Podcasts about Never My Love

Send us a textToday is the second of a five episode preview of the 97th Academy Awards where I will be breaking down each and every category throughout the week. Today I am joined by Enrico Banson from the Director's Notes newsletter to break down Best Animated Feature, Best International Feature, Best Documentary Feature, Best Original Score, and Best Original Song. I've listed the nominees below along with a few other films mentioned throughout the episode.Be sure to subscribe to the podcast to get all the preview episodes this week, and head over to my Substack to submit your guesses for my annual Oscar prediction contest.The nominees for each category are listed below.Best Animated Feature:FlowInside Out 2Memoir of a SnailWallace & Gromit: Vengeance Most FowlThe Wild RobotBest International Feature:Emilia Pérez (France)Flow (Latvia)The Girl with the Needle (Denmark)I'm Still Here (Brazil)The Seed of the Sacred Fig (Germany)Best Documentary Feature:Black Box Diaries No Other LandPorcelain WarSoundtrack to a Coup d'EtatSugarcaneBest Original Score:The BrutalistConclaveEmilia PérezWickedThe Wild RobotBest Original Song:"El Mal" from Emilia Pérez"The Journey" from The Six Triple Eight"Like a Bird" from Sing Sing "Mi Camino" from Emilia Pérez "Never Too Late" from Elton John: Never Too Late Other films mentioned in this episode include:"Incident" directed by Bill Morrison20 Days in Mariupol directed by Mstyslav ChernovThe Eternal Memory directed by Maite AlberdiNavalny directed by Daniel RoherSummer of Soul directed by Ahmir-Khalib ThompsonMy Octopus Teacher directed by Pippa Ehrlich and James ReedWill & Harper directed by Josh GreenbaumPiece by Piece directed by Morgan NevilleFlee directed by Jonas Poher RasmussenThe Remarkable Life of Ibelin directed by Benjamin Ree"The Last Repair Shop" directed by Ben Proudfoot and Kris BowersThe Last Showgirl directed by Gia CoppolaArmageddon directed by Michael BayThe Lion King directed by Roger Allers and Rob MinkoffRocket Man directed by Dexter FletcherCoco directed by Lee UnkrichEncanto directed by Byron Howard and Jared BushAladdin directed by John Musker and Ron ClementsOther media mentioned in this episode include:"Never My Love" performed by The Association"I Don't Want to Miss a Thing" by Diane Warren, performed by Aerosmith"How Do I Live" by Diane Warren, performed by LeAnn Rimes"Remember Me" by Robert Lopez and Kristen Anderson-Lopez"We Don't Talk About Bruno" by Lin-Manuel Miranda"Dos Oruguitas" by Lin-Manuel Miranda"A Whole New World" by Alan Menken and Tim Rice

Fammi Scrollare cambia tutto! In questa quinta stagione (ebbene sì, stiamo invecchiando), Sara si cimenterà in ogni episodio con ospiti diversi provenienti dal mondo del cinema, dell'animazione, della critica, e così via.In questa puntata intervista il regista, sceneggiatore e montatore Nicolò Grasso che ci racconta del suo prossimo cortometraggio - per ora - in uscita: Never My Love. NML è un corto horror, erotico e queer che si prepara a stupire tutt* per la sua intensità e al contempo delicatezza.[Grafiche a cura di Giulia NicastroSigla a cura di Alessandro SiniMusica: Unexpected Hoedown in Bagging Area by Doctor Turtle]

In Folge 120 erfindet Mario ein neues Wort, bestellt Dominique Pferderoulade und beschallt Peter das Krankenhaus. Natürlich auch dieses Jahr wieder der Hinweis auf das Nr.-1-Stollen-Back-Video des Internets, mit Tante Edith in der Hauptrolle: https://youtu.be/ayyme_L4x2s?si=nIaT4QHuBMhaw1tG Unser offizieller Music-Act, den wir in dieser Folge NICHT spielen durften: The Association mit “Never My Love” (https://www.youtube.com/watch?v=rI8hS6IystA) Kritik, Lob, Anregungen, Lob, Glückwünsche und Lob bitte an: ⁠⁠⁠⁠⁠⁠⁠⁠⁠post@tohuwapodcast.de #stollen #kulturpalast #maxbrauchtgesellschaft #maxbrauchtwasser #theassociation #klassentreffen #maxhütte #diamantfeder #otz #Saalfeld #unterwellenborn #yetiketchup #parkerlewis #ddrsofteis #softeis #podcast #Tohuwapodcast #Berlin #Humorpodcast #Talkpodcast #Laberpodcast #Gesprächspodcast #Talk #softeisliebe #softeiswiefrüher #eiskombinat

Trigger Warning: Some of the themes in this discussion may be distressing for listeners. 00:55 Jess and Sarah Weekly Recap 06:45 Fandom News 09:04 Our Recap Of Our Favorite Episodes This week, Jess and Sarah dive back into the Outlander-verse and bring you our favorite episodes since starting the series! Join us as we break down each one, starting with Sarah's favorite: The Devil's Mark and then Jess' favorite: Never My Love. They explore the character development, themes of trust, trauma, and resilience, and the emotional depth of the storylines. The discussion highlights key moments, character dynamics, the significance of the witch trials and Claire's journey through trauma and healing. Hang in there, Sassenach! Only 59 more days until Droughtlander is OVER! World Child Cancer Team Outlander 60K Challenge Project CaiTREEna Instagram

