Podcasts about my ding a ling

Singles Going Around- Real Cool TimeSide AJames Burton- "Rock and Raunch"The Velvet Underground- "What Goes On"Elvis Presley- "Wearin' That Loved On Look"Led Zeppelin- "Gallows Pole"Sir Douglas Band- "Nitty Gritty"The Rolling Stones- "Stop Breaking Down"Sonny & Cher- "Because Your Mine"Neil Young- "C'mon Baby, Let's Go Downtown"Side BPlastic Ono Band- "Hold On John"James Burton- "Long Peach"T. Rex- Country Honey"Otis Redding- "Don't Mess With Cupid"Paul McCartney- "Eat At Home"Tony Joe White- "Woodpecker"Chuck Berry- "My Ding-A-Ling"Cream- "Doin That Scrapyard Thing"The MC5- "Kick Out The Jams"The Stooges- "Real Cool Time"

A selection of Top 40 hits from October 1972. Artists include Rod Stewart, The Temptations, Yes, The Spinners, Johnny Nash, Joe Cocker and more!

The Sue Morgan Podcast Episode 86 - My Ding-A-Ling 210522 by Random audio from UK broadcaster Ian Watko Watkins

 | Artist  | Title  | Album Name  | Album Copyright | Charlie Musselwhite  | 07 The Dark  | Mississippi Son  | Alligator  |  | Lew Jetton & 61 South  | Getting Colder  | Deja Hoodoo  |  | Eliza Neals  | Queen of the Nile II  | Badder to the Bone  |  | Steve Bailey featuring Mississippi MacDonald  | Ninety Nine  | Crazy 'Bout You  |  | Markey Blue Ric Latina Project  | Red Room [with Ronnie Owen]  | Raised in Muddy Water | Beaux Gris Gris & the Apocalypse  | Trouble Is Coming  | Good Times End Times | Born Healer  | Grievin'  | Herbs, Roots, Barks, Etc. | Teresa James & The Rhythm Tramps  | Rose-Colored Glasses  | Rose Colored Glasses | Zoot Money's Big Roll Band  | Stubborn Kind Of Fellow - BONUS TRACK (Digitally Remastered)  | It Should've Been Me (Digitally Remastered) | Ben Hemming  | Losing My Way  | Marked Man  |  | Bessie Jones & with the Georgia Sea Island Singers  | 04 O Day  | Get In Union  | Alan Lomax Archives/Association For Cultural Equity | Mike Zito & Friends  | My Ding A Ling  | Rock 'N' Roll; A Tribute To Chuck Berry | Scotty Moore Trio  | Have Guitar Will Travel  | Great Rock 'n Roll Instrumentals, Vol. 1 CD 1 | Michael Rubin  | ID Wednesday's even worse  | Singles 06-04--22  |  | Myles Goodwyn and Friends of the Blues  | Fish Tank Blues  | Myles Goodwyn and Friends of the Blues 2

It was standing room only at Birmingham Town Hall on May 5, 1964 - the day legendary anti-smut campaigner Mary Whitehouse launched her ‘Clean Up TV' campaign. Claiming the BBC's Director-General was “responsible for the moral collapse in this country”, she went on to attract 366,355 signatures to her petition opposing the “disbelief, doubt and dirt that the BBC projects into millions of homes through the television screen”.In this episode, Olly, Rebecca and Arion revisit her objections to ‘filth' as diverse as Chuck Berry's ‘My Ding-A-Ling' and concentration camp footage; consider whether her M.O. influenced modern-day ‘cancel culture'; and ask if, in a world of 24-hour news, her feelings about war reporting have achieved some merit... Further reading:• Letters from Mary Whitehouse in the National Archives: https://www.nationalarchives.gov.uk/education/resources/sixties-britain/letters-mary-whitehouse/• Mary Whitehouse's obituary in The Guardian (2001):https://www.theguardian.com/media/2001/nov/24/guardianobituaries.obituaries• From the Huntley Film Archives, the night Clean Up TV launched their petition: https://www.youtube.com/watch?v=YO_DqJ85jvkFor bonus material and to support the show, visit Patreon.com/RetrospectorsWe'll be back tomorrow! Follow us wherever you get your podcasts: podfollow.com/Retrospectors The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill.Theme Music: Pass The Peas. Voiceover: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Emma Corsham.Copyright: Rethink Audio / Olly Mann 2021. See acast.com/privacy for privacy and opt-out information.

To celebrate World Radio Day 2021, St Helenian Radio stalwart Tony Leo joined Sharon Wade on the Shine Show to talk about the early days of his career and the shaping of ST HELENA GOVERNMENT BROADCASTING STATION (Radio St Helena) in the early days after his appointment in April 1973. Tony revisits how he became to be appointed the Stations 1st Full time Member. They then discuss the progression in programming and how the team worked both in the studio and the many outside broadcasts and the strict procedures they had to follow, including the records that were banned from transmission: French Kiss; Leap up and down with your knickers in the air; Push it; My Ding-A-Ling; Je t'aime' A bit of background on Radio St Helena Radio Saint Helena (call-sign: ZHH) was a local radio station serving the South Atlantic island of Saint Helena. Broadcasting on an AM frequency of 1548 kHz (194 m), the station was audible within a range of about 100 km from the island. Radio St Helena also broadcast internationally on one day each year – on 11.0925 MHz shortwave – using the call-sign ZHH-50. Many of the station's regular presenters took part in this event, known as "Radio St Helena Day", thereby enjoying the experience of broadcasting to audiences all around the world. The station began official broadcasting on 14th October 1967, relaying programmes from the BBC World Service and with ‘Variety Hour' on Saturdays from 5pm-6pm presented by Rex Duncan. Radio St Helena closed down at midnight on Christmas Day, 25 December 2012. This, following the earlier closure of Saint FM on 21 December, left Saint Helena with no broadcast radio service at all until Saint FM was relaunched on 10 March 2013 as Saint FM Community Radio.

It’s time for another “fab” episode of Fans On The Run! It is Friday, after all. I’m joined by my co-host over on “When They Was Fab: Electric Arguments About The Beatles”, Ed Chen! (Although, this episode was recorded before I was officially announced as a co-host) In this episode we talk about the supply and demand of Rutles 8 Track Tapes, the Bee Gees’ Sgt. Pepper “selling gold, and returning platinum”, attractive hype stickers, the origins of the term “Dutch Import” in terms of bootlegs, nefarious laughing, the post Beatlefest ratings boost for the Beatle podcats, the laziness of the 1988 Imagine movie, “My Ding-A-Ling”, a plugging misfire, and three different technical failures that were fixed in the edit! All that and more, you absolutely need to listen! This episode (as well as When they Was Fab) can be streamed anywhere good podcasts can be heard!) https://whentheywasfab.podbean.com/ Follow us elsewhere:https://linktr.ee/fansontherun

The Crambones take a hard look at Chuck Berry's only #1 hit, My Ding A Ling, from 1972.

The Buck (Kirk Buchner) and Andrea Tessmann look at Chuck Berry's lone #1, "My Ding-A-Ling", and how this happened.

It’s episode 43, where Homer pulls double duty in “Lisa’s Pony” and we cover the death of Robert Maxwell, with a dive into his fascinating origins. Along the way we’ll discuss “My Ding-A-Ling” (but not our ding-a-lings, mercifully), the north-east’s top light entertainer, football mergers, Tetris and our old favourites, various totalitarian Eastern European regimes!… Read More »

Playlist: Johnny Hoy & The Bluefish, Little Upsetter, Tall Richard and The Nightowls, Pretty Little Girl, Tas Cru, Grizzle N’ Bone, Buddy Guy, Whiskey For Sale, Davina and The Vagabonds, Bone Collection, Diane Blue, Knock, Knock, Lizanne Knott, Lay Him Down, Jittery Jack with Amy Griffin on Guitar, Dance Adrianne Dance, Murali Coryell, I Got It Bad For You, Dave Specter, How Low Can One Man Go, Katy Hodgood Ray, Oh Devil, Breezy Rodio, A Minute Of My Kissing, Johnny Burgin, She Gave Me The Slip, The Grip Weeds, Infinite Soul, Joanna Connor, Bad Hand, Screamin’ John & TD Lind, Shame, Shame, Shame, Fred Hostetler, He’s Gone Rogue, Jaqui Brown, Lovin’ You, Sonia Leigh, No Half Steppin’, Joe Kopicki, JuJu, Brad Vickers And His Vestapolitans, Love Can Win, Teresa James & The Rhythm Tramps, She’s Got A Way With Men, Biscuit Miller & The Mix, 609, Brad Heller, Bound For Nothing, The B. Christopher Band, I’m Drunk, Violates Violets, Flesh Of Flesh, Jeff Pitchell, It Come To Me Naturally, Christine Ohlman & Rebel Montez, Highway 61, Chris “Bad News” Barnes, Keep Your Mind On It, Matty T. Wall, Quicksand, Rick Estrin & The Nightcats, Cupcakin’, Mike Zito feat. Kid Andersen, My Ding A Ling, The Bruce Katz Band, Beef Jerky, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! https://itunes.apple.com/us/podcast/id502316055

