothing R&B label in Memphis; it barely registered on the national consciousness. If Elvis was going to do what Tom Parker wanted him to do, he was going to have to move to a big label — a big label like RCA Records. Colonel Parker was in the country music business after all, and if you were going to be anything at all in the country music business, you were going to work in Nashville. Not Memphis. Parker started hinting to people that Sam Phillips wanted to sell Elvis’ contract, without bothering to check with Phillips. The problem was that Sam Phillips didn’t want to give up on Elvis so easily. Phillips was, after all, a great judge of talent, and not only had he discovered Elvis, he had nurtured his ability. It was entirely likely that without Sam Phillips, Elvis would never have been anything more than a truck driver with a passable voice. Elvis the artist was as much the creation of Sam Phillips as he was of Elvis Presley himself. But there was a downside to Elvis’ success, and it was one that every independent label dreads. Sun Records was having hits. And the last thing you want as an indie is to have a hit. The problem is cashflow. Suppose the distributors want a hundred thousand copies of your latest single. That’s great! Except they will not pay you for several months — if they pay you at all. And meanwhile, you need to pay the pressing plant for the singles *before* you get them to the distributors. If you’ve been selling in small but steady numbers and you suddenly start selling a lot, that can destroy your company. Nothing is more deadly to the indie label than a hit. And then on top of that there was the lawsuit with Don Robey over Junior Parker. That was eating Phillips’ money, and he didn’t have much of it. But at that point, Sam Phillips didn’t have any artists who could take Elvis’ place. He’d found the musician he’d been looking for — the one who could unite black and white people in Phillips’ dream of ending racism. So he came up with a plan. He decided to tell Tom Parker that Elvis’ contract would be for sale, like Parker wanted — but only for $35,000. Now, that doesn’t sound like a huge amount for Elvis’ contract *today*, but in 1955 that would be the highest sum of money ever paid for a recording artist’s contract. It was certainly an absurd amount for someone who had so far failed to trouble the pop charts at all. Phillips’ view was that it was a ridiculous amount to ask for, but if he got it he could cover his spiralling costs, and if he didn’t — as seemed likely — he would still have Elvis. As Phillips later said, “I thought, hey, I’ll make ’em an offer that I know they will refuse, and then I’ll tell ’em they’d better not spread this poison any more. I absolutely did not think Tom Parker could raise the $35,000, and that would have been fine. But he raised the money, and damn, I couldn’t back out then.” He gave the Colonel an unreasonably tight deadline to get him a five thousand dollar unrefundable deposit, and another unreasonably tight deadline to get the other thirty thousand. Amazingly, the Colonel called his bluff. He got him the five thousand almost straight away out of his own pocket, and by the deadline had managed to persuade Steve Sholes at RCA to pay it back to him, to pay Sam Phillips the outstanding thirty thousand, and to pay Elvis a five thousand dollar signing bonus — of which, of course, a big chunk went directly into Tom Parker’s pocket. RCA quickly reissued “I Forgot to Remember to Forget” and “Mystery Train”, while they were waiting for Elvis’ first recording session for his new label. With Elvis was now on a major label, and Sam Phillips had to find a new rockabilly star to promote. Luckily, there was a new young country boy who had come to audition for him. Carl Perkins had definite possibilities.

Françoise Hardy bragede igennem i 1962, kun 18 år gammel, med sangen ‘Tous les garçons et les filles'. Hun blev øjeblikkeligt et stilikon og en emblematisk figur indenfor yé-yé-bølgen, selvom hendes musik adskiller sig markant fra genren. Som en af de få i perioden skrev hun en stor del af sit materiale selv, og hun opnåede popularitet udenfor Frankrigs grænser.Mindst 25 albums (heraf flere på tysk, engelsk og italiensk) er det siden blevet til, helt frem til 2018’s ‘Personne d’autre', som bærer præg af hendes kamp mod kræft. Rockhistorier hylder en kunstner, som begge værter har lyttet til og fulgt i mange år, med vægten lagt på karrierens første årti. Playliste:1. Tous les garçons et les filles (1962)2. Le temps l’amour (1962) 3. Ton meilleur ami (1962) 4. Le premier bonheur du jour (1963) 5. Mon amie la rose (1964)6. Je n’attends plus personne (or. Non aspetto nessuno ) (1964)7. Et même (1964)8. L’amitié (1965)9. La maison où j’ai grandi (or. Il ragazzo della via Gluck) (1966) 10. Autumn Rendezvous (or. Rendez-vous d’automne) (1966)11. Voilà (1967) 12. Comment te dire adieu (or. It Hurts to Say Goodbye) (1968)13. L’ombre (or. Strange Shadows) (1970)14. La question (1971)15. If You Listen (1971) 16. Et si je m'en vais avant toi (1972) 17. L’amour en privé (1973) 18. Mode d'emploi? (1996)19. AIR feat. Françoise Hardy: Jeanne (1998) 20. Dors mon ange (or. Sleep, My Angel) (2018)