A bling viera excluysive --- Send in a voice message: https://podcasters.spotify.com/pod/show/bling-viera/message

Jim Yester is a 6x Grammy nominee and a founder of The Association, one of the biggest bands of the 1960s. They had three number one hits with “Cherish”, “Windy” and “Never My Love”, all of which sold over 1 million records. Jim sang lead on another big hit “Along Comes Mary”, and he wrote the title song for the movie “Goodbye Columbus”.My featured song is “My Baby”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------‘THE SINGLES PROJECT” is Robert's upcoming EP. Five new songs. Release date October 20th. Click here for more details.“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Whiskey picks:Terri - Michters Straight Bourbon WhiskeyIvy: Blantons (after brief deliberation that she may take off from drinking until the Bourbon Ball....JUUUUST KIDDING!)Please rate us on your podcast platform! If you like our pod, give us 5 stars so others can find us as well. Like & share our podcast with friends, and follow us on social media.IG: @outlanderwithfriendsFB: Outlander With Friends PodcastTW: @OutlanderwfrenzYouTube: @OutlanderwithfriendsLet us know what you think! Email us: outlanderwithfriends@gmail.com

Homeless in Phoenix? Healthcare costs through the UK roof. --- Send in a voice message: https://podcasters.spotify.com/pod/show/bling-viera/message

Episode 2 of the 1000 Songs Podcast features Rick Campbell, Jim Shedden and Alan Zweig discussing songs they love, with "Never My Love" by The Association, "I Need Direction" by Teenage Fanclub, "Waters of March" by Art Garfunkel, and "Graceland" by Paul Simon. The closing track of this episode is "I'm Leavin'" by Elvis Presley. Technical production and editing by Lisa Santonato. Follow us on Facebook and Instagram: http://www.jimshedden.com/#/1000-songs-podcast/ http://facebook.com/1000songspodcast https://www.instagram.com/1000songspodcast/

In this episode:Our girl has been taken by some bad menJamie and the men of the Ridge are on a mission to get her backOh hey, Roger and BreeThe Browns effing SUCKOh Claire, we love you :( **Trigger Warning** In this episode there will be mention and discussion of violence and sexual assault. If this may be triggering to you, you may want to consider skipping those parts, or this episode. Take care of yourselves!There is discussion of a scene depicting sexual assault from about 36:00 to 40:45. Some resources:Ontario Coalition of Rape Crisis Centreshttps://sexualassaultsupport.caLink to the National Resources for Sexual Assault Survivors and their loved oneshttps://www.rainn.org/national-resources-sexual-assault-survivors-and-their-loved-onesLink to the National Sexual Assault Telephone Hotline https://www.rainn.org/about-national-sexual-assault-telephone-hotlineHealthline magazine has put together a great resource guide for international and specific support, help, and hotlines https://www.healthline.com/health/sexual-assault-resource-guide#online-forums-and-support(Most of this info is for within the United States. If you search your country's name with “sexual assault assistance,” you're likely to find organizations that are ready to and capable of helping you navigate the emotional, physical, and legal aspects associated with sexual assault.) Thank you so much for your support! We appreciate you all. We will be on a break for a while, but in the meantime, please send us your questions, comments, thoughts ect on season 5 for our wrap up episode!!https://www.instagram.com/shesanoutlander/https://www.facebook.com/shesanoutlanderhttps://twitter.com/shesanoutlandershesanoutlander@gmail.com

Jules Alexander (born September 25th, 1943, Chattanooga, Tennessee), an original member of the group The Association (vocals, lead guitar), used his middle name Gary on the group's first 2 albums. In 1967 Jules Alexander left the group to study meditation in India, returning to the group he had helped found in early 1969. He continued recording & touring with the group until leaving the group in early 1989. In September 2003, when the group was inducted into the Vocal Group Hall of Fame, he joined former members at the induction ceremony in Niles, Ohio. He again rejoined the others for the taping of a PBS 60s rock music special 60's Experience on December 9th, 2004.   Once upon a time, The Association owned a large chunk of the pop-rock landscape. During the late 1960s, the group charted numerous radio-friendly hits such as “Cherish,” “Never My Love,” “Windy” and “Along Comes Mary.” Fifty years later, those classic songs have sustained the group who maintain a loyal following. “It's just amazing to see these 70-year-old people turn back into kids when we play those songs,” says Jules Alexander, lead guitarist, vocalist and co-founder member of The Association. “We have a shared body of experience with our audience and it's so much fun to play for them.” The Association is also sharing an experience with five other headline artists of the '60s and '70s when The Happy Together Tour returns to Phoenix's Celebrity Theater at 8 p.m. Friday, July 21. The acclaimed summer tour is back and will feature 53 Billboard hits and some of the biggest songs of the era. In addition to the Association, the lineup includes The Turtles featuring Flo & Eddie, The Box Tops, The Cowsills, Chuck Negron formerly of Three Dog Night and The Archies' Ron Dante. The Association is one of the most popular and successful bands to have come out of the '60s. They have sold millions of records and have seven Grammy Award nominations, and kicked off the historic Monterey Pop Festival in 1967. “It was a magical time and I remember having a great talk with Janis Joplin that weekend,” Alexander says. “We were backstage and just started talking about this, that and the other. It was the coolest thing.” He also thinks being a part of The Happy Together tour is cool, too. “I've known some of these folks and maintained a relationship with them for more than 50 years and then we've made some new friends, like the Cowsills, who are the funniest and most interesting people I think I've ever met in the music business,” Alexander says. Alexander says he also likes the format of the show, which allots each band 20 minutes to play its greatest hits. “We'd always want to play more but it's fun to go out there and go petal to the metal,” Alexander says. “If you're doing 30 songs, you have to pace yourself. On this tour, we don't have to worry about it.” #julesalexander #theassociation