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Indie Blues Double Shot Show!This is the Voice of Indie Blues, the future of the blues. An Indie Blues double shot of artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Van Morrison,Days Gone By,Van Morrison,Dark Night Of The Soul,Mike Zito & Friends,Memphis,Rock 'N' Roll - A Tribute To Chuck BerryMike Zito & Friends,My Ding A Ling,Rock 'N' Roll - A Tribute To Chuck BerryGrace Potter ft. Lucius,Back To Me,Grace Potter ft. Lucius,Repossession,Lucky Peterson & Aelpeacha,Takin Care Of Mine,50 Years-Just Warming UpLucky Peterson & Tamara Tramell,Don't Want Nobody But You,50 Years-Just Warming UpKenny Wayne Shepherd,Turn To Stone (mix 9),the TravelerKenny Wayne Shepherd,Woman Like You (mix 6),the TravelerGhost Town Blues Band,Running Out Of Time,ShineGhost Town Blues Band,Heading Nowhere Fast,ShineThe Lewis Hamilton Band,Empty Roads,On The RadioThe Lewis Hamilton Band,When The River Dries,On The RadioJacqui Brown,Brought The House Down,Love Love LoveJacqui Brown,Flow Like A River,Love Love LoveWhitey Somers,Six Months Pregnant 3000 Miles Away,Down that roadWhitey Somers,82% Done,Down That RoadqAndrew Jr.Boy Jones & Kerrie Lepai Jones,The World's Gone Crazy,Jr.Boy & Kerrie's BluesAndrew Jr.Boy Jones & Kerrie Lepai Jones,Do You Ever Think About Me,Jr.Boy & Kerrie's BluesJaniva Bumpers,LMC-****,Radio DropsJaniva Magness (feat Taj Mahal),Don't You Wish It Was True,Change In The Weather - Janiva Magness Sings John FogertyJaniva Magness,Have You Ever Seen The Rain,Change In The Weather - Janiva Magness Sings John FogertySparky Parker,Good Man,In The DarkSparky Parker,Shake Your Hips,In The DarkDiane Blue,Don't Box Me In,Look for the LightDiane Blue,That's a Pretty Good Love,Look for the LightTeresa James & the Rhythm Tramps,I WANT IT ALL,LIVETeresa James & the Rhythm Tramps,EVERYDAY WILL BE LIKE A HOLIDAY,LIVEEddie 9V,ghost,Left My Soul in MemphisEddie 9V,left my soul in memphis,Left My Soul in MemphisSister Lucille,Lost,AliveSister Lucille,Think About You,AliveAnnika Chambers,In The Basement,Kiss My SassAnnika Chambers,World of Hurt,Kiss My SassMakingascene.org,Makingascene.org Promo,makingascene.orgDoug Duffey and BADD,A Memory Left To Lose,Doug Duffey and BADD Play The BluesDoug Duffey and BADD,Big Easy Street Blues,Doug Duffey and BADD Play The BluesNicholas David,Curious,Yesterday's GoneNicholas David,Okay,Yesterday's GoneBrody Buster's One Man Band,Bad News,Damn I Spilled the BluesBrody Buster's One Man Band,Alligator Blues,Damn I Spilled the BluesMakingascene.org,Makingascene.org Promo,makingascene.orgThe Paul Deslauriers Band,Feeling All Kinds Of Good,BounceThe Paul Deslauriers Band,Happy Wasting Time With You,BounceHeavyDrunk,Somebody's Got to Take Them Panties Off,HolywaterHeavyDrunk,Walking to the Mission in the Rain,HolywaterBiscuit Miller & The Mix,Southern Woman,Chicken GreaseBiscuit Miller & The Mix,Chicken Grease,Chicken GreaseTroy Gonyea,2. (Do The) Curl Up And Die,Click Click SparkTroy Gonyea,7. Georgia Slop,Click Click SparkChris Eger Band,03 Last Addiction,Show Me Where To SignChris Eger Band,02 Hippie Heart,Show Me Where To SignJeff Dale and the South Woodlawners,Naked Woman In  My Bed,Good MusicJeff Dale and the South Woodlawners,The Devil I Know,Good MusicThe B. Christopher Band,Tried To Keep You Satisfied,Two Rivers BackThe B. Christopher Band,I'm Drunk,Two Rivers Back Honoring the Past, Praising the Present, Empowering the FutureTUNE IN THE BEST IN INDIE BLUES RADIO AND BECOME PART OF THE Indie Blues MovementCelebrating the Diversity and Power of the Music created by artists that acknowledge their roots are in the Blues!INDIE Blues – Currently Touring Musicians who recognize they are influenced by The Blues artists that came before them and in the time honored tradition of The Blues, are creating New Original Music that reflects their reality. The music they create communicates with the listener with truth, integrity and touches them on a deep emotional level.

