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4 episodes with My Sweet Lord
3 episodes with My Sweet Lord
2 episodes with My Sweet Lord
3 episodes with My Sweet Lord
2 episodes with My Sweet Lord
4 episodes with My Sweet Lord
2 episodes with My Sweet Lord
2 episodes with My Sweet Lord
2 episodes with My Sweet Lord
When George Harrison died, I helped move a friend from her flat in Elizabeth St to her new place then in Tasman St. From Mt Vic to Mt Cook sounds like the title to a down-scaling book but this was just how it was back in 2001. We scrubbed the walls to get the smoke stains off from where the pictures had been and all the while the radio was playing Beatles songs.I was on the heavy lifting, helping the removal men when they arrived. I was lifting tables and chairs, computer desks and various things down the alleyway to the street front. It was baking hot; I'd played a gig the night before and stayed up late drinking whatever was in the house as a toast to the Quiet Beatle. My hangover was getting a workout.The removal truck arrived, driven by the world's rudest man. He was instantly a caricature. Loud and dumb and full of himself. And his truck was in the middle of the street – a one-way road. He figured everyone could wait because he was on a paid job. And when he did, grudgingly, move the truck, he backed it into someone's car. A neighbour popped his head in to say he'd seen what happened. The moving man stuck his neck out to tell the man to forget what he saw if he wanted to keep all his fingers. Then there was a car of women beeping. Beeping. Trying to tell this man to move.I was head-down and just bringing out the loads of stuff. But I said, at one point, that maybe he ought to move his truck. He laughed maniacally and then went to meet the women in the car. He bent down, leaned in and hoiked a giant spit right into the face of the driver. His co-worker laughed, then corrected himself, shook his head, was mortified. And he asked the lunatic, “why did you do that?”The meathead replied that it was the “the dirtiest thing I could think to do”.The radio belted out I Me Mine and Here Comes The Sun and Taxman and While My Guitar Gently Weeps. All those great George Harrison-penned Beatles songs. We heard a few of the solo gems too – obviously My Sweet Lord and All Those Years Ago, that cover of Got My Mind Set on You and a Travelling Wilburys song – or two.But this was the end of the line. A guy spat in a woman's face because he couldn't be bothered to move his truck. Because he was sure that he was the boss. Because he knew that he was large – and if not in charge he was still the king. At least of anything that mattered in his world. We were mortified. Horrified. We were stunned to silence – and didn't feel good about that.We had a story. A weird story. And it's one we'll always have. Me and the friend I helped move that day…were married a few years on, we've moved houses a handful of times since that occasion. We've streamlined all we can but the mess continues to grow, the stuff we don't need builds up around us. And we have a son now that wants to know any story about The Beatles that we can think of.One day, he can read this. And make of it what he will.Sounds Good! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Sounds Good! at simonsweetman.substack.com/subscribe
Hoy hace 80 años nació George Harrison. DISCO 1 GEORGE HARRISON GreeceDISCO 2 GEORGE HARRISON Here Comes The Sun (Live) DISCO 3 GEORGE HARRISON My Sweet LordDISCO 4 GEORGE HARRISON Give Me Love (Give Peace O Earth) DISCO 5 GEORGE HARRISON Ding Dong, Ding DongDISCO 6 GEORGE HARRISON YouDISCO 7 GEORGE HARRISON Crackerbox PalaceDISCO 8 GEORGE HARRISON Blow AwayDISCO 9 GEORGE HARRISON All Those Years AgoDISCO 10 GEORGE HARRISON Cockamamie BusinessDISCO 11 GEORGE HARRISON If Not For YouDISCO 12 THE TRAVELLING WILBURYS Handle With CareDISCO 13 GEORGE HARRISON Got My Mind Set On YouDISCO 14 GEORGE HARRISON Cowboy MusicEscuchar audio
Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 18ú lá de mí Feabhra, liomsa Lauren Ní Loingsigh. I 1968 bhí achainí ann ón ESB chun leictreachas a chaomhnú de bharr go raibh géarchéim cumhacht de bharr stailc ó oibrithe Bord Na Móna. I 1971 tar éis nach mór 6 mhí, fuair na Gardaí carr a chuaigh ar iarradh I mBaile Átha Cliath. D'athraigh na daoine a ghoid an carr na huimhirphlátaí agus líomh siad na huimhir ar an inneall. I 1998 bhuaigh Joe Naughton ón Aonach Urmhumhan an heptathlon sa AAA's Breatnach I Birmingham. Is mac é de Pat Naughton a bhuaigh trí deacatlan sna 50dí. I 2011 bhí droch nuacht I mBaile Tiobraid Árann de bharr go raibh Pall Ireland chun dúnadh. Chaill nach mór 100 duine a bpost de bharr. Sin George Harrison le My Sweet Lord – an t-amhrán is mó ar an lá seo I 1970. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 2005 d'ionsaigh Britney Spears irisleabhar I Meiriceá de bharr gur tháinig siad amach le pictiúir de í féin agus a fhear céile Kevin gan cead. I 2012 bhí cuimhneacháin I New Jersey do Whitney Houston – ní raibh cead ag daoine dul ann gan chuireadh. Bhí daoine ann cosúil le Stevie Wonder agus Alicia Keys. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Yoko Ono sa tSeapáin ar an lá seo I 1933 agus rugadh aisteoir John Travolta I Meiriceá ar an lá seo I 1954 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.
Remember when God was cool? In the early '70s, we had one legend and one nobody storm the charts about the greatness of the higher power, and we're going to see how gave glory to the Lord better? What's the better hippie-dippy religious song, George Harrison's "My Sweet Lord" or Norman Greenbaum's "Spirit in the Sky"?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 18ú lá de mí Feabhra, liomsa Lauren Ní Loingsigh. I 1968 bhí achainí ann ón ESB chun leictreachas a chaomhnú de bharr go raibh géarchéim cumhacht de bharr stailc ó oibrithe Bord Na Móna. I 1971 tar éis nach mór 6 mhí, fuair na Gardaí carr a chuaigh ar iarradh I mBaile Átha Cliath. D'athraigh na daoine a ghoid an carr na huimhirphlátaí agus líomh siad na huimhir ar an inneall. I 1971 toghadh Thomas J Casey ó Inis Díomáin, mar uachtarán den Chlub Twin City Irish-American don bhliain sin. I 1978 bhí an comórtas rince seit ICA ar siúil san Óstán Queen's. Bhuaigh an fhoireann ó Chill an Dísirt. Bhí 12 foireann ón chontae sa chomórtas. Sin George Harrison le My Sweet Lord – an t-amhrán is mó ar an lá seo I 1970. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 2005 d'ionsaigh Britney Spears irisleabhar I Meiriceá de bharr gur tháinig siad amach le pictiúir de í féin agus a fhear céile Kevin gan cead. I 2012 bhí cuimhneacháin I New Jersey do Whitney Houston – ní raibh cead ag daoine dul ann gan chuireadh. Bhí daoine ann cosúil le Stevie Wonder agus Alicia Keys. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Yoko Ono sa tSeapáin ar an lá seo I 1933 agus rugadh aisteoir John Travolta I Meiriceá ar an lá seo I 1954 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.
Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 23ú lá de mí Eanair, liomsa Lauren Ní Loingsigh. I 2003 bhuaigh Andy Roddick an Australian Open. Bhí sé an chluiche is faide riamh. D'imir siad nach mór 5 uair a chloig. An cluiche is faide riamh I Melbourne. I 2012 shiúil Eve Hewson ar an chairpéad dhearg do chéad uair ag An Fhéile Scannán Sundance. Bhí sí ann chun a scannán This Must Be The Place a chuir I láthair. I 2002 bhí cheiliúradh sa chontae leis an Ghrúpa Timpeallachta Silvermines de bharr bua. Bhuaigh siad de bharr go bhfuair siad an aistarraingt den suíomh dramhaíl don áit. I 2014 chuaigh Shane Long ón chontae chuig Hull. Dúradh go bhfuair Shane Long níos mó ná 6 milliún punt chun an aistrigh a dhéanamh. Sin Jessie J le Domino an t-amhrán is mó ar an lá seo I 2012. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1971 bhí George Harrison an chéad amhránaí ó The Beatles chun amhrán a bheith aige chun dul chuig uimhir a haon. Chuaigh an t-amhrán My Sweet Lord chuig uimhir a haon sa Bhreatain. I 2014 gabhadh Justin Bieber nuair a bhí sé ag tiomáint a Lamborghini I gcoinne charr eile I Miami. Dúirt na póilíní ní raibh sé ag éisteacht leo nuair a stop siad é. Chomh maith leis sin ní raibh a cheadúnas I ndáta. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Ray Elliot I mBéal Feirste I 1939 agus rugadh aisteoir Ewen Bremner san Albain I 1972 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.
Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 23ú lá de mí Eanair, liomsa Lauren Ní Loingsigh. I 2003 bhuaigh Andy Roddick an Australian Open. Bhí sé an chluiche is faide riamh. D'imir siad nach mór 5 uair a chloig. An cluiche is faide riamh I Melbourne. I 2012 shiúil Eve Hewson ar an chairpéad dhearg do chéad uair ag An Fhéile Scannán Sundance. Bhí sí ann chun a scannán This Must Be The Place a chuir I láthair. I 2003 bhí an chontae ag iarradh onóir a thabhairt chuig Brian Boru. Bhí an Brian Boru Spire ag dul chuig Baile Átha Cliath agus chosain sé níos mó ná 4 milliún euro. Mhol Hugh King an ghluaiseacht den spire I mBaile Átha Cliath agus ceangail a dhéanamh dá fréamhacha sa chontae seo. I 2012 léigh na mílte daoine ó Mheiriceá faoin chontae agus iarthar an tír sa Huffington Post. Tháinig Richard Bangs chuig an chontae agus rinne sé aird a tharraingt chuig an chontae leis an chultúr, bia agus áiteanna le dul. Sin Jessie J le Domino an t-amhrán is mó ar an lá seo I 2012. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1971 bhí George Harrison an chéad amhránaí ó The Beatles chun amhrán a bheith aige chun dul chuig uimhir a haon. Chuaigh an t-amhrán My Sweet Lord chuig uimhir a haon sa Bhreatain. I 2014 gabhadh Justin Bieber nuair a bhí sé ag tiomáint a Lamborghini I gcoinne charr eile I Miami. Dúirt na póilíní ní raibh sé ag éisteacht leo nuair a stop siad é. Chomh maith leis sin ní raibh a cheadúnas I ndáta. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Ray Elliot I mBéal Feirste I 1939 agus rugadh aisteoir Ewen Bremner san Albain I 1972 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.
The most streamed Beatles song – 700 million plays more than any other – is not by Lennon/McCartney but George who, as author Seth Rogovoy points out, is still widely considered “an economy-class Beatle” though his contributions were central to the success of their records. Seth's new book ‘Within You Without You: Listening to George Harrison' sets out to right this monstrous wrong! As does this conversation with the two of us which covers … … did My Sweet Lord's court case puncture his sense of ambition? … how he changed Taxman for American audiences. … the statement made by starting All Things Must Pass with a Dylan/Harrison composition. … how he was fleeced by not one but two managers - Allen Klein and Denis O'Brien. … what we learnt from watching ‘Get Back'. … Broadway ballads, Vaudeville, jazz and the solo on ‘Til There Was You. … remortgaging Friar Park for Life Of Brian and pushing for the Anthology “payday”. … his glorious spiritual/material contradiction – “the Pisces sign is two fish going in opposite directions”. … a social mobility that John and Paul both envied. … falling out of love with live performance. … the beliefs of his early ‘20s he sustained all his life. … and the staples of George Harrison's Jukebox. Order Seth's book here:https://www.amazon.co.uk/Within-You-Without-Listening-Harrison/dp/019762782XFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
The most streamed Beatles song – 700 million plays more than any other – is not by Lennon/McCartney but George who, as author Seth Rogovoy points out, is still widely considered “an economy-class Beatle” though his contributions were central to the success of their records. Seth's new book ‘Within You Without You: Listening to George Harrison' sets out to right this monstrous wrong! As does this conversation with the two of us which covers … … did My Sweet Lord's court case puncture his sense of ambition? … how he changed Taxman for American audiences. … the statement made by starting All Things Must Pass with a Dylan/Harrison composition. … how he was fleeced by not one but two managers - Allen Klein and Denis O'Brien. … what we learnt from watching ‘Get Back'. … Broadway ballads, Vaudeville, jazz and the solo on ‘Til There Was You. … remortgaging Friar Park for Life Of Brian and pushing for the Anthology “payday”. … his glorious spiritual/material contradiction – “the Pisces sign is two fish going in opposite directions”. … a social mobility that John and Paul both envied. … falling out of love with live performance. … the beliefs of his early ‘20s he sustained all his life. … and the staples of George Harrison's Jukebox. Order Seth's book here:https://www.amazon.co.uk/Within-You-Without-Listening-Harrison/dp/019762782XFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