Crank your 8 Track player up to 10 because we are coming in hot with another grumpy episode of the Cantankerous Podcast! We discuss the greatest band that ever walked the face of god's green earth, The Association.  We cover some bands that never would have amounted to a hill of beans without some heavy drugs and so much more! 

It's not everyday you get to talk to legends but I'll be damned if I'm not to talking to one on this episode! On the show we have musician and actor John Doe. We discuss John's new record Fables in a Foreign Land along with topics such as:- Writing murder ballads with Shirley Manson of Garbage- If John felt any pressure releasing Alphabetland after X hadn't released an album since 1993- Having to find a replacement bass player for a tour because Willie Nelson took yours- Being in the early stages of writing a new X record with Exene- Going on tour all summer with X and the John Doe Trio- If John's surroundings influence his songwriting- Trying new things as a musician 40+ years in your career- The irony of children listening to Folk music & more!Follow John Doe -https://johndoex.bandcamp.comhttp://www.theejohndoe.comhttps://www.xtheband.comhttps://www.instagram.com/theejohndoe/https://www.instagram.com/xthebandofficial/https://twitter.com/johndoefromXhttps://twitter.com/Xthebandhttps://www.facebook.com/theejohndoehttps://www.facebook.com/XLosAngelesCheck out the Power Chord Hour radio show every Friday night at 10 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.powerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_MgThank you to Jay Vics for his behind the scenes help on this episode - https://www.jvimobile.comhttps://www.facebook.com/jvimobilehttps://www.twitter.com/jvimobile

Greetings Obsassenachs! This week I'm discussing 512: “Never My Love”. Join me for a wild ride as I express my thoughts on how Lionel Brown matches up to some of the greatest villains in this series, Jamie's immense sense of guilt and failure of what Claire endured, and the stunning cinematography of this episode. I also chat about Claire's crazy dreamscape, it's many, many Easter eggs, and why I felt that this particular form of escapism made total sense for Claire's character.

The Association, Don Addrisi, and Dick Addrisi.

Guests: Marshall Crenshaw, Russ Giguere Singer-songwriter Marshall Crenshaw talked with us about his new album, "The Wild, Exciting Sounds of Marshall Crenshaw: Live in the 20th and 21st Century", and singer Russ Giguere, a founding member of The Association, looks back on the making of hits like "Cherish", "Windy", "Along Comes Mary", and "Never My Love".      

I play The Association with "Never My Love," and Mountain with "Mississippi Queen."

Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul".  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. 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/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show.  But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes.  But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course.  For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap".  But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime.  The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of  the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used.  Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US.  In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him.  Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot.  So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK.  But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists. 