  Welcome to episode twelve of A History of Rock Music in Five Hundred Songs. Today we're looking at "Lawdy Miss Clawdy" by Lloyd Price. 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. Lloyd Price has written a few books. His autobiography is out of print and goes for silly money (and don't buy the "Kindle edition" at that link, because it's just the sheet music to the song, which Amazon have mislabelled) but he's also written a book of essays with his thoughts on race, some of which shed light on his work. The information on Dave Bartholomew and Fats Domino here largely comes from Blue Monday by Rick Coleman. The Lloyd Price songs here can be found on The Complete Singles As & Bs 1952-62 while the Fats Domino tracks are on They Call Me the Fat Man Erratum I used the wrong version of "Lawdy Miss Clawdy" when editing this podcast. The version used here is a soundalike remake from 1958, rather than the 1952 original. Apologies for the error.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   This is a rather special episode in some ways. The topic of this episode is "Lawdy Miss Clawdy" by Lloyd Price, and I'll be frank -- I was not originally going to give "Lawdy Miss Clawdy" its own episode. Not because it's not a great record -- it is -- but because I was going to deal with it in passing when I cover one of the other records made by its vocalist, Lloyd Price. But that was before I noticed an odd coincidence of timing. I needed to prerecord this episode, because it's Christmas and I'm visiting my in-laws, and so I was looking at what records came next in the history on my timeline, and I noticed two things: The first was that "Lawdy Miss Clawdy" was the next important record to be released in the timeline I'd put together. And the second was that Dave Bartholomew, that record's producer, was born one hundred years ago exactly, on December 24th, 1918. I simply couldn't pass up an opportunity to do an episode celebrating the hundredth birthday of one of the great pioneers of rock and roll music, and one who is happily still alive. We talked about Bartholomew a bit a couple of weeks ago, in the episode about "The Fat Man" by Fats Domino, but he needs to be discussed in more detail, as he was one of the most important musicians of the fifties. As we heard, he brought the "Spanish tinge" to rhythm and blues records and collaborated with Fats Domino on all of Domino's big hits -- and we'll be hearing more about him in that context in a few weeks -- but he did a lot more. Not only did he produce classic records by Frankie Ford and T-Bone Walker, not only did he write "One Night", which became a big hit for Smiley Lewis and a bigger one for Elvis, but he also wrote Chuck Berry's only number one hit: [excerpt "My Ding-A-Ling" by Chuck Berry] OK, that may not be Berry's finest moment as a performer, but it shows just how wide Bartholomew's influence was. Despite that, rather astonishingly, there's never been a biography written of Bartholomew, and even "Honkers and Shouters", the classic book on the history of rhythm and blues which contains almost the only in-depth interviews with many of the musicians and record producers who made this music, only devotes a handful of paragraphs to Bartholomew's work. I've barely been able to even find any in-depth interviews with Bartholomew, and so my knowledge of him is built up from lots of offhand mentions and casual connections in books on other people. But he worked with so *many* other people that that still amounts to quite a lot. So let's talk about "Lawdy Miss Clawdy", and let's do it by picking up the story of Dave Bartholomew and Fats Domino after "The Fat Man". "The Fat Man" was a massive hit, but it caused some strain between its producer and its performer. Domino had gone on tour to support the record, as part of a larger package with Bartholomew's band as the headliners. Domino would only perform a few songs at a time, and most of the show was Bartholomew's band. Domino resented Bartholomew for getting most of the money, while Bartholomew resented Domino for his popularity -- Domino was starting to overshadow the nominal star of the show. But more than that, Domino just didn't seem to be getting on well with the rest of the band. This wasn't because he was unfriendly -- although Domino was always someone who seemed a little socially awkward -- just that Domino was a homebody who absolutely resented ever having to go away from home, and especially as he had a newborn baby son he wanted to be home for. Indeed, when the tour had started, Domino had missed the first few days by the simple expedient of hiding for several days, and it was only when a union official had come knocking at his door explaining what happened to people who broke their contracts that he relented and went on the tour. And even then, he packed a suitcase full of foods like pickled pig's feet, in case he couldn't get his favourite foods anywhere else. Domino was a sheltered, nervous, shy, person -- someone who had been so unworldly that when his first record came out he didn't have a record player to play it on and had to listen to it on jukeboxes -- and this exasperated Bartholomew, who was a far more well-travelled and socially aware person. But the two of them still continued to collaborate, and to make records together, including some great ones like this version of the traditional New Orleans song "Eh La Bas!", which Bartholomew rewrote with the great boogie pianist Professor Longhair and titled "Hey! La Bas Boogie" [excerpt "Hey! La Bas Boogie" by Fats Domino] The collaborations caused other problems, too -- both Bartholomew and Domino thought, with good reason, of themselves as the true talent in their collaborations. Domino believed that his piano playing and singing were the important things on the records, and that since he was bringing in most of the ideas fully-formed Bartholomew wasn't doing much to make the records successful. Bartholomew, on the other hand, thought that the song ideas Domino was bringing in were basically nursery rhymes, while his own songs were more sophisticated -- Domino had little formal musical knowledge and usually used only a couple of chords, while Bartholomew was far more musically knowledgeable; and Domino wasn't a native English speaker, and tended to use very simple lyrics while when Bartholomew brought in ideas he would come up with strong narratives and punning lyrics. Bartholomew thought that when the songs Domino brought in became successful, it was because of Bartholomew's patching up of them and his arrangements. Bartholomew resented that Domino was becoming a big star, and Domino resented that Bartholomew patronised him in the studio, treating him as an employee, not an equal partner. Of course, both were right -- Bartholomew was by far the better songwriter, but Domino had great instincts for a hook. Bartholomew was a great arranger, and Domino was a great performer. As so often in musical collaborations, the sum was much greater than its parts, and it was the tension between the two of them that drove the collaboration. But while Bartholomew had problems with Fats, his real problems were with Al Young, a white New Orleans record store owner who was an associate of Lew Chudd, Imperial Records' owner. He didn't like Young's habit of trying to make it look like it was him, rather than Bartholomew, who was producing the records, and he especially didn't like when Young cut himself in on the songwriting royalties for songs Bartholomew wrote. This problem came to a head when Bartholomew got back home from a particularly stressful tour with Domino over Thanksgiving. It had been far too cold for the Louisiana musicians in the Midwest, and they'd been ripped off by the tour promoters -- they'd received only something like two hundred dollars between them, rather than the two thousand they'd been promised. Domino actually had to call home and ask his family to wire him his bus fare back from Missouri to New Orleans. And when Bartholomew got back, he popped into Al Young's record shop -- and Young showed him the fifteen hundred dollar Christmas bonus cheque he'd just received from Imperial Records for all his hard work that year. Bartholomew had received no bonus, despite having done far more for the company than Young had, and he assumed that the reason was because Bartholomew was black and Young was white. He decided right then to quit Imperial, and to become a freelancer working for whoever had work. Domino continued making records in the same style, and even continued to have hits with songs that followed the formula he'd established with Bartholomew, some of them even bigger than the ones they'd made together, like "Goin' Home". But Al Young was the producer on that record, and while Domino did his usual great performance and it had that tresillo rhythm, Young knew nothing about music, and so the arrangement was haphazard and the sax solo was off-key at points: [excerpt: solo from "Goin' Home", Fats Domino] But it was still a big hit, and Al Young got his name stuck on the credits as a co-writer, which is what mattered to him at least, even if everyone was unhappy with the recordings. That song went to number one on the R&B charts, and made its way into the top thirty on the pop charts, and you can hear its influence all over the place, for example in this other classic track: [excerpt "Shake a Hand", Faye Adams] It also influenced a young piano player and arranger named Ray Charles, and we'll talk more about him later. But the fact remains, it's not as good as the stuff Domino was doing with Bartholomew. It has the power and the catchiness, but it doesn't have the depth and the sophistication. Lew Chudd, around this time, tried to get Art Young to get Dave Bartholomew back working with Domino again, but Bartholomew just slammed the phone down on Young. He didn't need Imperial Records, he didn't need Fats Domino, and he *certainly* didn't need Art Young. He was working with other people now. In particular, he was working with Specialty Records. Specialty Records was an LA-based record label, like most of the labels that worked with New Orleans musicians were -- for whatever reason, even though LA and New Orleans are thousands of miles away from each other, it was the Los Angeles companies rather than anywhere closer that seemed to pick up on the sound coming from New Orleans. Specialty was run by Art Rupe. Art Rupe is, amazingly, still alive and even older than Dave Bartholomew -- he turned 101 a few months back -- and he's one of the most important figures in the development of rhythm and blues in the 1950s. Indeed, he was the producer of yet another record occasionally labelled "the first rock and roll record", "R.M.'s Blues" by Roy Milton, which was one of the early records to combine a boogie piano and a backbeat. [excerpt: "R.M.'s Blues" by Roy Milton] And in his case, it's no coincidence that he ended up working with New Orleans musicians -- he was impressed by Fats Domino's Imperial Records releases, Imperial being another Los Angeles based label, and so he came to New Orleans to see if there were other people like Domino about. Rupe put out an ad for people to come to Cosimo Mattassa's studio to audition, but it wasn't until he was packing up to leave and fly back to Los Angeles without any success, that a singer called Lloyd Price walked into the studio and sang his song "Lawdy Miss Clawdy". Rupe cancelled his flight -- this was someone worth recording. Price was, at the time, a jingle creator for a local radio station, providing music for the DJs to use while they were advertising various products. At the time, radio advertising in the US was much like podcast advertising is now, and in the same way that a podcast host might interrupt what they're doing and try to tell you about the benefits of a new mattress, so, then, might DJs -- and in the same way that some podcast hosts will vary their set texts, so would the DJs, and one of the DJs for whom Lloyd Price created jingles had a catchphrase -- "Lawdy Miss Clawdy". Price had come up with a melody to go along with those words -- or, rather, he'd adapted a pre-existing melody to it -- and the result had been popular enough that he had decided to turn it into a full song. And Price had sat in with Dave Bartholomew and his band in Kenner, his hometown, singing a few songs with them. Bartholomew had told him "I'm not working with Lew Chudd any more, I'm just hanging around Cosimo Matassa's studio catching the odd bit of arrangement work there -- why don't you come down and see if we can get you recorded?" But Price was so unfamiliar with New Orleans that he didn't even know how to get to Rampart Street, which is why he'd arrived so late. Luckily for everyone concerned, he managed to find the most famous street in New Orleans eventually. When they started recording the song, Bartholomew started to get annoyed with the guitarist on the session, Ernest McLean . "I wanted to get some sort of a rhythm going and he de dum de dum, de dum de dum [Laurel and Hardy rhythm]. I say, man, that's, that's, that ain't nothing. What the hell you get that thing from?" That's from one of the few interviews I've seen with Bartholomew -- other sources say it was his piano player, Salvador Doucette, who was the problem. Whichever musician it was was apparently a jazz musician who had no real love or feel for rhythm and blues, and Bartholomew was getting exasperated, but at the same time he had no option but to go with what he had. But then fate intervened. Fats Domino happened to be passing the studio, and he decided to just call in and say hello, since it was the studio he recorded in regularly -- and he found Dave Bartholomew there. Domino and Bartholomew hadn't worked together in over a year at this point -- March 1952 -- and things were tense at first, but Bartholomew decided he'd be the one to ease the tension, and asked Domino to sit in. At first Domino refused, saying "Man, you know I can't sit in! I'm under contract!", but he sat around in the session, having a few drinks and watching the band work. Eventually, he said "Well, I'm gonna have me some fun, I'm gonna sit in anyway!" The resulting record was the one that knocked "Goin' Home" off the top of the R&B charts, and it would become one of the defining records of the rock and roll era. "Lawdy Miss Clawdy" is, in many ways, an attempt to recapture the success of "The Fat Man". It has many of the same musicians, the same arranger, and the same basic melody that the earlier record did. But being recorded three years later on meant it was also recorded after three years more advancement in the rock and roll style, and "Lawdy Miss Clawdy" is notably more rhythmically complex than the earlier record -- and that's largely down to Dave Bartholemew's arrangement. Let's have a look at the individual elements of the track -- starting with Fats Domino's piano playing. Domino is mostly playing triplets, which is the way that he played most of the time: [excerpt: piano part from "Lawdy Miss Clawdy"] You've got the drums, by the great Earl Palmer, where he's making the transition between his early shuffle style and his later backbeat emphasis -- you can hear he's trying to do two things at once on the drums, he's trying to swing it *and* produce a backbeat, so you've essentially got him doing polyrhythms. You've got the bass, a different rhythm again, and then you've got those horns, just doing long, sustained, "blaaaat" parts. And then over that you've got Lloyd Price, singing in a Roy Brown imitation, but with a teenager's style -- Price had just turned nineteen -- it's a song about unrequited love or lust, a teenager's song of yearning. And then to top it off there's the sax solo by Herb Hardesty -- the prototype for the solos he would provide for all Domino's hits from this point on. It's an amazing combination; this is the record that crystallised the New Orleans sound and became the template all the others would follow. "The Fat Man" had been the prototype, with some rough edges still there. This was a slicker, more assured, version of the same thing. Art Rupe was certainly pleased, but they were lucky to have been working with Rupe himself -- soon after this recording, Rupe decided to expand his operations in New Orleans, and put Johnny Vincent in charge. While Rupe has a reputation as a decent businessman by 1950s record company standards, Johnny Vincent does *not*. When Vincent later owned his own record company, Ace, he was so bad at paying the musicians that Huey "Piano" Smith and Mac Rebbennack had to go and hold Vincent at gunpoint while they searched his office -- and his person -- for the money he owed them. And then, a few months later, they had to do the same thing again, because being held up at gunpoint just the once wasn't enough for him to think better of ripping them off. Vincent was also not a particularly skilled record producer, at least according to Rebennack. I can't repeat his comments about Vincent's approach in full, because if I use some of the words he used iTunes will restrict this podcast to adults only, but the gist is that Vincent was a con-man who knew nothing about record production. It's probably not a massive coincidence that Dave Bartholomew stopped working for Specialty very shortly after the recording of "Lawdy Miss Clawdy". I've not seen a precise enough timeline to know for sure that it was Johnny Vincent's arrival at the label that persuaded Bartholomew he didn't want to work for them any more, but it seems likely to me. What I *do* know, though is that Lew Chudd heard "Lawdy Miss Clawdy", compared it to the records Art Young was producing for Fats Domino, and realised that he could be doing a hell of a lot better than he was. He eventually, through an intermediary, managed to persuade Bartholomew to talk to him again, and Bartholomew was hired back to work at Imperial. The same month, April 1952, that "Lawdy Miss Clawdy" came out, Domino and Bartholomew were back in Matassa's studio, working together again, and recording a collaboration which sounds like a true combination of both men's styles: [excerpt: "Poor Me" -- Fats Domino] UPTO PART 7 Domino and Bartholomew would work together regularly in the studio until at least 1967, and live off and on for decades after that. And we'll hear more of their collaborations later. But Lloyd Price wasn't hampered by the fact that his producer had gone off to another label either. His follow-up single, cut at the same session as "Lawdy Miss Clawdy" with the same musicians, was a double-sided hit, both sides making the top ten on the R&B charts. And the same happened with the single after that, cut with different musicians -- a song called "Ain't it a Shame", which may just have given Domino and Bartholomew an idea. After that he hit a bit of a dry spell in his career, and by 1956 he was reduced to recording a sequel to "Lawdy Miss Clawdy" -- "Forgive me Clawdy": [excerpt "Forgive Me Clawdy": Lloyd Price] But then "Lawdy Miss Clawdy" itself got a second wind, and was covered in 1956 by both Elvis and Little Richard. This seems to have jump-started Price's career, and we'll pick up his story with his later big hits. "Lawdy Miss Clawdy" had a long life -- it's been recorded over the years by everyone from Paul McCartney to the Replacements -- and happily most of the major figures involved in the record did too, which makes a very pleasant change from the bit of the episode where I usually tell you that the singer died in poverty and obscurity of alcoholism. Lloyd Price is still going strong, still performing aged 85, and he released his most recent album in 2016. Art Rupe is still alive aged 101, and while I'm sad to say Fats Domino is now dead, he died only last year, aged 89, an extremely wealthy man who had received every award his peers could bestow and had been given medals by multiple Presidents. And, as I said at the start, this episode will go up at one minute past midnight on the twenty-fourth of December 2018, which means it's Dave Bartholomew's hundredth birthday, It's unlikely he'll ever hear it but I'd like to wish him a happy birthday anyway, and many more of them. So to finish off... here's a record Bartholomew played on seven years ago, when he was ninety-three: [Excerpt: Alia Fleury "Christmas in the Quarters"] And for those of you who celebrate it, a merry Christmas to all of you at home.