The most streamed Beatles song – 700 million plays more than any other – is not by Lennon/McCartney but George who, as author Seth Rogovoy points out, is still widely considered “an economy-class Beatle” though his contributions were central to the success of their records. Seth's new book ‘Within You Without You: Listening to George Harrison' sets out to right this monstrous wrong! As does this conversation with the two of us which covers … … did My Sweet Lord's court case puncture his sense of ambition? … how he changed Taxman for American audiences. … the statement made by starting All Things Must Pass with a Dylan/Harrison composition. … how he was fleeced by not one but two managers - Allen Klein and Denis O'Brien. … what we learnt from watching ‘Get Back'. … Broadway ballads, Vaudeville, jazz and the solo on ‘Til There Was You. … remortgaging Friar Park for Life Of Brian and pushing for the Anthology “payday”. … his glorious spiritual/material contradiction – “the Pisces sign is two fish going in opposite directions”. … a social mobility that John and Paul both envied. … falling out of love with live performance. … the beliefs of his early ‘20s he sustained all his life. … and the staples of George Harrison's Jukebox. Order Seth's book here:https://www.amazon.co.uk/Within-You-Without-Listening-Harrison/dp/019762782XFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In episode 380 of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd dive into a musical journey, sharing their favorite tracks from the solo careers of The Beatles. From John Lennon's "Give Peace A Chance" and "Cold Turkey" to George Harrison's "My Sweet Lord," they explore iconic hits like "Imagine," "Live and Let Die," "Got My Mind Set On You," and more. Tim the Nerd also provides insight into All Elite Wrestling's (AEW) latest big move—a four-year deal with Warner Brothers Discovery that includes adding AEW content to the Max streaming platform. They discuss how this will impact AEW's future and grow its fanbase. The episode closes with a heartfelt tribute to two beloved performers who recently passed: John Amos and Dame Maggie Smith. As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his website for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Head to Friends Talking Nerdy's website for more information on where to find us online.
Fred and Rob are so happy to be working together again on their Netflix show “Unstable!” Fred Armisen joins Rob Lowe to discuss the new season of “Unstable” (out August 1st), Fred's approach to playing Uncle Fester in “Wednesday,” shooting “The Floor” in Ireland, dinner for Mick Jagger, Rob's field trip to the CERN particle accelerator, starring in the official music video for George Harrison's “My Sweet Lord,” and much more. Inspired by Walmart, Rob is opening up the Lowe Down Line this summer to answer your questions about cultural trends, fandoms, home design, and all things style! If you've got a question, just leave me a message at (323) 570-4551 and tune in to the next installment of the Lowe Down Line.
Hoy el Mata-Rolas ataca la canción "My Sweet Lord" de George Harrison ex Beatle en un cover hecho por Julio Iglesias titulado "Mi Dulce Señor"
Send us a Text Message.Intro song: My Sweet Lord by Billy PrestonToday's Five Songs:How Do You Do It by The BeatlesWah-Wah by George HarrisonOh Yoko! by John LennonHeart of the Country by Paul McCartneyOh My My by Ringo StarrSeinfeld Moment: The Chinese Restaurant (S2:E11)
George Harrison recorded a song , My Sweet Lord”, that became a big hit. He was a former member of the Beatles, and the album was well received. If anyone listens to it, they are struck by the melody and the fantastic guitar playing. Eric Clapton played the part where he sings “My guitar gently weeps”. He makes it sound just like a weeping guitar to me. I never tire of hearing it . . . https://www.wordsfortheday.com/2024/05/guitar-weeps/
The Richard Syrett Show, April 17th, 2024 Alex Jones to Sue FBI and CIA for Targeting Him https://www.newsweek.com/alex-jones-fbi-cia-gavin-oblennis-sound-investigations-allegations-1889285 J. Michael Waller, author of Big Intel: How the CIA and FBI went from Cold War Heroes to Deep State Villains. Senior Analyst for Strategy at the Center for Security Policy THE CULT OF CLIMATE CHANGE Senator Mike Lee (R.) Utah asks Energy Secretary to estimate the impact net carbon neutrality would have on global temps. She has no idea. Cost to achieve net carbon neutrality? $275 Trillion Tony Heller – Founder of Real Climate Science dot com Take Back Your Health From Big Pharma! Dr. Lynn Lafferty, Doctor of Pharmacy, a Diplomate from the American Clinical Board of Nutrition, a Naturopathic Doctor, a Master Herbalist, and a Chef. As an Endowed Professor at Nova Southeastern University, Dr. Lafferty loves to teach and is committed to finding the safest and most effective ways to promote health and wellness. https://drlynnlafferty.com THIS DAY/WEEK IN ROCK HISTORY In 1971, all four ex-Beatles were in the UK singles chart at the same time. George Harrison's “My Sweet Lord” went to No.1 while Paul McCartney's “Another Day,” Ringo Starr's “It Don't Come Easy” and John Lennon's “Power To The People” all made the Top 10. 1983: Flying saucers are sighted by many in attendance, while Frank Marino & Mahogany Rush are on stage during a festival in San Juan, Puerto Rico. The Answer 1983: Bryan Adams performs "Straight From The Heart" and "Cuts Like A Knife," during his first appearance on American Bandstand. Straight from the hEart 1990: Neil Young and Daniel Lanois are among the performers at the Nelson Mandela - An International Tribute To A Free South Africa concert in London's Wembley Stadium. Hey Hey, My My. Jeremiah Tittle, Co-Host of “The 500 with Josh Adam Myers” podcast, CEL/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices
Today, we bring you part 2 of the Big Sur Folk Festival, 1969. The BSFF occurred at Esalen Institute on September 13th and 14th of 1969, just about a month after Woodstock. As related in part one of this two part series, the festival was captured in a documentary called "Celebration at Big Sur," directed by Baird Bryant and Johanna Demetrakas - available on YouTube, a great watch. Set list for part 2: -John Sebastian, formerly of the Lovin Spoonful, with “Rainbows All Over Yours Blues" -"Woodstock" by Joni Mitchell, who accompanies herself on piano. -Some audio of an audience member, a school teacher who identifies as "a freak." - ”Red-Eye Express" performed by John Sebastian with Stephen Stills - “Malagueña Salerosa" by Carol Ann Cisneros - an extended ”Down By the River" by Crosby Stills Nash and Young. -“Sweet Sir Galahad" by Joan Baez - to end the show, "Oh Happy Day" by Dorothy Combs Morrison and the Combs Sisters, accompanied by Joan Baez. Some trivia about some of the musicians: -Joni Mitchell was dating a member of Crosby Stills Nash and Young at the time, Graham Nash. -Joni's song “Woodstock” was in fact inspired by the famous music festival, but she did not attend. Instead she opted to stay in New York City and appear on the Dick Cavett show. -John Sebastian: He was a founding member of the Lovin' Spoonful, known for hits like "Do You Believe in Magic?" and “Summer in the City." The Spoonful imploded after a 1967 marijuana bust. In the 80's Sebastian began writing and recording music for children's TV, including 1983's "Strawberry Shortcake: Housewarming Surprise" and 1985's "Strawberry Shortcake Meets the Berrykins." -Stephen Stills: a founding member of Buffalo Springfield who wrote one of the most recognizable songs of the 1960s, "For What It's Worth." Buffalo Springfield broke up in 1968, and Stills joined with David Crosby of the Byrds and Graham Nash of the Hollies to form early supergroup Crosby Stills and Nash. Neil