The Collage - She’s Just Laughing At Me (1967) The same guys that wrote this wrote "Never My Love" for The Association. Produced by Steven Douglas. I love this song, but they were no Free Design.  Fox - S-S-S-Single Bed (1976) Reached #4 in the UK, did not reach anything in the US. Written by Kenny Young, who co-wrote "Under The Boardwalk" and "Arizona".  Steve Wonder - Evil (1972) Doris - Did You Give The World Some Love Today, Baby? (1970) This whole album kicks ass.  Bee Gees - Lovers (1976)  Waylon Jennings - MacArthur Park (1969) Part of the dramatic churn of the original was contained in Jimmy Webb's orchestral arrangements, as well as the interval-rich chords. Everyone loves Waylon, but this is disappointingly flat.  Tony Bruno - I’m Feeling It Now (1969) God, I love this guy. As you know, Tony found his way into the world of pornography soundtracks. This was before that. Produced by Artie Ripp, who also produced:  "Come A Little Bit Closer" by Jay and the Americans (1964) "Remember (Walkin' in the Sand)" by the Shangri-La's (1964) "Just One Look" by Doris Troy (1963) Annette - When You Get What You Want (1967) Strontium 90 - Every Little Thing She Does is Magic (1976)  Gene Marshall - Smoke It - The Pot (?) This song-poem was probably from the 70's.  Kate Smith - Daydream (1966) POACA will recall that Kate Smith's recording of "God Bless America" was the NHL's Philadelphia Flyers' pre-game theme. They won two Stanley Cups in the mid-'70s, one against my Buffalo Sabres. She occasionally sang this in person, even! She had a radio, television, and recording career spanning five decades, which reached its pinnacle in the 1940s. She became known as The Songbird of the South after her enduring popularity during World War II. The Flyers' record when "God Bless America" was played or sung in person stood at a remarkable 100 wins, 29 losses, and five ties as of April 20, 2016. In 1969, in light of Jim Morrison's arrest in Miami for indecent exposure, Smith had performed with The Lettermen, Anita Bryant, and Jackie Gleason in a concert demonstration against indecency, for which President Richard Nixon commended the stars' performances. But as we all know, Father Time has a way of turning even Kate Smith into a tone-deaf whitey pariah.  From Wikipedia: Smith's rendition of "God Bless America" was played during the seventh-inning stretch of New York Yankees home games from 2009 until April 2019, when the practice was discontinued amid controversy surrounding her 1931 recordings of "That's Why Darkies Were Born" and "Pickaninny Heaven." The following day, the Philadelphia Flyers followed suit. Her statue at The Spectrum (where the Flyers played) was removed on April 21, 2019. Her family responded by denying the racism allegations.  Mel Torme - Molly Marlene (1967) Neil MacArthur - She’s Not There (1969) A re-imagining of the Zombies hit by Colin Blunstone who also sang the original. For The Zombies.  Nora Guthrie - Emily’s Illness (1967) More info. Nora was Woody's daughter. Arlo's sister.  Paul Jones - Sheena Is a Punk Rocker (1978) I was never a big fan of The Ramones OR Manfred Mann, so this doesn't bother me much. A strange attempt at irony.  Roger Nichols and the Small Circle of Friends - Don’t Go Breaking My Heart (1968)  Alan Price - House of the Rising Sun (1980) I was never a big fan of The Animals either, but I don't understand the keyboard player's upending of their big first hit.  Bill Haley - Travelin’ Band (1972)  Bobby Darin - Melodie (1970) On the Motown label.  Clarence Carter - Backdoor Santa (1968) Klaatu - Calling Occupants of Interplanetary Craft (1976) You have to know this story. If you're here, you know this story. Radio station WAMS out of Wilmington, Deleware included an insert known as "Klaatu Clues" that promoted the conspiracy that Klaatu were actually the reunited Beatles. No songwriting credits, no musician names, and a hungry populace eager for any signs of a reunion pushed this pretty silly record to #32 in the US. Capitol Records (who controlled the Beatles' music in the U.S.) tried to make as much of the rumors as possible, by issuing ambiguously-worded statements that failed to make the band's identity entirely clear. The rumor was disproved when Dwight Douglas, program director at WWDC in Washington, D.C., checked the records at the U.S. Copyright Office and uncovered the band members' real names. One of which was John Woloschuk. Richard Carpenter was a fan, and The Carpenters covered this. OR he was high on Quaaludes and hallucinated Klaatu while he was lying at the bottom of the stairs, and Karen promised him that they would do this song if he got better.  Davey Johnstone - Keep Right On (1973) A very good song by the Elton John guitarist. He should have done more.  Dennis Wilson - Constant Companion (1977) From the unreleased "Bamboo" album. It's a pity. Better than anything his band (The Beach Boys) was doing at that time or since. Cocaine is a hell of a drug.  Diana Ross, Marvin Gaye, Smokey Robinson, Stevie Wonder - Pops, We Love You (A Tribute to Father) (1978) Very strange. "Pops" in this case is Berry "Pops" Gordy, Sr., father of Motown founder Berry Gordy. He had died that year from cancer. Gordy Jr. commissioned this to be made in his memory. All that star power couldn't push the single past #59. When I die, get all my superstar friends together and make them release a song about me. Call it something like "Functional is the Opposite of What I Was." Sha Na Na - Drug PSA (1973?) The Walker Brothers - The Electrician (1978) Listen to this. The previous Walker Brothers single was a cover of Boz Scaggs' "We're All Alone" which is great, but if you were a Walker Brothers fan in 1978, and there were a waning number of them if any, you just weren't prepared for this. This was a kind of blueprint for Scott Walker's solo career moving forward. Disturbing and wonderful.  Shawn Cassidy - Wasp (1980) A last try to salvage a teeny-bopper career by hiring Todd Rundgren to produce, and members of Utopia to play.  Billy Preston - Slaughter (1972) From the film Slaughter, which starred Jim Brown.   Link Wray and his Wraymen- The Batman Theme (1966) Marcia Strassman - The Flower Children (1967) The "Welcome Back Kotter" star got her start singing these little odes to flower power. This is one of the most desperately 1967 things I've ever heard, and the shelf life was very brief.  Osmonds - Utah (1972) The Swingers - Bay-Hay Bee Doll JC Penney Giveaway Premium (1966) Wolfman Jack - Sunny (?) AGC was a label out of Italy. Maybe 1970? 