  Welcome to episode twelve of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Lawdy Miss Clawdy” by Lloyd Price. 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. Lloyd Price has written a few books. His autobiography is out of print and goes for silly money (and don’t buy the “Kindle edition” at that link, because it’s just the sheet music to the song, which Amazon have mislabelled) but he’s also written a book of essays with his thoughts on race, some of which shed light on his work. The information on Dave Bartholomew and Fats Domino here largely comes from Blue Monday by Rick Coleman. The Lloyd Price songs here can be found on The Complete Singles As & Bs 1952-62 while the Fats Domino tracks are on They Call Me the Fat Man Erratum I used the wrong version of “Lawdy Miss Clawdy” when editing this podcast. The version used here is a soundalike remake from 1958, rather than the 1952 original. Apologies for the error.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   This is a rather special episode in some ways. The topic of this episode is “Lawdy Miss Clawdy” by Lloyd Price, and I’ll be frank — I was not originally going to give “Lawdy Miss Clawdy” its own episode. Not because it’s not a great record — it is — but because I was going to deal with it in passing when I cover one of the other records made by its vocalist, Lloyd Price. But that was before I noticed an odd coincidence of timing. I needed to prerecord this episode, because it’s Christmas and I’m visiting my in-laws, and so I was looking at what records came next in the history on my timeline, and I noticed two things: The first was that “Lawdy Miss Clawdy” was the next important record to be released in the timeline I’d put together. And the second was that Dave Bartholomew, that record’s producer, was born one hundred years ago exactly, on December 24th, 1918. I simply couldn’t pass up an opportunity to do an episode celebrating the hundredth birthday of one of the great pioneers of rock and roll music, and one who is happily still alive. We talked about Bartholomew a bit a couple of weeks ago, in the episode about “The Fat Man” by Fats Domino, but he needs to be discussed in more detail, as he was one of the most important musicians of the fifties. As we heard, he brought the “Spanish tinge” to rhythm and blues records and collaborated with Fats Domino on all of Domino’s big hits — and we’ll be hearing more about him in that context in a few weeks — but he did a lot more. Not only did he produce classic records by Frankie Ford and T-Bone Walker, not only did he write “One Night”, which became a big hit for Smiley Lewis and a bigger one for Elvis, but he also wrote Chuck Berry’s only number one hit: [excerpt “My Ding-A-Ling” by Chuck Berry] OK, that may not be Berry’s finest moment as a performer, but it shows just how wide Bartholomew’s influence was. Despite that, rather astonishingly, there’s never been a biography written of Bartholomew, and even “Honkers and Shouters”, the classic book on the history of rhythm and blues which contains almost the only in-depth interviews with many of the musicians and record producers who made this music, only devotes a handful of paragraphs to Bartholomew’s work. I’ve barely been able to even find any in-depth interviews with Bartholomew, and so my knowledge of him is built up from lots of offhand mentions and casual connections in books on other people. But he worked with so *many* other people that that still amounts to quite a lot. So let’s talk about “Lawdy Miss Clawdy”, and let’s do it by picking up the story of Dave Bartholomew and Fats Domino after “The Fat Man”. “The Fat Man” was a massive hit, but it caused some strain between its producer and its performer. Domino had gone on tour to support the record, as part of a larger package with Bartholomew’s band as the headliners. Domino would only perform a few songs at a time, and most of the show was Bartholomew’s band. Domino resented Bartholomew for getting most of the money, while Bartholomew resented Domino for his popularity — Domino was starting to overshadow the nominal star of the show. But more than that, Domino just didn’t seem to be getting on well with the rest of the band. This wasn’t because he was unfriendly — although Domino was always someone who seemed a little socially awkward — just that Domino was a homebody who absolutely resented ever having to go away from home, and especially as he had a newborn baby son he wanted to be home for. Indeed, when the tour had started, Domino had missed the first few days by the simple expedient of hiding for several days, and it was only when a union official had come knocking at his door explaining what happened to people who broke their contracts that he relented and went on the tour. And even then, he packed a suitcase full of foods like pickled pig’s feet, in case he couldn’t get his favourite foods anywhere else. Domino was a sheltered, nervous, shy, person — someone who had been so unworldly that when his first record came out he didn’t have a record player to play it on and had to listen to it on jukeboxes — and this exasperated Bartholomew, who was a far more well-travelled and socially aware person. But the two of them still continued to collaborate, and to make records together, including some great ones like this version of the traditional New Orleans song “Eh La Bas!”, which Bartholomew rewrote with the great boogie pianist Professor Longhair and titled “Hey! La Bas Boogie” [excerpt “Hey! La Bas Boogie” by Fats Domino] The collaborations caused other problems, too — both Bartholomew and Domino thought, with good reason, of themselves as the true talent in their collaborations. Domino believed that his piano playing and singing were the important things on the records, and that since he was bringing in most of the ideas fully-formed Bartholomew wasn’t doing much to make the records successful. Bartholomew, on the other hand, thought that the song ideas Domino was bringing in were basically nursery rhymes, while his own songs were more sophisticated — Domino had little formal musical knowledge and usually used only a couple of chords, while Bartholomew was far more musically knowledgeable; and Domino wasn’t a native English speaker, and tended to use very simple lyrics while when Bartholomew brought in ideas he would come up with strong narratives and punning lyrics. Bartholomew thought that when the songs Domino brought in became successful, it was because of Bartholomew’s patching up of them and his arrangements. Bartholomew resented that Domino was becoming a big star, and Domino resented that Bartholomew patronised him in the studio, treating him as an employee, not an equal partner. Of course, both were right — Bartholomew was by far the better songwriter, but Domino had great instincts for a hook. Bartholomew was a great arranger, and Domino was a great performer. As so often in musical collaborations, the sum was much greater than its parts, and it was the tension between the two of them that drove the collaboration. But while Bartholomew had problems with Fats, his real problems were with Al Young, a white New Orleans record store owner who was an associate of Lew Chudd, Imperial Records’ owner. He didn’t like Young’s habit of trying to make it look like it was him, rather than Bartholomew, who was producing the records, and he especially didn’t like when Young cut himself in on the songwriting royalties for songs Bartholomew wrote. This problem came to a head when Bartholomew got back home from a particularly stressful tour with Domino over Thanksgiving. It had been far too cold for the Louisiana musicians in the Midwest, and they’d been ripped off by the tour promoters — they’d received only something like two hundred dollars between them, rather than the two thousand they’d been promised. Domino actually had to call home and ask his family to wire him his bus fare back from Missouri to New Orleans. And when Bartholomew got back, he popped into Al Young’s record shop — and Young showed him the fifteen hundred dollar Christmas bonus cheque he’d just received from Imperial Records for all his hard work that year. Bartholomew had received no bonus, despite having done far more for the company than Young had, and he assumed that the reason was because Bartholomew was black and Young was white. He decided right then to quit Imperial, and to become a freelancer working for whoever had work. Domino continued making records in the same style, and even continued to have hits with songs that followed the formula he’d established with Bartholomew, some of them even bigger than the ones they’d made together, like “Goin’ Home”. But Al Young was the producer on that record, and while Domino did his usual great performance and it had that tresillo rhythm, Young knew nothing about music, and so the arrangement was haphazard and the sax solo was off-key at points: [excerpt: solo from “Goin’ Home”, Fats Domino] But it was still a big hit, and Al Young got his name stuck on the credits as a co-writer, which is what mattered to him at least, even if everyone was unhappy with the recordings. That song went to number one on the R&B charts, and made its way into the top thirty on the pop charts, and you can hear its influence all over the place, for example in this other classic track: [excerpt “Shake a Hand”, Faye Adams] It also influenced a young piano player and arranger named Ray Charles, and we’ll talk more about him later. But the fact remains, it’s not as good as the stuff Domino was doing with Bartholomew. It has the power and the catchiness, but it doesn’t have the depth and the sophistication. Lew Chudd, around this time, tried to get Art Young to get Dave Bartholomew back working with Domino again, but Bartholomew just slammed the phone down on Young. He didn’t need Imperial Records, he didn’t need Fats Domino, and he *certainly* didn’t need Art Young. He was working with other people now. In particular, he was working with Specialty Records. Specialty Records was an LA-based record label, like most of the labels that worked with New Orleans musicians were — for whatever reason, even though LA and New