Young wouldn't join them until August 1969, just a few short weeks before the performance that you're about to listen to. -Dorothy Combs Morrison won a Grammy in 1969 for her song "Oh Happy Day," which ends this episode - it reached #4 in the US and #1 in France that year. It was recorded in a church in Berkeley, California, a couple hours away from Big Sur. George Harrison stated that "Oh Happy Day" was a primary influence for his 1970 hit “My Sweet Lord.” -Joan Baez dated Steve Jobs in the 1980s. He was in his mid twenties and she was in her 40's. DIdn't matter. She was Joan Baez. At the time that Big Sur Folk Festival occurred she was married to an activist named David Harris, who was in prison in 1969 for refusing to serve in the armed forces. (In part one, we hear “Song for David,” written to her man behind bars.) During this performance, Baez is actually seven months pregnant; her son, Gabriel, was born in December 1969. Baez's performance of Pete Seeger's We Shall Overcome during the 1963 March on Washington is one of the most enduring images of the 1960s. In 1964, she publicly endorsed resisting taxes by withholding 60 % of her income. In 1972, Baez traveled to North Vietnam, to address human rights in the region, and was caught in a bombing of Hanoi, North Vietnam, during which the city was bombed for eleven straight days. Al Capp, the cartoonist for the strip Li'l Abner, created a character called "Joanie Phoanie" based on Baez - a communist radical who sang songs about class warfare but also rode in a limousine and charged outrageous performance fees to impoverished orphans. Beyond all of this, Baez is a genius songwriter and performer with a magical voice. She performed at each of the Big Sur Folk Festivals, beginning in 1964 and going until 1971. She still can occasionally be seen in the Carmel and Big Sur area. Ms. Baez, if you're listening now - come on back. There's a space at the Esalen baths with your name on it.
Viernes de reggae y tu cuerpo lo sabe
Just when you think you know everything there is to know about the Beatles, the most famous group in history—you're wrong. Today on the show we have the Beatles expert himself, Philip Norman, here to break down George Harrison, as complex and complicated a character as they come. Just about as antithetical to fame as it gets, George never saw his talent like the rest of the world did, and his contributions to music are vast: “Something.” “While My Guitar Gently Weeps.” “Here Comes the Sun.” “My Sweet Lord.” In addition to his professional life, his personal life is compelling too. (Four words—Pattie Boyd. Eric Clapton.) He left us far too soon nearly 22 years ago, and I am excited to bring you part of his story through this conversation.
What gives me courage to let go in this world, Is knowing there's more beyond time, Touch, taste, sight, smell and sound, That is truth and love combined. ☉
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
Wanna chat about the episode? Or just hang out? Come join us on discord! --- "Repetition not for monotony but the ecstasy it induces." - Martha Graham Chris and Kayla go to a restaurant. Kind of. Don't worry, we'll repeat ourselves. --- *Search Categories* New Religious Movement; Anthropological --- *Topic Spoiler* The Hare Krishnas / ISKCON --- *Further Reading* https://iskconla.com/Home.aspx https://www.iskcon.org/ https://en.wikipedia.org/wiki/International_Society_for_Krishna_Consciousness https://en.wikipedia.org/wiki/A._C._Bhaktivedanta_Swami_Prabhupada https://en.wikipedia.org/wiki/My_Sweet_Lord https://www.youtube.com/watch?v=04v-SdKeEpE https://www.youtube.com/watch?v=XVMgEupff-E https://culteducation.com/group/1016-iskcon/12236-can-cultic-groups-change-.html https://culteducation.com/group/1016-iskcon/12247-can-it-be-that-the-hare-krishnas-are-not-hindu-.html https://culteducation.com/group/1016-iskcon/12198-where-have-all-the-krishnas-gone.html https://culteducation.com/group/1016-iskcon/12228-group-battles-airport-limits-on-solicitors-.htm https://culteducation.com/group/1016-iskcon/12230-hare-krishna-solicitors-are-again-being-restricted-at-los-angeles-international-airport.html https://culteducation.com/group/1016-iskcon/12239-at-uf-theres-no-free-lunch.html https://culteducation.com/group/1016-iskcon/12245-can-hare-krishna-chant-cure-depression.html https://gta.fandom.com/wiki/Hare_Krishna --- *Patreon Credits* Michaela Evans, Heather Aunspach, Alyssa Ottum, David Whiteside, Jade A, amy sarah marshall, Martina Dobson, Eillie Anzilotti, Patrick St-Onge, Lewis Brown, Kelly Smith Upton, Wild Hunt Alex, Niklas Brock Jenny Lamb, Matthew Walden, Rebecca Kirsch, Pam Westergard, Ryan Quinn, Paul Sweeney, Erin Bratu, Liz T, Lianne Cole, Samantha Bayliff, Katie Larimer, Fio H, Jessica Senk, Proper Gander, Nancy Carlson, Carly Westergard-Dobson, banana, Megan Blackburn, Instantly Joy, Athena of CaveSystem, John Grelish, Rose Kerchinske, Annika Ramen, Alicia Smith, Kevin, Velm, Dan Malmud, tiny, Dom, Ragnheiður Eiríksdóttir, Benevolent Loki, Tribe Label - Panda - Austin, Noelle Hoover, Tesa Hamilton, Nicole Carter, Paige
World premieres this week with Bobby Hustle's new track ‘Reggae Days' and ‘Irie' by Lawgiver The Kingson & Matthew Bento. Damian Marley drops a new track ‘My Sweet Lord' and Subatomic Sound System links with Yaadcore with a new rendition of Lee Scratch Perry's ‘Green Brain'. New music from Azizi Romeo, Eesah, Perfect Giddimani, Joby Jay, the Ginger Riddim by Silly Walks Discotheque, and more. Check Out The Websites WorldAReggae.com and Caribbeandanceradio.comLike And Follow On Facebook, Twitter, And Instagram linktr.ee/thedjphgAza Lineage Meets DJ PhG mixtape out now - on.soundcloud.com/7Hr5ULawGiver The Kingson x Matthew Bento - IrieEesah & Silly Walks Discotheque - LifeSilly Walks Discotheque & Konshens - Wicked ManSilly Walks Discotheque & Yaksta - Jet BlackTatik & Silly Walks Discotheque - PurposeBobby Hustle - Reggae DaysWailing Souls - Stormy NightPerfect Giddimani & Yungg Trip - TrafficAzizi Romeo - African YouthDamian Marley - My Sweet LordMorgan Heritage - RememberGreen Lion Crew, Lee "Scratch" Perry & Yaadcore - Green Brain (Subatomic Sound System Remix)Perfect Giddimani - Same BoatPerfect Giddimani - Never Give InAzizi Romeo - Change Of PolicyWisedem Band - Heavy LoadJoby Jay - Last TimeEesah, Loud City & ZJ Sparks - Rude BwoyMellow Mood - Start MañanaBuju Banton - Born For GreatnessChezidek & Irie Ites - It's TimeJesse Royal & Romain Virgo - HopeBusy Signal - Juvie Slow DownSanchez - Too ExperiencedKoffee - LonelyKingston Sound System - Higher Love (feat. Steve Winwood)