GG Townson will be starring as the iconic hip hop artist "Salt" in the highly-anticipated biopic Salt-N-Pepa. Salt-N-Pepa details the journey of Queensborough Community College students Cheryl "Salt" James and Sandra "Pepa" Denton as they enter the world of rap and hip-hop after recording a song for their friend Hurby Azor. Salt-N-Pepa made a huge impact as one of the first all-female rap groups and changed the look of hip-hop. The movie follows the group as they become the first female rap act to go platinum and experience ground-breaking success with multiple awards, including a Grammy Award, paving the way for all female rappers to follow. The film will feature their greatest hits, including: "Let's Talk About Sex," "What a Man," "Shoop" and "Push It". The biopic is set to premiere on Lifetime on January 23rd. Things aren't slowing down for Townson. She will next be seen on the upcoming season of CW's hit series All American - premiering on January 18th. Townson has already built a large social media fanbase with a verified Instagram with over 104,000 followers, a Facebook with over 47,000 followers and a verified Twitter. She also has strong family ties to the music industry -- her grandfather Ron Townson was one of the lead singers of the iconic vocal group Fifth Dimension. The group became well known during the late 1960's and early 1970's for their popular hit songs "Medley: Aquarius/Let the Sunshine In,", "Up, Up and Away," "Stoned Soul Picnic," "Wedding Bell Blues," "One Less Bell to Answer, ""Never My Love," and many others. The group's success earned them a prestigious star on the Hollywood Walk of Fame. GG will also be seen in the upcoming film Welcome Matt alongside Tahj Mowry. She also played Stella on Bounce TV's In The Cut which also stars John Marshall Jones and Dorien Wilson. Other TV appearances include: Everybody Hates Chris, Zoey 101, Cory in the House, Like Family, 30 Days to Life, Joan of Arcadia, and Children's Hospital.

GG Townson will be starring as the iconic hip hop artist "Salt" in the highly-anticipated biopic Salt-N-Pepa. Salt-N-Pepa details the journey of Queensborough Community College students Cheryl "Salt" James and Sandra "Pepa" Denton as they enter the world of rap and hip-hop after recording a song for their friend Hurby Azor. Salt-N-Pepa made a huge impact as one of the first all-female rap groups and changed the look of hip-hop. The movie follows the group as they become the first female rap act to go platinum and experience ground-breaking success with multiple awards, including a Grammy Award, paving the way for all female rappers to follow. The film will feature their greatest hits, including: "Let's Talk About Sex," "What a Man," "Shoop" and "Push It". The biopic is set to premiere on Lifetime on January 23rd. Things aren't slowing down for Townson. She will next be seen on the upcoming season of CW's hit series All American - premiering on January 18th. Townson has already built a large social media fanbase with a verified Instagram with over 104,000 followers, a Facebook with over 47,000 followers and a verified Twitter. She also has strong family ties to the music industry -- her grandfather Ron Townson was one of the lead singers of the iconic vocal group Fifth Dimension. The group became well known during the late 1960's and early 1970's for their popular hit songs "Medley: Aquarius/Let the Sunshine In,", "Up, Up and Away," "Stoned Soul Picnic," "Wedding Bell Blues," "One Less Bell to Answer, ""Never My Love," and many others. The group's success earned them a prestigious star on the Hollywood Walk of Fame. GG will also be seen in the upcoming film Welcome Matt alongside Tahj Mowry. She also played Stella on Bounce TV's In The Cut which also stars John Marshall Jones and Dorien Wilson. Other TV appearances include: Everybody Hates Chris, Zoey 101, Cory in the House, Like Family, 30 Days to Life, Joan of Arcadia, and Children's Hospital.

What do you do when you can see your loved one's fight for life fading before your very eyes? You know the unthinkable is inevitable and you are powerless to stop it. In today's episode our guest Adam Levy talks about his loss and allowing hope for the future.   Adam Levy is a songwriter and producer performing his music around the world. In 2012, Adam lost his son Daniel to suicide. Today Adam shares his journey to writing and performing music again and coming to terms with life without his son.    This is our 5th episode highlighting the issues surrounding suicide and we are thankful for the transparent and candid conversation that Adam was willing to engage in. Listen and share our collection of episodes on suicide: https://feeds.captivate.fm/hope-thru-grief/the-complex-issues-of-suicide/ (https://feeds.captivate.fm/hope-thru-grief/the-complex-issues-of-suicide/)       This episode's closing music is a cover of Never My Love by Adam's band, Turn Turn Turn and is used by permission. Watch the performance used for today's music: https://www.mplsdid.com/news_article/show/1117724 (https://www.mplsdid.com/news_article/show/1117724)   To view Daniel's artwork as mentioned on today's show: https://thinkpiecepublishing.com/tpp-authors/adam-levy/daniels-art/ (https://thinkpiecepublishing.com/tpp-authors/adam-levy/daniels-art/)   To find out more about Adam Levy and Turn Turn Turn please visit their website: https://www.turnturnturnmpls.com/ (https://www.turnturnturnmpls.com/)   We welcome your comments and questions! Send an email to hopethrugrief@gmail.com and please share our show with anyone you know that is struggling with loss and grief. You can find us on the internet to continue the conversation!   Facebook: https://www.facebook.com/hopethrugrief (https://www.facebook.com/hopethrugrief) Twitter: https://twitter.com/HTGPodcast (https://twitter.com/HTGPodcast) Instagram:  https://www.instagram.com/hopethrugrief (https://www.instagram.com/hopethrugrief) Website: http://hopethrugrief.com (http://hopethrugrief.com). Subscribe & Share: https://hope-thru-grief.captivate.fm/listen (https://hope-thru-grief.captivate.fm/listen) Jordan Smelski Foundation: http://www.jordansmelskifoundation.org (http://www.jordansmelskifoundation.org)   Tune in for new episodes every Thursday morning wherever you listen to podcasts!   Marshall Adler and Steve Smelski, co-hosts of Hope Thru Grief are not medical, or mental health professionals, therefore we cannot and will not give any medical, or mental health advice. If you, or anyone you know needs medical, or mental health treatment, please contact a medical, or mental health professional immediately.   Thank you Marshall Adler Steve Smelski