Orleans are thousands of miles away from each other, it was the Los Angeles companies rather than anywhere closer that seemed to pick up on the sound coming from New Orleans. Specialty was run by Art Rupe. Art Rupe is, amazingly, still alive and even older than Dave Bartholomew — he turned 101 a few months back — and he’s one of the most important figures in the development of rhythm and blues in the 1950s. Indeed, he was the producer of yet another record occasionally labelled “the first rock and roll record”, “R.M.’s Blues” by Roy Milton, which was one of the early records to combine a boogie piano and a backbeat. [excerpt: “R.M.’s Blues” by Roy Milton] And in his case, it’s no coincidence that he ended up working with New Orleans musicians — he was impressed by Fats Domino’s Imperial Records releases, Imperial being another Los Angeles based label, and so he came to New Orleans to see if there were other people like Domino about. Rupe put out an ad for people to come to Cosimo Mattassa’s studio to audition, but it wasn’t until he was packing up to leave and fly back to Los Angeles without any success, that a singer called Lloyd Price walked into the studio and sang his song “Lawdy Miss Clawdy”. Rupe cancelled his flight — this was someone worth recording. Price was, at the time, a jingle creator for a local radio station, providing music for the DJs to use while they were advertising various products. At the time, radio advertising in the US was much like podcast advertising is now, and in the same way that a podcast host might interrupt what they’re doing and try to tell you about the benefits of a new mattress, so, then, might DJs — and in the same way that some podcast hosts will vary their set texts, so would the DJs, and one of the DJs for whom Lloyd Price created jingles had a catchphrase — “Lawdy Miss Clawdy”. Price had come up with a melody to go along with those words — or, rather, he’d adapted a pre-existing melody to it — and the result had been popular enough that he had decided to turn it into a full song. And Price had sat in with Dave Bartholomew and his band in Kenner, his hometown, singing a few songs with them. Bartholomew had told him “I’m not working with Lew Chudd any more, I’m just hanging around Cosimo Matassa’s studio catching the odd bit of arrangement work there — why don’t you come down and see if we can get you recorded?” But Price was so unfamiliar with New Orleans that he didn’t even know how to get to Rampart Street, which is why he’d arrived so late. Luckily for everyone concerned, he managed to find the most famous street in New Orleans eventually. When they started recording the song, Bartholomew started to get annoyed with the guitarist on the session, Ernest McLean . “I wanted to get some sort of a rhythm going and he de dum de dum, de dum de dum [Laurel and Hardy rhythm]. I say, man, that’s, that’s, that ain’t nothing. What the hell you get that thing from?” That’s from one of the few interviews I’ve seen with Bartholomew — other sources say it was his piano player, Salvador Doucette, who was the problem. Whichever musician it was was apparently a jazz musician who had no real love or feel for rhythm and blues, and Bartholomew was getting exasperated, but at the same time he had no option but to go with what he had. But then fate intervened. Fats Domino happened to be passing the studio, and he decided to just call in and say hello, since it was the studio he recorded in regularly — and he found Dave Bartholomew there. Domino and Bartholomew hadn’t worked together in over a year at this point — March 1952 — and things were tense at first, but Bartholomew decided he’d be the one to ease the tension, and asked Domino to sit in. At first Domino refused, saying “Man, you know I can’t sit in! I’m under contract!”, but he sat around in the session, having a few drinks and watching the band work. Eventually, he said “Well, I’m gonna have me some fun, I’m gonna sit in anyway!” The resulting record was the one that knocked “Goin’ Home” off the top of the R&B charts, and it would become one of the defining records of the rock and roll era. “Lawdy Miss Clawdy” is, in many ways, an attempt to recapture the success of “The Fat Man”. It has many of the same musicians, the same arranger, and the same basic melody that the earlier record did. But being recorded three years later on meant it was also recorded after three years more advancement in the rock and roll style, and “Lawdy Miss Clawdy” is notably more rhythmically complex than the earlier record — and that’s largely down to Dave Bartholemew’s arrangement. Let’s have a look at the individual elements of the track — starting with Fats Domino’s piano playing. Domino is mostly playing triplets, which is the way that he played most of the time: [excerpt: piano part from “Lawdy Miss Clawdy”] You’ve got the drums, by the great Earl Palmer, where he’s making the transition between his early shuffle style and his later backbeat emphasis — you can hear he’s trying to do two things at once on the drums, he’s trying to swing it *and* produce a backbeat, so you’ve essentially got him doing polyrhythms. You’ve got the bass, a different rhythm again, and then you’ve got those horns, just doing long, sustained, “blaaaat” parts. And then over that you’ve got Lloyd Price, singing in a Roy Brown imitation, but with a teenager’s style — Price had just turned nineteen — it’s a song about unrequited love or lust, a teenager’s song of yearning. And then to top it off there’s the sax solo by Herb Hardesty — the prototype for the solos he would provide for all Domino’s hits from this point on. It’s an amazing combination; this is the record that crystallised the New Orleans sound and became the template all the others would follow. “The Fat Man” had been the prototype, with some rough edges still there. This was a slicker, more assured, version of the same thing. Art Rupe was certainly pleased, but they were lucky to have been working with Rupe himself — soon after this recording, Rupe decided to expand his operations in New Orleans, and put Johnny Vincent in charge. While Rupe has a reputation as a decent businessman by 1950s record company standards, Johnny Vincent does *not*. When Vincent later owned his own record company, Ace, he was so bad at paying the musicians that Huey “Piano” Smith and Mac Rebbennack had to go and hold Vincent at gunpoint while they searched his office — and his person — for the money he owed them. And then, a few months later, they had to do the same thing again, because being held up at gunpoint just the once wasn’t enough for him to think better of ripping them off. Vincent was also not a particularly skilled record producer, at least according to Rebennack. I can’t repeat his comments about Vincent’s approach in full, because if I use some of the words he used iTunes will restrict this podcast to adults only, but the gist is that Vincent was a con-man who knew nothing about record production. It’s probably not a massive coincidence that Dave Bartholomew stopped working for Specialty very shortly after the recording of “Lawdy Miss Clawdy”. I’ve not seen a precise enough timeline to know for sure that it was Johnny Vincent’s arrival at the label that persuaded Bartholomew he didn’t want to work for them any more, but it seems likely to me. What I *do* know, though is that Lew Chudd heard “Lawdy Miss Clawdy”, compared it to the records Art Young was producing for Fats Domino, and realised that he could be doing a hell of a lot better than he was. He eventually, through an intermediary, managed to persuade Bartholomew to talk to him again, and Bartholomew was hired back to work at Imperial. The same month, April 1952, that “Lawdy Miss Clawdy” came out, Domino and Bartholomew were back in Matassa’s studio, working together again, and recording a collaboration which sounds like a true combination of both men’s styles: [excerpt: “Poor Me” — Fats Domino] UPTO PART 7 Domino and Bartholomew would work together regularly in the studio until at least 1967, and live off and on for decades after that. And we’ll hear more of their collaborations later. But Lloyd Price wasn’t hampered by the fact that his producer had gone off to another label either. His follow-up single, cut at the same session as “Lawdy Miss Clawdy” with the same musicians, was a double-sided hit, both sides making the top ten on the R&B charts. And the same happened with the single after that, cut with different musicians — a song called “Ain’t it a Shame”, which may just have given Domino and Bartholomew an idea. After that he hit a bit of a dry spell in his career, and by 1956 he was reduced to recording a sequel to “Lawdy Miss Clawdy” — “Forgive me Clawdy”: [excerpt “Forgive Me Clawdy”: Lloyd Price] But then “Lawdy Miss Clawdy” itself got a second wind, and was covered in 1956 by both Elvis and Little Richard. This seems to have jump-started Price’s career, and we’ll pick up his story with his later big hits. “Lawdy Miss Clawdy” had a long life — it’s been recorded over the years by everyone from Paul McCartney to the Replacements — and happily most of the major figures involved in the record did too, which makes a very pleasant change from the bit of the episode where I usually tell you that the singer died in poverty and obscurity of alcoholism. Lloyd Price is still going strong, still performing aged 85, and he released his most recent album in 2016. Art Rupe is still alive aged 101, and while I’m sad to say Fats Domino is now dead, he died only last year, aged 89, an extremely wealthy man who had received every award his peers could bestow and had been given medals by multiple Presidents. And, as I said at the start, this episode will go up at one minute past midnight on the twenty-fourth of December 2018, which means it’s Dave Bartholomew’s hundredth birthday, It’s unlikely he’ll ever hear it but I’d like to wish him a happy birthday anyway, and many more of them. So to finish off… here’s a record Bartholomew played on seven years ago, when he was ninety-three: [Excerpt: Alia Fleury “Christmas in the Quarters”] And for those of you who celebrate it, a merry Christmas to all of you at home.