ELI PAPERBOY REED – Ace Of Spades DANNY GÓMEZ & EDU MOLINA – Seven Seas Of Rhye GUILLE WHEEL & THE WAVES - Summer Breeze NIÑA POLACA – Travieso GINEBRAS ft KARAVANA – Lunes Negro SHAKEITMILA - El Capullo De Tu Ex LA LA LOVE YOU – Mantita y Peli GIRL AND GIRL - Dance Now THE GUAPOS – Soy Un Guapo MIGUEL RÍOS ft ROSENDO – Maneras de Vivir SEPALOT – I KnowYou Can OLIVIA DEAN – Ladies Room JORJA SMITH - Little Things x Gypsy Woman (L BEATS MASHUP) PEGGY GOU - (It Goes Like) Nanana THE VIEW – Woman Of The Year WEEZER - (If I Wondering If I Want You To) I Want You ToHAK BAKER – Doolally TROYE SIVAN – My Sweet Lord Escuchar audio
GRETA VAN FLEET – The Falling In The Sky MESSURA - Liar BE YOUR OWN PET – Bad Moon Rising ALLAH-LAS – The Stuff SIDONIE – Cedé GINEBRAS – Alex Turner TROYE SIVAN – My Sweet Lord THE WEEKND – Jealous Guy THE BLESSED MADONNA ft. JACOB LUSK - Mercy FOALS - Wake Me Up DO NOTHING – Nerve DAISY JONES & THE SIX - Regret Me LEIVA – Flecha LA ÉLITE – Transpotting THE OFFSPRING – Come Out and Play QUEENS OF THE STONE AGE - Paper Machete THE JAPANESE HOUSE – Touching Yourself Escuchar audio
On today's new episode we are thrilled to kick off season 3 of HDWGW with our friend Lance Bangs!! We're talking about everything from the time Lance and his wife Corin Tucker took the Bayer siblings to dinner and Jonah almost had a panic attack, to Lance's work on Jackass and the recent George Harrison video he directed that Vanessa got to be in. Plus, we reminisce on the days of watching tv shows and films during school and Lance introduces the Bayer siblings to the incredibly bizarre “educational” short film Cipher in the Snow and we all have a lot of thoughts. Finally, in a round of CHANGE.DORK we discuss whether a fandom summer camp is possible and how much Vanessa thinks it would cost! Want the answers to both? You gotta check it out!See omnystudio.com/listener for privacy information.
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Beatles turned Western culture upside down and brought Indian philosophy to the West more effectively than any guru. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi.This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations never before revealed, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were.Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.To listen to all our XZBN shows, with our compliments go to: www.spreaker.com/user/xzoneradiotv.The current edition of The 'X' Chronicles Newspaper is available at www.xchronicles.net.
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Beatles turned Western culture upside down and brought Indian philosophy to the West more effectively than any guru. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi.This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations never before revealed, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were.Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.To listen to all our XZBN shows, with our compliments go to: www.spreaker.com/user/xzoneradiotv.The current edition of The 'X' Chronicles Newspaper is available at www.xchronicles.net.This episode of The ‘X' Zone with Rob McConnell is brought to you by BEAUTIFUL MIND COFFEE - For the coffee that your brain will love, visit Beautiful Mind Coffee, www.beautifulmindcoffee.ca. It's Brainalicious!
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi. This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Jojo, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were. Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi.This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Jojo, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were.Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi. This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Jojo, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were. Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Beatles turned Western culture upside down and brought Indian philosophy to the West more effectively than any guru. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi.This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations never before revealed, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were.Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.
The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Beatles turned Western culture upside down and brought Indian philosophy to the West more effectively than any guru. "The Inner Light" illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky—a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi.This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations never before revealed, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruments and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Jojo, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were.Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. “The Inner Light” is Susan Shumsky's gift to their legacy.Susan Shumsky holds a Doctor of Divinity degree and has authored twenty books in English. She's released thirty-six foreign editions, won forty-one book awards, and done 1,300 media appearances. A rare insider, she was on the Maharishi Mahesh Yogi's personal staff for six years and lived in his ashrams for twenty years.Purchase a copy of "The Inner Light: How India Influenced the Beatles" through Simon & Schuster: www.simonandschuster.com/books/The-Inner-Light/Susan-Shumsky/9781682619773Visit Susan Shumsky online at www.divinerevelation.orgListen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/3gTiyhlGpGrQoq61oEXfCA?si=2443aedbaf7f46ecThe Booked On Rock Website: https://www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: https://www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockINSTAGRAM: https://www.instagram.com/bookedonrockpodcastSupport Your Local Bookstore! Find your nearest independent bookstore here: https://www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Music: “Whoosh” & “Nasty” by Crowander (https://www.crowander.com)
En 1970 George Harrison editaba el tema “My sweet lord”. Este tema considerado como uno de los primeros himnos religiosos en llegar al puesto número uno tanto en Estados Unidos como en Inglaterra, constituye no sólo una alabanza al dios hindú Krishna, sino también un llamado a abandonar el sectarismo religioso, con una mezcla deliberada del «Aleluya» judío, cánticos de Hare Krishna y oraciones védicas. Esta canción fue el centro de una demanda por plagio musical por parte de Bright Tunes (compañía de Nueva York). Durante el juicio, los expertos musicales intentaron explicar que la melodía de My Sweet Lord era muy similar a la de He's So Fine de The Chiffons compuesta por Ronnie Mack. Así, Harrison fue multado por plagio inconsciente pero siguió arrasando con ese estupendo trabajo, que más tarde fue versionado por U2 y Billy Preston, entre otros. A continuación, juzgaremos nosotros si hubo tal plagio o no, escuchando He's So Fine interpretada por The Chiffons y acto seguido My sweet lord intepretada por George Harrison.