Tosh and Kimley discuss “Along Comes the Association: Beyond Folk Rock and Three-Piece Suits” by Russ Giguere and Ashley Wren Collins. The Association had several enduring top-40 hits in the 1960s but were a bit of an anomaly. While performing they typically wore suits and they sang lush harmonies on songs like “Cherish,” “Windy” and “Never My Love.” This was during a time when guitar-heavy rock was dominating the music scene and the cool kids had a proclivity for outrageous attire and social upheaval. But as an integral part of the Los Angeles music scene, The Association was in the thick of things, opening the Monterey Pop Festival and hanging out with all those cool kids. Theme music: "Behind Our Efforts, Let There Be Found Our Efforts" by LG17

Russ Giguere of The Association talks about his new book "Along Comes The Association: Beyond Folk Rock And Three-Piece Suits." He chats about their music, their harmonies, places they've performed, unreleased music from the band, and much more.

May 19, 2020Fraser’s Ridge:  An Outlander PodcastS5E12 - Never My LoveRecap:We did it! We covered all of season 5 in our inaugural season of Fraser's Ridge! We discuss the final episode of Outlander, Season 5, Never My Love. Thanks for sticking it out...

Never my love... Ainda impactadas com a season finale da quinta temporada de Outlander? Nós também! Perdoem alguns problemas técnicos dessa edição, quem sabe faz ao vivo! Músicas: Never My Love - The Association (todos os direitos reservados ao artista) The Veil of Time - Bear McCreary (todos os direitos reservados a Starz)

Hey y'all,   Woof, here we go. Early in the episode, you'll hear Allison talk about a safe jump-ahead point for anyone who might want to avoid our discussion of the sexual violence in "Never My Love." You can listen safely until the five-minute mark and then skip ahead if you want to avoid all prolonged discussion of the first half of the episode. If you jump to 33:50, you'll hit the section where we talk about the dissociative episodes (the "Never My Love" stuff); if you jump to 49:52, you'll skip to the battle in the woods and Claire's recovery. Any mentions past that point are fleeting, though we do discuss her recovery at length. You should also stop reading these show-notes now, we love you, you look super nice today, love that top, your hair is so shiny, you're doing great, we'll see you next week.   For the rest of you: There's a lengthy discussion in this episode about the show's history of sexual violence, and we wanted to mention that our list is depressingly and distressingly incomplete. The fact that it's difficult to remember every instance of sexual violence in this show is, frankly, bonkers. But we forgot Fergus in season two. We forgot Weeian in season three. We forgot Jamie in season three (biting or no biting, Geneva Dunsaney extorts sex from Jamie, so that's another one.) And sadly, we're pretty sure there are others. That's messed up. Our feelings about that are really complicated, so just know that if yours are too, you're not alone—and whether or not these stories are well-handled is a separate issue from when, why, and how often they're addressed. Anyway, however you feel about it, your feelings are valid.    Anyway, your hair is also shiny and your shirt is also super cute and you are wonderful just in general, we love you, and we'll be back next week for some season-overview chat. And here's the Brian Dennehy song we referenced: https://www.youtube.com/watch?v=oqrtoFWglMY&feature=youtu.be.   Lots of love, Allison, Julie, and Janine  

Décryptage de l’épisode 12 (saison 5)  » Never My Love  » Télécharger le Podcast OutlanderAddict – S05E12 – Never My Love (clic droit > Enregistrer le lien sous…) Saison 5 Episode 12, « Never My Love » Je décrypte pour vous ce dernier épisode de la saison 5 de la L’article Outlander Addict | S5E12 | Never My Love | Autour de l’Episode 12 (Saison 5) est apparu en premier sur Outlander Addict.