Another show signed, sealed and delivered..... Set 1 OPENING SALVO *Starting off with a band from Boulder Colorado The Astronauts- "Tomorrow's gonna be another day" a 45 rpm on RCA 1965. These guys looked more like surfers than some California bands. *Johnny Ace & Willie Mae - "Hey Baby" another 45 rpm, this time on Don Robey's Duke Records dated 1953. It's said that when Johnny A shot himself in the head during a game of Russian Roulette Willie Mae [a spurned lover] loaded up the gun with some real lead. *Neko Case - "Hold on, hold on". A terrific slightly moody song off of her 2006 record FOX CONFESSOR BRINGS THE FLOOD. Anti 2006 *Link Wray - "Dick Tracy / Private Eye"...what can you say about the Linkster? He brings it everytime. SET 2: *Shocking Blue - Send me a postcard. 45 rpm on Pink Elephant....I have to admit I had chub for Mariska Veres when she was struttin' it. *Fraternity of Man - "In the morning" [ABC 1968]….future Little Feat members with a wacked out LP *Palmyra Delran & The Dopple Gang - Come Spy w/ Me [Wicked Cool]….New stuff for me on clear 12" 45 rpm vinyl. *Nirvana - Love Buzz [Sub Pop 1989]. Kurt Cobain was soooo good. Covering a Shocking Blue song off their debut BLEACH. SET 3 *The Mothers of Invention - Hungry Freaks Daddy [Verve 1966]. The first double R&R record I'm told. *Joan Jett - Everyday People [MCA / Blackheart 1983]...a 45 rpm *Dave Bartholomew - Who Drank The Beer While I Was In The Rear [Imperial 1952] Dave Bartholomew was the man behind Fats Domino rise to success as well as being the author of Chuck Berry's only #1 - My Ding-A-Ling [but we'll forgive him for that!]. Trumpet player, entepreneur, songwriter, member of the Rock & Roll Hall of Fame...all these titles apply to the great Dave Bartholomew. Elvis Costello thought enough of DB to mention him in "Monkey to Man" on THE DELIVERY MAN which came out in 2004. *Jimmy Hall - Tell the Truth [Capricorn 1996]. Former frontman for Wet Willie with a smokin' version of JB Hutto's classic song. SET 4: *The Ikettes - Camel Walk [Modern 1964] 45 rpm from Ike & Tina's backup group / b-side. *Robyn Hitchcock - It's a Mystic Trip [Armageddon 1981]. A flexi that came with RH's 1st solo single. Found at the Allentown Record Show many years ago. *Alejandro Escovedo - Break this time.....he's great...that's it.