Preaching: Constatino KhalafNote: this sermon references the song “My Sweet Lord” by George Harrison, which is not included in the recording due to licensing. It can be found here on Spotify.t's an annual tradition at Pearl Church for our Oversight Team to share their hearts for our church during the month of August. Each week a different Oversight Team member will take their turn, giving us a chance to hear what they dream of for Pearl. This week, we hear from Oversight Team member Constantino Khalaf.Pearl Church exists to express a sacred story and to extend a common table that animate life by love. A primary expression of our sacred story is the weekly sermon. If our sermons inspire you to ponder the sacred, to consider the mystery and love of God, and to live bountifully, would you consider supporting our work? You can donate easily and securely at our website: pearlchurch.org. Thank you for partnering with us in expressing this sacred story.
On today's episode of Hangout with Sujata, Grant Murrell runs through his life's journey with Sujata. Grant is fast becoming one of the most sought after names in the world of Human Communication. He is an International Speaker, Transformation Expert, Certified Trainer in NLP & Hypnotherapy, an International Best Selling Author, Radio Show Presenter and Entrepreneur. Grant's ultimate mission is to help people design a life, business, or organisation or foundation that will allow them to embrace their passion, purpose, freedom, wealth and happiness, and to create a legacy to last for generations to come! Playlist included: My Sweet Lord by George Harrison Do It Again by Steely Dan Behind Blue Eyes by The Who Rebel Rebel by David Bowie Get it On by Marc Nolan & T-Rex S.O.S by ABBA Wishing On a Star by Rose Royce Wuthering Heights by Kate Bush In The Crowd by The Jam Once In a Lifetime by The Talking Heads The Model by Kraftwerk Give Me Just a Little More Time by The Chairmen Of The Board Our Lips Are Sealed by Jane Wiedlin Heroes by David Bowie You Don't Have to Cry by Crosby, Stills & Nash Sympathy for The Devil by The Rolling Stones Slip Kid by The Who Bargain by The Who Enjoy!
Today, the first of two episodes exploring the production of George Harrison's first solo album, All Things Must Pass, with new research and interviews drawn from the book Ken Womack and I wrote on the making of the album. In this episode, we cover the intricate and painstaking production of “My Sweet Lord.” We explode the myth of Phil Spector's contributions, speak to a number of people who were there, and get an exclusive sneak preview of the contents of Mal Evans' diary entries about these sessions, courtesy Ken Womack.
ABBA Vs GEORGE HARRISON FOR A PLACE IN THE FINAL OF ELIMINATION SEASON 3 BUT WHO WILL IT BE?Join us at podcastelimination@gmail.comSupport the show (https://www.patreon.com/eliminationpodcast?fan_landing=true)
Our second sweet derby of season 3GEORGE HARRISON VS NEIL DIAMONDWho will make it to the semi-final?Join us at podcastelimination@gmail.comSupport the show (https://www.patreon.com/eliminationpodcast?fan_landing=true)
Back after a small break, Elimination fun and banter returns.Please send your Questions for Question Time to podcastelimination@gmail.comThanks for being part of the Elimination FamilySupport the show (https://www.patreon.com/eliminationpodcast?fan_landing=true)
In which we salute the comic genius of Ronnie “Fletcher” Barker and Fulton “Mackay” Mackay, fantasise about autobiographies still to come (Neil Tennant, Pet Clark, John Paul Jones, Noel Gallagher), are mildly appalled by the new My Sweet Lord video and play two bracing rounds of Spot the Genuine Christmas single (Beck's Little Drum-Machine Boy? Half Man Half Biscuit's Deck The Halls With Buddy Holly?). Gary Chrimble to all, and a gear New Year!Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
En este episodio platicamos sobre Spider-Man, video My Sweet Lord, Foundation y la cinta Sweet Home Alone.
It was a killing that involved a Hollywood actress, one of the greatest musicians that America has ever produced, and a mystery that took almost 12 years two court trials and three legal appeals to resolve. On February 2, 2003. Phil Spector, the man behind the Beatles album 'Let it Be', John Lennon's 'Imagine', George Harrison's 'My Sweet Lord', and countless other top music hits, left his Los Angeles mansion. He came back at midnight with a gorgeous blonde actress, Lana Clarkson. They got drunk. He played the piano, they sang. But at two o'clock in the morning, there was a single gunshot that echoed over the neighborhood. And then Phil Spector stepped out of the door and said, "I think I just shot her". Or did he? Because when the man known as America's modern-day Sherlock Holmes began to investigate, it was not so clear. On CrimeWaves podcast - a master class with Dr. Henry C. Lee. Dr Lee was the first pioneer of the linkage between DNA analysis and detective work. He is an expert in crime scene analysis and a superb investigator. He trains police forces around the world but, in this episode, he talks about this high-profile Hollywood crime case, the tragedy surrounding it and the attack on his professional reputation.