Outlander Cast hosts Mary & Blake discuss everything YOU had to say in the Listener Feedback for the Outlander season 5 finale, episode 5.12, "Never My Love". In this episode we chat the symbolism of Claire's dissociative state, why Marsali is the MVP, and why you NEVER get in between Blake and Queen Elsa... GET A BONUS EPISODE EACH WEEK + COMMUNITY ACCESS - JOIN THE OUTLANDER CAST CLAN Subscribe: Apple Podcasts | Google Play Music | Stitcher | YouTube | Spotify Download: .mp3 Social: Like Us On Facebook | Join The Clan | Follow Us On Twitter | Follow Us On Instagram | Follow All Our Podcast Episodes Sign up HERE for Blake's Book Club -  DRAGONFLY IN AMBER   Click HERE for Keep Calm And Crown On: The Crown Podcast   Be sure to follow all of our other podcasts at MaryandBlake.com including: This Is Us Too: A This Is Us Podcast Minute With Mary: A Younique Network Marketing Podcast Keep Calm And Crown On: The Crown Podcast Rise Up!: A Hamilton Podcast The Leftovers Podcast: The Living Reminders The North Remembers: A Game Of Thrones Podcast Wicked Rhody: A Podcast About Rhode Island Events and Life You’ve Been Gilmored: A Gilmore Girls Podcast ParentCast: A Podcast For New Parents Check out all of our blogs at MaryandBlake.com including: Mary & Blake's Blog The Handmaid's Diaries Minute With Mary Outlander Cast Blog A huge thank you to all of our patrons for helping to make this Outlander Cast Listener Feedback episode possible. EXECUTIVE PRODUCERS Anne Gavin, Bobbi Franchella, De Leach, Eliza, Jenn Sherman, Joanne Felci, Katy Valentine, Kirstie Wilson, Martha, Nadra Assaf, Peg Cumbie,  Sara Zaknoen, Siobhan O'Connor CO - PRODUCERS Amanda Draper, Anne-Leigh Dawson, Barbara Falk, Dana Mott-Bronson, Janet, Jennifer Dominick, Keelin Dawe, Meredith Bustillo, Raynel Spiers,  Sharon Stevenson-Kelley, Tina Schneider, Whitney Robins ASSOCIATE PRODUCERS Angie Leith, Brenda Lowrie Candy Hartsock, Carolyn Needham, Celine Moore, Christine Mileker, Dawn Kuenne, Dianna Anderson, Dianne Karpowicz, Jeffrey Zellan, Jennifer Wilson- Veil, Karen Snelling, Lindsey Loflin, Marilyn L. Neenan, Maureen Criasia, Patricia Barron Tardio, Rita Ada, Stephanie Holm, Valerie Babecki If you would like to join these patrons, CLICK HERE

How did we get here? The Season Finale has landed us in major Droughtlander BUT, your mission, if you decide to accept it, is to listen to Beth & Carolyn tackle this wonderfully amazing, powerful and haunting episode. They skip their usual format of naming "best of's" this week and just talk about ALL the different elements of the episode - along with those amazing Easter eggs! Grab yourself a cuppa and listen in as they discuss "Never My Love" - North Carolina Style! Please share with your friends (if you dare - lol) and, if you'd like, send us a voice message, comment, question or suggestion through Anchor online at https://anchor.fm/outlander-buzz/message or through the Anchor app. Outlander Buzz is now available most everywhere you listen to podcasts including Apple, Spotify and Google podcasts. Thank you for listening and please subscribe, rate and review Outlander Buzz!!! P. S. You may also want to consider joining the Outlander North Carolina Clan on Facebook and liking the Outlander North Carolina Fan Page. --- Send in a voice message: https://anchor.fm/outlander-buzz/message

Outlander Cast hosts Mary & Blake discuss the Outlander season 5 finale episode 5.12, "Never My Love". In this episode we discuss all the easter eggs, have an honest chat about rape as a TV trope, and why Mary is ALWAYS right...   GET A BONUS EPISODE EACH WEEK + COMMUNITY ACCESS - JOIN THE OUTLANDER CAST CLAN Subscribe: Apple Podcasts | Google Play Music | Stitcher | YouTube | Spotify Download: .mp3 Social: Like Us On Facebook | Join The Clan | Follow Us On Twitter | Follow Us On Instagram | Follow All Our Podcast Episodes Click HERE for all the information about the Outlander Cast Virtual Finale Party --- May 10, 2020 - 7:15pm       Sign up HERE for Blake's Book Club -  DRAGONFLY IN AMBER   Click HERE for Keep Calm And Crown On: The Crown Podcast   Be sure to follow all of our other podcasts at MaryandBlake.com including: This Is Us Too: A This Is Us Podcast Minute With Mary: A Younique Network Marketing Podcast Keep Calm And Crown On: The Crown Podcast Rise Up!: A Hamilton Podcast The Leftovers Podcast: The Living Reminders The North Remembers: A Game Of Thrones Podcast Wicked Rhody: A Podcast About Rhode Island Events and Life You’ve Been Gilmored: A Gilmore Girls Podcast ParentCast: A Podcast For New Parents Check out all of our blogs at MaryandBlake.com including: Mary & Blake's Blog The Handmaid's Diaries Minute With Mary Outlander Cast Blog A huge thank you to all of our patrons for helping to make this podcast possible. EXECUTIVE PRODUCERS Anne Gavin, Bobbi Franchella, De Leach, Eliza, Jenn Sherman, Joanne Felci, Katy Valentine, Kirstie Wilson, Martha, Nadra Assaf, Peg Cumbie,  Sara Zaknoen, Siobhan M. O'Connor CO - PRODUCERS Amanda Draper, Anne-Leigh Dawson, Barbara Falk, Dana Mott-Bronson,  Janet, Jennifer L. Dominick, Keelin Dawe, Meredith Bustillo, Raynel Spiers,  Sharon Stevenson-Kelley, Tina Schneider, Whitney Robins ASSOCIATE PRODUCERS Angie Leith, Candy Hartsock, Carolyn Needham, Celine Moore, Christine Milleker, Dawn Kuenne, Dianne Karpowicz, Dianna Anderson, Jeffrey Zellan, Jennifer Wilson- Veil, Karen Snelling, Lindsay Loflin, Marilyn L. Neenan, Maureen Criasia, Patricia Barron Tardio, Rita Ada,  Stephanie Holm, Valerie Babecki If you would like to join these patrons, CLICK HERE