Topics: Shirley Anita Chisholm, H. Rap Brown, Diana Ross, Al Green, Superfly, Sanford & Son, & Fat Albert. (Bonus Artist: hidingtobefound)   1.    1972 - A Transitional Year, New Directions, Politics and Pimpin   2.    News snapshots   3.    Nixon wins reelection   4.    Watergate: 5 dudes arrested for breaking into the DNC headquarters   5.    Vietnam War: year 17 of 19   6.    Deaths: 641 down from 2357 in 1971   7.    June29 - SCOTUS rules death penalty unconstitutional   8.    Economic snapshots   9.    Black unemployment is 9.9%. highest since great depression.   10.    31% black families headed by women   11.    Minimum wage:    12.    Sports snapshots   13.    Super Bowl: Dallas def. Miami   14.    World Series: Oakland A's def. Cincinnati (4-3)   15.    NBA Championship: LA Lakers def. New York   16.    Science snapshots   17.    CAT scanning, compact disks, electronic mail, and Prozac are developed.   18.    Apollo XVII, the last manned moon landing to date   19.    Entertainment snapshots   20.    Time Inc. drops HBO, the first pay cable network.   21.    Atari breaks out Pong, the first arcade video game. (home version in 1974)   22.    Women dominate the Grammy Awards, grabbing the big 4. Carole King won Record, Album and Song of the Year, while Carly Simon won Best New Artist.   23.    Music (top selling albums): #3. Fragile by Yes, #2. American Pie by Don McLean, #1. Harvest by Neil Young / just an fyi, #13. Led Zeppelin IV   24.    Movies (top grossing): #3. What's up Doc, #2. The Poseidon Adventure, #1. The Godfather   25.    Television: #3. Hawaii Five-O, #2. Sanford and Son*, #1. All in the Family   26.    Black snapshots   27.    Mahalia Jackson and Jackie Robinson pass away   28.    NYC graffiti breaks out. it's one of the 4 pillars of hip-hop   29.    MJ (@14) goes solo: hits w/ Ben   30.    Cicely Tyson (@48) stars in Sounder: Box office hit. Proving that the black audience will take, a non 'super black' exploitation movie seriously.   31.    QUESTION: What pops out for you?   32.    Socio-political (1st major shift to a new direction, political power)   33.    Shirley Anita Chisholm, (@ 47): politician, educator, and author of "Unbought and Unbossed! -1970 autobiographies.   34.    in 1972, she became the first black person EVER to run for POTUS AND the first woman to run for the Democrats.   35.    Already, in 1968, she was the first black woman elected to Congress.   36.    Her campaign was underfunded, dismissed as a symbolic, & basically ignored by the power structure.   37.    And she was not instantly a heroine for black people.   38.    Of course, black male colleagues showed little love: "When I ran for the Congress, when I ran for president, I met more discrimination as a woman than for being black. Men are men.... They think I am trying to take power from them. The black man must step     39.    forward, but that doesn't mean the black woman must step back."   40.    QUESTION: Is this the real reason more black women haven't run? (only other black woman was Carol Moseley Braun from Il in 2004)   41.    About her legacy, she said, “I want to be remembered as a woman … who dared to be a catalyst of change.” (Obama?)   42.    Famous Quotes:   43.    "Tremendous amounts of talent are lost to our society just because that talent wears a skirt."   44.    "The emotional, sexual, and psychological stereotyping of females begins when the doctor says, 'It's a girl'."   45.    "In the end, anti-black, anti-female, and all forms of discrimination are equivalent to the same thing - anti-humanism."   46.    Conclusion: In our lifetime we saw THE MOST successful path for black advancement. Politics. Only 36 years from Shirley to Obama.   47.    Shirley Chisholm was an underappreciated legend and icon.   48.    Other Comments?   49.    Meanwhile...the Black Power Movement is falling apart! (2nd major shift)   50.    1971-1972 the Panthers split into different camps. Huey vs Eldrigdge   51.    They went "Hatfield vs McCoy" and started retaliatory assassinations.   52.    H. Rap Brown (@ 29), is the latest high-profile BPM figure to fall.   53.    Others include: Angela Davis, Assata Shakur, Elaine Brown, Eldridge Cleaver, Fred Hampton, Huey P. Newton, Stokely Carmichael, and Bobby Seale   54.    H Rap Brown sentenced for an attack on a New York City bar?!?!   55.    Currently serving a life sentence for murder after shooting of two Sheriff's deputies in 2000.   56.    He was known for taking over SNCC after Stokely and his autobiography, Die Nigger Die!   57.    Probably most famous for saying, "violence is as American as cherry pie” -and- "If America don't come around, we're gonna burn it down."   58.    QUESTION: Was the decline of the BPM more internal (reliance on the gun and violence), external (black people lost interest) -OR- did black people choose to go the "integration" route?   59.    Conclusion: The BPM had a great message: Pride, Self-reliance, and education. But, I think they were too extreme.   60.    Other Comments:   61.    Music: 1972 Top Singles   #1 Roberta Flack    The First Time Ever I Saw Your Face #2 Gilbert O’Sullivan    Alone Again (Naturally) #3 Don McLean    American Pie #4 Nilsson    Without You #5 Sammy Davis Jr.    Candy Man #6 Joe Tex    I Gotcha #7 Bill Withers    Lean On Me #8 Mac Davis    Baby Don’t Get Hooked On Me #9 Melanie    Brand New Key #10 Wayne Newton    Daddy Dont You Walk So Fast #11 Al Green    Let’s Stay Together #12 Looking Glass    Brandy (You’re A Fine Girl) #13 Chi-Lites    Oh Girl #14 Gallery    Nice To Be With You #15 Chuck Berry    My Ding-A-Ling #16 Luther Ingram    If Loving You Is Wrong I Don’t Want To Be Right #17 Neil Young    Heart Of Gold #18 Stylistics    Betcha By Golly, Wow #19 Staple Singers    I’ll Take You There #20 Michael Jackson    Ben #21 Robert John    The Lion Sleeps Tonight #22 Billy Preston    Outa-space #23 War    Slippin’ Into Darkness #24 Hollies    Long Cool Woman (In A Black Dress) #25 Mouth and MacNeal    How Do You Do #26 Neil Diamond    Song Sung Blue #27 America    A Horse With No Name #28 Hot Butter    Popcorn #29 Main Ingredient    Everybody Plays The Fool #30 Climax    Precious And Few   62.    Vote: Best Single, __________________________________   63.    1972 Albums   64.    Jan - There's a Riot Going' On - Sly & the Family Stone   65.    Jan - Black Moses - Isaac Hayes   66.    Mar - Solid Rock - The Temptations   67.    Mar - Let's Stay Together - Al Green   68.    May - First Take - Roberta Flack   69.    Jun - A Lonely Man - The Chi-Lites   70.    Jul - Still Bill - Bill Withers   71.    Oct - Super Fly Soundtrack - Curtis Mayfield   72.    Nov - All Directions - The Temptations   73.    Dec - I'm Still In Love With You - Al Green   74.    Vote: Best Album, __________________________________   75.    Key Artist - Diana Ross (@28): Singer, songwriter, actress, and record producer. Born and raised in Detroit.   76.    Became famous as the lead singer the Supremes, the best charting girl group in history. With twelve number-one hit singles. ("Where Did Our Love Go", "Baby Love", "Come See About Me", "Stop! In the Name of Love", "You Can't Hurry Love", "You Keep Me     77.    Hangin' On", "Love Child", and "Someday We'll Be Together", etc...)   78.    The movie dream girls was inspired by the group   79.    She also did a few big films: Lady Sings the Blues, Mahogany, The Wiz, etc...   80.    Question: Here's my problem with The Boss. Mary Wilson was the heart and soul of the Supremes. Florence Ballard was the best singer. Diana was what?   81.    Conclusion: The Supremes were deliberately glamorous, because Gordy wanted all of Motown to be crossover artists. Beyonce has real game, I'm not convinced Diana wasn't just hyped up.    82.    Other Comments:   83.    Key Artist - Al Green (@26): singer, songwriter and record produce. Born in AR, grew up in Michigan, discovered in Memphis.   84.    Kicked out of the house when his very religious daddy caught him listening to Jackie Wilson.   85.    Quote: "I also listened to Mahalia Jackson, all the great gospel singers. But the most important music to me was those hip-shaking’ boys: Wilson Pickett and Elvis Presley. I just loved Elvis Presley. Whatever he got, I went out and bought."   86.    Started out in 1967, flashed in 1971 with the album, "Al Green Gets Next to You", PEAKED in 1972 with 2 albums - "Let's Stay Together" & "I'm Still in Love with You", and capped 1973 with the lp "Call Me", a critically acclaimed "Masterpiece!"   87.    Basically, everything we love about Al was dropped in that 3-year window.   88.    1974 he was born again   89.    Soon after that his "girlfriend" dumped boiling grits on him in the bathtub before shooting and killing herself. (with his gun!?)   90.    By 1976, he was ready to go gospel.   91.    His longtime producer, Willie Mitchell (the guy who discovered him and crafted his music), passed on doing gospel music. (Bounced check story)   92.    1977, he dropped "The Belle Album", his 12th. Rolling Stone magazine said, "We may someday look back on The Belle Album as Al Green’s best"   93.    Question: Just an observation really. This is the 3rd major shift in 1972. Al didn't make political or activist music. Some said he was the last great "Soul Man". In 1971 Marvin asked, what's going on. During 1972, in the middle of war protests, Watergate, an     94.    election, civil rights protests, the Panthers shooting up the streets, Al Green made LOVE ok again.   95.    Other Comments:   96.    Vote: Key Artists, ________________________________   97.    Movies   98.    Lady Sings the Blues: Based on Lady Sings the Blues by Billie Holiday   99.    Starring: Diana Ross (@28), Billy Dee Williams (@35), Richard Pryor (@32)   100.    Blacula: important because it was a successful black horror film   101.    Buck and the Preacher: important for casting blacks as leads in a western and was the first film Sidney Poitier directed   102.    Super Fly: 4th Major shift (The streets are talking)   103.    Priest is done with the clothes, the cars, the drugs, the money, and the white women.   104.    But, his partner, Eddie isn’t.   105.    Quote (Eddie talking to Priest): "You're gonna give all this up? 8-Track Stereo, color T.V. in every room, and can snort a half a piece of dope everyday? That's the American Dream, nigga! Well, ain't it? Ain't it?"   106.    Curtis Mayfield (@30) wrote and produced the AMAZING soundtrack.   107.    Starring: Ron O’Neal (@35), Carl Lee (@46), Sheila Frazier (@24)   108.    At the time of its release, lots of black folks didn't like what Super Fly was representing.   109.    Quote from the Hollywood NAACP branch: “we must insist that our children are not exposed to a steady diet of so-called black movies that glorify black males as pimps, dope pushers, gangsters, and super males.”   110.    The filmmakers (White producer / black director) say they wanted to show the negative and empty aspects of the drug subculture.   111.    Regardless, Super Fly landed BIG TIME with the "post-Civil Rights" generation.   112.    They thought Eddie spoke the gospel.   113.    Quote (Eddie talking to Priest): " I know it's a rotten game, but it's the only one The Man left us to play. That's the stone, cold truth."   114.    Question: Ultimately, what is the legacy of Superfly?   115.    Conclusion: I really enjoyed the movie. However, it blatantly dismissed the BPM, and spoke directly to the criminal elements in the black community. This movie, along with the "Urban" writers, Donald Goines and Iceberg Slim, helped spawn a generation     116.    of criminals. That can't be a good thing.   117.    Other comments:   118.    Vote: Key movie, ____________________________________   119.    Television   120.    Jan - Sanford and Son debuts on NBC (6 seasons)   121.    Groundbreaking: 1st "Black" cast sit-com on the air...at least 2yrs before: That's My Mama ('74), Good Times ('74), The Jeffersons ('75), and What's Happening!!('76)   122.    Theme music by Quincy Jones (@39)   123.    Starring: Redd Foxx (@50), and Demond Wilson (@26)   124.    Foxx was born in St. Louis, raised in Chicago, and ran the streets with pre-Muslim Malcolm X back in the day.   125.    He came up performing raunchy comedy and developed a cult following in the 50's and 60's.   126.    In 1970 he flashed in the comedy movie "Cotton Comes to Harlem" and the producer of All in the Family hit him up.   127.    Question: Is Lamont crazy? Quote: "MLK left black people hooked on economic dependence and Sanford and Son taught entrepreneurship"   128.    Conclusion: Undeniably funny. Redd had the respect and help from some of the best young comics in the business, black and white. Classic!   129.    Other Comments:   130.    Sep - Fat Albert and the Cosby Kids (8 seasons)   131.    Fat Albert first popped up in 1967 during Cosby's stand-up comedy routine "Buck Buck,"   132.    Starring: Bill Cosby (@35)   133.    Born and raised in Philly. High school drop-out. Got his G.E.D. and went to Temple Univ. on a scholarship. While bartending, he discovered his comedy talent.   134.    He dropped out of college and mastered crossover comedy in the early sixties.   135.    In 1965 he broke out in the hit tv series I-Spy and by 1970 he was America's top Black comic.   136.    He went back to college in 1970 and got involved with PBS and the Electric Company.   137.    During this time, he cooked up "Fat Albert and the Cosby Kids"   138.    It was based on his childhood friends and every show had an educational lesson in it.   139.    A lot of times the crew would end the show playing a song in the neighborhood junkyard.   140.    Question: Frankly, did the sex scandal undermine his whole career?   141.    Conclusion: I used to really like Bill.   142.    Other comments:   143.    Vote: Television, ___________________________________   144.    Vote: 1972 Biggest Shadow, __________________________