Dieser Song ist Opfer eines gewissenlosen Geschäftsmannes aus New York - sein Autor hat nur einen Bruchteil der Tantiemen für den Song bekommen, der ein Welthit war - der größte Teil ist an zwei Männer gegangen, die das Geld sicher nicht nötig hatten und sich in der Diskussion um den Song nicht mit Ruhm bekleckert haben - alle Details gibt es jetzt in der aktuellen Episode. Erwähntes Video zum Sample: https://www.youtube.com/watch?v=J3QtMMFoYy8 - the sample Episode zu den Beach Boys: https://100malmusiklegenden.de/2021/02/07/good-vibrations-the-beach-boys/ Episode zu My Sweet Lord: https://100malmusiklegenden.de/2021/02/07/my-sweet-lord-george-harrison/ Mein Facebook Profil: https://www.facebook.com/markus.dreesen Mein Instagram Profil: https://www.instagram.com/markusdreesen/?hl=de Könnt mir gerne folgen, gibt da immer wieder Updates zum Podcast und sonst so ... Offizielle Playlists: https://music.apple.com/de/playlist/100malmusiklegenden/pl.u-JjM2F9Nv5z (Apple) https://open.spotify.com/playlist/6RGcoNO671nOMpYRkTTQLV (Spotify) Songvorschläge, Episodensuche und T-Shirts unter 100malmusiklegenden.de! Infos zu möglichen Werbekooperationen unter https://100malmusiklegenden.de/werbung
Vamos con un programa extenso, dividido en dos partes, rico en texturas y melodía, sobre el que es uno de los mejores discos de todos los tiempos. Se trata del primer álbum triple de la historia del rock, All Things Must Pass de George Harrison, lanzado el 27 de noviembre de 1970, es decir, se están cumpliendo en estos días 51 años de su lanzamiento. Escucharemos Run of the Mill (Day 2 Demo), I’d Have you Anytime, My Sweet Lord, Wah-Wah, Isn’t It a Pitty, What is Life, If Not For You, Behind That Locked Door, Let It Down, Run of the Mill y los bonus tracks I’d Have You Anytime (Day 1 Demo), Let It Down (Day 2 Demo) y I Live For You (Day 1 Demo) Recuerden que nuestros programas los pueden escuchar también en nuestra web https://ecosdelvinilo.com/ y en la emisora Radio Free Rock los viernes a las 18:00.
George Harrison topped the charts with "My Sweet Lord" but was sued over it because it sounded a bit too much like another #1 hit. Alan Smithee is a prolific film director, but why has no one ever seen him?LinksInstagramFacebook
#110-106Intro/Outro: Some Hearts by Carrie Underwood110. Paid in Full by Eric B. & Rakim109. New Slang by The Shins (3)108. Suffragette City by David Bowie107. The Power of Love by Huey Lewis & the News (2)106. My Sweet Lord by George Harrison (2)Balderdash #23 answerBonus excerpt: Seven Minutes of Madness (Remix) by ColdcutBonus excerpt: My Sweet Lord by Billy PrestonBonus excerpt: He's So Fine by The ChiffonsBonus excerpt: Oh Happy Day by The Edwin Hawkins Singers
Great Rock intros, it’s the game the whole family can play See omnystudio.com/listener for privacy information.
ANNOUNCMENTS Recent live stream success - HSS Live-Artist Spotlights 006 https://youtu.be/GPT-_TGlt84 EAR TO THE GROUND 1 New music is no longer a thing, thanks to a pair of lawyers who created an algorithm to write every single musical melody that can possibly exist. Rather than claiming all music as their personal property, however, the duo have released their entire catalog of tunes into the public domain, in the hope that this will bring an end to copyright lawsuits. Lawyer, musician, and programmer Damien Riehl came up with the idea after realizing that all singer-songwriters are essentially walking on a “melodic minefield”, because there are only a finite number of melodies that can exist. As such, with each new song that gets written, the chances of creating something genuinely unique decreases, and the possibility of writing a melody that has already been recorded by someone else increases. In a recent Tedx Talk, Riehl explains that this wouldn't be a problem if it weren't for the ridiculous nature of copyright laws, which state that a piece of music becomes copyrighted the moment it is recorded. Even worse, it is possible to be sued for “subconscious infringement”, whereby an artist may have to pay a settlement to another artist even if they claim to have never heard the song that they are accused of copying. Riehl sites numerous such cases, revealing how George Harrison was found guilty of subconscious infringement after the chorus to his song My Sweet Lord was deemed to be too similar to a track called He's So Fine by The Chiffons. In another example, Radiohead were forced to name a group called The Hollies as co-writers of their song Creep, which apparently included a melody that also appears in one of the latter band's songs. To try and bring an end to such cases, Riehl teamed up with Noah Rubin to create an algorithm that could produce every 12-note melody that has ever been written or can ever be written, using one octave of musical notes. The algorithm uses the same ‘brute force' technique that hackers use when attempting to steal passwords, by essentially generating every possible combination of characters. A total of 68 billion melodies were generated, which are now all available at allthemusic.info. The pair argue that their algorithm highlights how musical melodies are essentially just numbers arranged in a particular order, and that since numbers can't be copyrighted, music should also not be constrained by infringement laws. "No song is new. Noah and I have exhausted the data set," explains Riehl. "Noah and I have made all the music to be able to allow future songwriters to make all of their music." 2 It's becoming clear that the Covid-19 coronavirus is going to have a significant impact on all of our lives for the foreseeable future and, sadly, it's likely that the music-making industry is going to suffer. Of course, there are still plenty of ways that you can indulge your passion - a period of self-isolation might actually help you to finish that album you're been working on or even master a new instrument - but in the world of live events, the picture looks a little less rosy. Around the world gigs, trade shows and other music-focused gatherings are being cancelled on a daily basis and, unfortunately, this is a trend that's set to continue. To help you keep abreast of developments, and to make you aware if you need to change your plans in any way, I've included a link in the description of this podcast to an ongoing list that Music Radar has put together for live show updates. This guide shows the current impact that the coronavirus is having, and they're committed to keep it updated as news comes in. This might be a webpage you need to bookmark for future reference. 3 Universal Audio (UA), a leading manufacturer of professional audio recording hardware and software, is proud to introduce LUNA Recording System, a full-featured music creation, recording, and analog-style production system shaped by over 60 years of analog audio exploration. LUNA transforms UA's industry-standard Apollo interfaces into the most inspiring and fully integrated recording systems available. LUNA Recording System consists of a UA Thunderbolt-equipped audio interface, the LUNA Application, LUNA Extensions, and LUNA Instruments. LUNA will be available as a free download for Apollo and Arrow Thunderbolt audio interface owners (Mac only) in Spring 2020 Deep Apollo Integration — Fast, Natural Workflow Unlike traditional DAW software, LUNA Recording System's tight hardware-software integration allows quickly routing and recording audio through DSP-powered UAD plug-ins with no discernable latency via the new Accelerated Realtime Monitoring feature. Accelerated Realtime Monitoring is poised to be a major revelation for those unaccustomed to working on a $10k+ DSP-assisted recording system; music production will instantly seem more robust, dependable, and intuitive, without latency or monitoring hassles. Built-In Neve® Summing — Instant Classic Console Sound LUNA Recording System offers precisely emulated audio summing circuitry from the