Programa especial dedicado a los que ya no están. The Day Of The Dead recuerda desde Jukebox Gumbo a los artistas que nos abandonaron en 2018. El programa se emite en directo cada lunes a las 19 horas en www.ipopfm.com. TRACKLIST: 01. Glen Glenn - John Henry 02. Dick Williams - Livin' It Up 03. Brian Browne Trio - Flowers On The Wall 04. Rayburn Anthony - Hambone 05. Little Junior Parker And The Blue Flames - You're My Angel 06. Eddie Clearwater - A Real Good Time 07. Elvis Presley - My Baby Left Me 08. Tramp - Another Day 09. John Mayall's Bluesbreakers - She's Too Young 10. The Soulmen - I Wish I Were 11. Violeta Rivas - Que Suerte 12. Don Medardo Y Sus Players - Sangra Corazon 13. The Dillards - The Last Thing On My Mind 14. The Left Banke - Lazy Day 15. Morris Nanton - Troubles Of The World 16. Bo Nilsson - Gorillan 17. Jerzy Milian - Mloty Na Widowni (Jerks At The Audience) 18. The Jive Five - I'm A Happy Man 19. The Vondells - Valentino 20. The Shepherd Sisters - Alone 21. Yvette Horner Et Son Orchestre - Rock A Beatin' Boogie 22. Teddy And Pearl - Tomorrow, Tomorrow 23. Big Bill Bissonnette - Short Dress Gal From New Orleans

The BEST Indie Music Artists from around the world: EDM, Indie Rock, Indie Pop, Hip Hop,R & B, Rap, Reggae, Jazz, Country, Folk, & more...Hosted by DTongAdvertising & Sponsorship: http://goo.gl/ioP6HwGuaranteed Song Play & Promotion: http://goo.gl/4aD98wBROUGHT TO YOU BY:How To Make Money In The Stock Markethttps://goo.gl/i3fQp7Snowball: Invitation Only Beta-Launchhttps://goo.gl/tXY2tnhttp://www.howtobeahomebuyer.comMountain Thunder 100% Kona Coffeehttps://mountainthunder.comPoses For Artists Books Serieshttps://goo.gl/WHDuH2https://businessgrowthcafe.podbean.comhttps://www.retrogasmic.comFor the Man In Whitehttps://goo.gl/yEjepPGinga and Bready Meet Nene The Reindeerhttps://goo.gl/EyHW6eMy Wife, My Angel by Stephen Adamshttps://goo.gl/A81pcdAlso New Music from:Faxton 'Til They Forget'Jonathan Alexander 'If and When'Sofia Evangelina 'This Is Your Song'Sham Gabr 'Lets Redo'Bastwist w/ a Back2BackMissTiaQcue 'Bleed'The Como Brothers 'See The Light'Wynter Starr 'Softer Side'Borges & Elton Paindane 'Ballin' Out'Chrome Korleone 'She's My Best Friend'Deezy Diablo 'Day by Day'E Lew 'Pastlife'Will Boy 'Vision'Clay G 'Push It To The Limit'Suave Bossla 'Confidential'AlienEmoji 'Leeches'VOID 'Keeping Pace'Gilbert Mulamba 'Here I am'Sondado 'Together Alone'Vaughn 'Stop Time'Vish K 'Float Away'Catch the show on iTunes, Spotify, iHeartRadio, PlayerFM, Periscope, Google Play, TuneIn, Stitcher, Soundcloud, & www.DTongRadio.com

Today we're having a conversation on a requested topic: building characters for Changeling: the Dreaming. Thrill as we immediately get off topic and begin talking about ways to make the character creation process more dynamic and allow for more player and storyteller creativity.   Readings The Velveteen Rabbit/How Toys Become Real by Margery Williams The Book of the City of Ladies by Christine de Pizan Angel Monster Man By Sam J. Miller   Music LSD by Mon Plaisir, Tech Toys by Lee Rosevere, My Angel by Ars Sonar, and Chilling With A Drink At The Club by Loyalty Freak Music.   To purchase Changeling: the Dreaming as well as a wide array of other role playing texts go to DriveThruRPG.com. We have a blog now! Come read some of our more fully developed thoughts about playing and playing with the Changeling: the Dreaming rules and setting at Parting the Mists. If you liked this conversation you might enjoy some of Simon's thoughts on tweaking the character creation system to make early interregnum games more interesting. Portions of the materials are the copyrights and trademarks of White Wolf Publishing AB, and are used with permission. All rights reserved. For more information please visit white-wolf.com.