It's this week's "Menace's Attic: Six Decades of Rock and Roll by Theme" Tribute to Chuck Berry. I managed to play almost every hit in with one version of another (except "My Ding A Ling.") Hear Chuck's originais along with The Animals, The Beatles, The Rolling Stones, The Troggs, Dave Edmunds, The Beach Boys, John Prine, Johnny Rivers, MC5, Rod Stewart and The Kinks! Mondays, Wednesdays and Fridays bombshellradio.com

Abe Kanan, Ryan Manno, Sam Kanan, and Bass discuss... 1. People who don't know how to google stuff 2. Redneck women Walmart brawl 3. Assholes who demand respect 4. People who stare you down 5. Putting on plastic gloves when dealing with trash balls 6. Chris Brown, Kylie Jenner, and Hulk Hogan Twitter feud 7. Time to end group showers in high schools 8. Naked conversations 9. Abe's T-shirt tip 10. Sam & Abe played "My Ding-A-Ling by Chuck Berry on repeat at an ice cream shop when they were little kids. --- Support this podcast: https://anchor.fm/abekanan/support

Going on a long car trip in mixed company, and want to make everyone uncomfortable? Pop this tape into the deck and see who gets the joke! 1. Bolero, Ravel (music bed) 2. "Candid Photography" Pt.1, Monty Python. 3. I'm a King Bee, Muddy Waters. 4. Slow Hand, The Pointer Sisters. 5. "Candid Photography" Pt.2, Monty Python. 6. Sledgehammer, Peter Gabriel. 7. I Didn't Like It The First Time, Julia Lee. 8. My Big Ten Inch, Bull Moose Jackson. 9. Relax, Frankie Goes to Hollywood. 10. "Candid Photography" Pt.3, Monty Python. 11. New Rubbin' on the Darned Old Thing, Oscar's Chicago Swingers and Lovin' Sam Theard. 12. Brand New Key, Melanie. 13. Turning Japanese, The Vapors. 14. My Ding-A-Ling, Chuck Berry. 15. "Candid Photography" Pt.4, Monty Python. 16. Summer of '60, Bryan Adams. 17. Pink Cadillac, Bruce Springsteen. 18. Don't Come To Soon, Julia Lee. 19. Must Get Mine In Front, Irene Scruggs. 20. "Candid Photography" Pt.5, Monty Python.

This is a re-run from February 25th, 2007 During the late 1940s and the 1950s, there were a lot of records made that were a bit past the "blue"side....in fact, these records were downright "gray". So much so, that these records were banned in Boston.Now banned in Boston is just a term borrowed from the late twenties when there was an organization (which was housed in Boston) that literally banned books from entering public libraries and stopped these books from being sold in America.In the instance of these recordings however, it was white owned radio during these years which banned what they called "Race" music. Race music in the late forties was merely black music. That title did not change until a young editor from Billboard Magazine came up with a catchy phrase....the rhythm and blues. That man was Jerry Wexler and he would go on to produce some of the greatest rhythm and blues music of all time.This music spawned some of the greatest labels America has ever known. Atlantic, Atco, Chess, Checker, Argo, King (from which label many of the cuts heard tonight hail), Federal, and on and on. These records needed to be heard. Black radio stepped in to fill the gap and a whole new business was created.One of the terms of many of these records is "rock and roll" and everyone thinks that Alan Freed coined the phrase. I personally believe that Mr. Freed loved this wild music as much as any of us did at the time and simply borrowed the term. It stuck....and American music would never be the same again.Tune in as I play many of my favorite "dirty" songs. The songs my step-father did his best to stop me from listening. As you can hear....he failed.Here's tonight's music: 1)...."Hand Clappin' "....Red Prysock....Mercury Records 2)...."My Big Ten Inch"....Moose Jackson....King Records 3)...."I Didn't Want To Do It"....The Spiders....Imperial Records 4)...."My Babe"....Little Walter....Checker Records 5)...."Herpes Blues"....Matt Lucas....BJCD Records 6)...."Sixty Minute Man"....The Dominoes....Federal Records 7)...."Lovin' Machine"....Wynonie Harris....King Records 8)...."Work With Me Annie"....The Midnighters....Federal Records 9)...."I'm Your Hoochie-Coochie Man"....Muddy Waters....Chess Records 10)..."It Ain't The Meat, It's The Motion"....The Swallows....King Records  11)..."Yield Not To Temptation"....Bobby "Blue" Bland....Duke Records 12)..."Turn On Your Lovelight"....Bobby "Blue" Bland....Duke Records 13)...."Good Mornin' Little School Girl"....Junior Wells....Chess Records 14)..."All She Wants To Do Is Rock"....Wynonie Harris....King Records 15)..."Sexy Ways"....The Midnighters....Federal Records 16)..."My Ding-A-Ling"....Dave Bartholomew....King Records 17)..."Hand Clappin' "....Red Prysock....Mercury RecordsI made a serious mistake in this show. Be the first to point it out to me and I will send you a great new live concert DVD.Thanks for listening!John Rhys-Eddins/BluePower.com Click here to listen to....BluePower Presents....Banned In Boston!