Neve 80-Series audio mixing consoles designed by Neve Electronics in the 1960s and early 1970s, featuring the harmonically rich sound of the Neve 1272 summing amplifier. Far beyond a “summing plug-in," Neve Summing is a LUNA Extension built-in to the fabric of LUNA's mixer — and can instantly transform a clean technical mix into a classic-sounding recording filled with energy and life. Integrated Multitrack Tape — Warmth and Punch on Demand LUNA's audio transport features integrated Multitrack Tape emulation via the included "Oxide" LUNA Extension — providing sonic qualities commonly described by audio engineers as "warmth" and "cohesion" on every desired audio or instrument track. LUNA Recording System users may choose to further explore various magnetic tape sounds with the optional Studer® A800 Tape Recorder Extension (sold separately). All-New LUNA Instruments — Incredible Realism to Fuel Inspiration LUNA is further distinguished by all-new software-based LUNA Instruments — bringing Universal Audio's expertise in electrical and acoustic modeling, sampling, synthesis, and signal processing to virtual instruments for the first time ever. The resulting software instruments are ultra-realistic, responsive, and “alive” with inspiration. At launch, available LUNA Instruments will include: Moog® Minimoog — developed in partnership with Moog Music, the Moog Minimoog is an incredibly accurate and inspiring emulation of the archetypal 1971 Moog synthesizer Ravel™ grand piano — a breathtaking model of a Steinway Model B grand piano based on UA's proprietary sampling, physical modeling, and new Ultra-Resonance technology — providing all the sonic nuance of this studio classic Shape™ — a complete creative toolkit with vintage keys, drums/percussion, guitar/bass, orchestral content, and realtime synthesis, courtesy of Universal Audio, Spitfire Audio, Orange Tree Samples, Loops de la Creme, and more — included free in LUNA. 3 FREE PLUGS Xfer Records Dimension Expander - If you're looking to add unique and insane space and stereo width to your sound, Xfer Records Dimension Expander is a must. The four-voice chorus with extended delay times takes advantage of phasing to further enhance the "out of the speaker" width. Two of the chorus voices are out of phase from the other two, which tickles your brain and confuses it in enjoyable ways, creating an unbeatable stereo effect. It sounds great on pretty much anything but shines a bit extra on vocals and cleaner guitars. Try it and find out which other instruments love this plugin. Thrillseeker XTC - Sometimes you need to bring a sound back to life - you hear it has potential, but you know it can be so much more. Bringing back the mojo of a sound (or several) is what the exciter Thrillseeker XTC is all about. In the stylish analog interface, you have ultimate control over the low, mid, and high end with full respective EQ bands to dial it down even further. One of the more exciting features of the Thrillseeker XTC is the "mojo" knob. The Cambridge Dictionary defines mojo as "a quality that attracts people to you and makes you successful and full of energy." Switch out the "you" to "your track," there's your explanation to what the Thrillseeker XTC is all about. I really can't explain it better. It does magic on your track and makes it sound loads better. Krush - Who doesn't love an excellent, free bit crusher? Look no further than Krush. Krush is all about down-sampling, crushing, and driving your sound to insane levels – if you want. Hidden in this gem is a reliable filter and an LFO to manage all controls in the plugin fully. And with the separate dry and wet dial, you can add some exciting flavors to your drum loops, for example. Just a little bit can go a long way to liven up a dull 4/4 beat. It sounds like a bit crusher should and does everything you want, with a bit more to keep things interesting. If you want a free bit crusher, I recommend you check this one out right now. MAIN THOUGHT 4 The McGurk Effect Have you ever tweaked a knob on a compressor or an EQ plugin while looking at it on screen and hear an audible difference, only to find that it was in fact bypassed the whole time? Well, if you've been mixing for very long, I'm sure at one point in time (knowingly or unknowingly) you've done this. This audio/visual phenomenon is not only real, but it is scientifically proven. In fact it's got a rather Scottish name, it's called "The McGurk Effect" . In 1976, Chief psychologist McGurk and his partner MacDonald, reported a powerful multisensory illusion occurring with audiovisual speech. They recorded a voice articulating a consonant and dubbed it with a face articulating another consonant. Even though the acoustic speech signal was well recognized alone, it was heard as another consonant after dubbing with incongruent visual speech. The illusion has been termed the McGurk effect. It has been replicated many times, and it has sparked an abundance of research. The reason for the great impact is because it is a striking demonstration of multisensory integration. It shows that auditory and visual information is merged into a unified, integrated percept. The McGurk effect, in laymen terms, is a perceptual phenomenon that demonstrates an interaction between hearing and vision in auditory perception. The illusion occurs when the auditory component of one sound is paired with the visual component of another sound, leading to the perception of a third sound. (See it for yourself here) So, what can we learn from this? Well, it demonstrates our brains ability to marry the audio world to the visual and also shows us that we can be easily tricked into hearing things that are not there. Arguably, this is why some say that analog mixing is better musically speaking. Because, tactile knobs and low visibility to the specific ranges found on the mixing board or outboard gear, forces an engineer to use their ears more than their eyes to makes subtle adjustments. Because of this, some plug in companies have actually went as far as to create a sort of clean slate approach to audio alteration. For instance, one company (Audio Thing) released a FREE (yes FREE plugin), that you can download and try for yourself. it's called the Blindfold EQ. The Blindfold EQ is a freeware EQ plugin inspired by a quote from Matt Wallace, found in the book Recording Unhinged by Sylvia Massy. Matt states, “If I were King of the Universe, consoles would have no indication of frequency near the EQ knobs, because when you show the frequency, then most people EQ by eye. […] But seriously, you should have no idea of what frequency you are boosting or cutting. It doesn't matter what number is. It matters how it sounds and how it feels. That's it!” Matt Wallace Ans so, the Blindfold EQ is created. The Blindfold EQ has 4 bands (LowShelf, LowMid, HighMid, HighShelf), but each knob is blind. Meaning, there are no indicators or numbers to show frequency values, gain values or Q values. You have to use your ears, and in turn you nullify the need for specific values when making adjustments. Now, although this doesn't completely eliminate the McGurk effect (due to the fact that one could still make changes in bypass and hear audible differences) it does at least minimize the need to have values for everything and quantify music into a little box. There you have it, a scientific explanation for the embarrassing moment when (Lord forbid) a client sees you adjust an EQ that is bypassed. But then, would they even notice it? Perhaps we could even utilize this as a means of not fiddling with the sound of something that we have painstakingly beat into submission at the artists request. Just simply duplicate the plugin, and then bypass the duplicate. Now show them your making a change and let the McGurk effect work for you instead of against you! Sources/Links: 1 - 2 - 3 - 4
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