Actor Timothy Spall & director Stephen Cookson talk acting, working on Harry Potter, directing tips and their new film Stanley A Man of Variety with Giles Alderson and Andrew Rodger We talk with Stephen about finding the locations, Shooting black and white. The look and visuals of a feature film, VFX and the Editing process. Making his debut film My Angel where he brought in Timothy who made calls to bring on Brenda Blethin and it snowballed from there. Learning not to give to many notes to actors & being very respectful of older actors and their ability to be the role. We discuss that if you want to be a director. Direct something see if you like it. How the idea is the most important thing. No point spending years trying to make something of the idea is bad We learn how Stephen met Star Wars director Irvin Kershner on the tube and asking him questions and advice which he duly gave. Should we having agents as a director? Stephen gives a compelling argument regarding this. Timothy talks about being in Harry Potter and being seduced by director Alphonso Cuaron to take the part. How being in a massive franchise like that is a blessing and a curse. “Your either right for the part or you ain't” There is a difference between film stars and actors. Film stars can fit into wish-fulfillment roles. Character actors can fit it different roles” Links Stanley A Man of Variety is OUT NOW at Picture House Cinema's. Link to screenings: https://www.picturehouses.com/film/stanley-a-man-of-variety Trailer: https://www.youtube.com/watch?time_continue=1&v=QV5y7hN9bp4 Raindance www.raindance.org Raindance offer http://bit.ly/DeepCharacterisation use the code RDPODCAST20 for 20% off INDIE FILM SHOUT OUTS A Serial Killers Guide to Life facebook page https://www.facebook.com/ASerialKiIIersGuidetoLifeMovie/ Official SITE of the podcast www.thefilmmakerspodcast.com Part of the www.podfixnetwork.com Giles Alderson Official site http://www.directedbygiles.com Follow us on Twitter @filmmakerspod @gilesalderson @35mmdop.com

We solemnly read through the 1993 career-suicide note that is Billy Joel's final studio album, "River of Dreams," and usher in the era of OFS (old, fat, sad) Joel. Features: "The River of Dreams," "All About Soul," "No Man's Land" and "Lullabye (Goodnight, My Angel)." #billyjoel #joelhole

Feb. 20, 2016. Conductor Harry Christophers and composer Gabriela Lena Frank discuss the bicentennial of the Handel and Haydn Society, as well as Frank's Library of Congress co-commission, "My Angel, His Name Is Freedom." Speaker Biography: Harry Christophers CBE is the artistic director of the Handel and Haydn Society, one of the preeminent American period instrumental and vocal ensembles. He is also founder and conductor of the British vocal ensemble The Sixteen and a frequent guest conductor for orchestras, vocal ensembles and opera around the world. Speaker Biography: American composer Gabriela Lena Frank was born in Berkeley, California to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Bela Bartok and Alberto Ginastera, has travelled extensively throughout South America, and her pieces reflect and refract her studies of Latin-American folklore, incorporating poetry, mythology and native musical styles into a western classical framework that is uniquely her own. She writes challenging idiomatic parts for solo instrumentalists, vocalists, chamber ensembles and orchestras. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7298

EXODUS 32: 25 Now when Moses saw that the people were unrestrained (for Aaron had not restrained them, to their shame among their enemies), 26 then Moses stood in the entrance of the camp, and said, “Whoever is on the Lord’s side—come to me!” And all the sons of Levi gathered themselves together to him. 27 And he said to them, “Thus says the Lord God of Israel: ‘Let every man put his sword on his side, and go in and out from entrance to entrance throughout the camp, and let every man kill his brother, every man his companion, and every man his neighbor.’” 28 So the sons of Levi did according to the word of Moses. And about three thousand men of the people fell that day. 29 Then Moses said, “Consecrate yourselves today to the Lord, that He may bestow on you a blessing this day, for every man has opposed his son and his brother.” 30 Now it came to pass on the next day that Moses said to the people, “You have committed a great sin. So now I will go up to the Lord; perhaps I can make atonement for your sin.” 31 Then Moses returned to the Lord and said, “Oh, these people have committed a great sin, and have made for themselves a god of gold! 32 Yet now, if You will forgive their sin—but if not, I pray, blot me out of Your book which You have written.” 33 And the Lord said to Moses, “Whoever has sinned against Me, I will blot him out of My book. 34 Now therefore, go, lead the people to the place of which I have spoken to you. Behold, My Angel shall go before you. Nevertheless, in the day when I visit for punishment, I will visit punishment upon them for their sin.” 35 So the Lord plagued the people because of what they did with the calf which Aaron made.

While it might seem strange that cutting the Tabernacle Choir in half would result in a number-one album on the Billboard Classical charts in its first week of release, that's exactly what happened.In this audio tour of the album, you'll hear the choir's director, Dr. Mack Wilberg, talk about the decision to make the album, the rich tradition of men's choral music, and why they chose this particular balance of classical and contemporary songs, which has struck a chord with so many listeners.That's this week on The Cricket and Seagull...Playlist:1.   Brethren, We Have Met to Worship2.   Brightly Beams Our Father's Mercy3.   The Morning Trumpet4.   Fight the Good Fight with All Thy Might5.   Evening (Aftonen)6.   Land-Sighting (Landkjenning)7.   Dance a Cachuca, Fandango, Bolero (Finale from The Gondoliers)8.   Alleluia9.   Pilgrim's Chorus from Tannhäuser10. Lullabye (Goodnight, My Angel)11. Hush, Little Baby12. You Raise Me Up13. Beautiful Savior14. There Is a Balm in Gilead15. He's Got the Whole World in His Hands