Outlander Cast hosts Mary & Blake start off the Virtual Finale Party with a Pre-Show celebration! In this episode we have special guests from Outlander, we chat our favorite moments from the season,  we check in with our entire staff, and we discuss some big Outlandish Theories...   GET A BONUS EPISODE EACH WEEK + COMMUNITY ACCESS - JOIN THE OUTLANDER CAST CLAN Subscribe: Apple Podcasts | Google Play Music | Stitcher | YouTube | Spotify Download: .mp3 Social: Like Us On Facebook | Join The Clan | Follow Us On Twitter | Follow Us On Instagram | Follow All Our Podcast Episodes Click HERE for all the information about the Outlander Cast Virtual Finale Party --- May 10, 2020 - 7:15pm       Sign up HERE for Blake's Book Club -  DRAGONFLY IN AMBER   Click HERE for Keep Calm And Crown On: The Crown Podcast   Be sure to follow all of our other podcasts at MaryandBlake.com including: This Is Us Too: A This Is Us Podcast Minute With Mary: A Younique Network Marketing Podcast Keep Calm And Crown On: The Crown Podcast Rise Up!: A Hamilton Podcast The Leftovers Podcast: The Living Reminders The North Remembers: A Game Of Thrones Podcast Wicked Rhody: A Podcast About Rhode Island Events and Life You’ve Been Gilmored: A Gilmore Girls Podcast ParentCast: A Podcast For New Parents Check out all of our blogs at MaryandBlake.com including: Mary & Blake's Blog The Handmaid's Diaries Minute With Mary Outlander Cast Blog A huge thank you to all of our patrons for helping to make this podcast possible. EXECUTIVE PRODUCERS Anne Gavin, Bobbi Franchella, De Leach, Eliza, Jenn Sherman, Joanne Felci, Katy Valentine, Kirstie Wilson, Martha, Nadra Assaf, Peg Cumbie,  Sara Zaknoen, Siobhan M. O'Connor CO - PRODUCERS Amanda Draper, Anne-Leigh Dawson, Barbara Falk, Dana Mott-Bronson,  Janet, Jennifer L. Dominick, Keelin Dawe, Meredith Bustillo, Raynel Spiers,  Sharon Stevenson-Kelley, Tina Schneider, Whitney Robins ASSOCIATE PRODUCERS Angie Leith, Candy Hartsock, Carolyn Needham, Celine Moore, Christine Milleker, Dawn Kuenne, Dianne Karpowicz, Dianna Anderson, Jeffrey Zellan, Jennifer Wilson- Veil, Karen Snelling, Lindsay Loflin, Marilyn L. Neenan, Maureen Criasia, Patricia Barron Tardio, Rita Ada,  Stephanie Holm, Valerie Babecki If you would like to join these patrons, CLICK HERE

Outlander Cast hosts Mary & Blake conclude the Outlander Cast Virtual Finale Party with post-show reactions! In this episode we give our initial takes, discuss all your instant reactions, and we have an instant Mary & Blake Media Hall Of Fame moment... GET A BONUS EPISODE EACH WEEK + COMMUNITY ACCESS - JOIN THE OUTLANDER CAST CLAN Subscribe: Apple Podcasts | Google Play Music | Stitcher | YouTube | Spotify Download: .mp3 Social: Like Us On Facebook | Join The Clan | Follow Us On Twitter | Follow Us On Instagram | Follow All Our Podcast Episodes Click HERE for all the information about the Outlander Cast Virtual Finale Party Post Show Reactions --- May 10, 2020 - 7:15pm       Sign up HERE for Blake's Book Club -  DRAGONFLY IN AMBER   Click HERE for Keep Calm And Crown On: The Crown Podcast   Be sure to follow all of our other podcasts at MaryandBlake.com including: This Is Us Too: A This Is Us Podcast Minute With Mary: A Younique Network Marketing Podcast Keep Calm And Crown On: The Crown Podcast Rise Up!: A Hamilton Podcast The Leftovers Podcast: The Living Reminders The North Remembers: A Game Of Thrones Podcast Wicked Rhody: A Podcast About Rhode Island Events and Life You’ve Been Gilmored: A Gilmore Girls Podcast ParentCast: A Podcast For New Parents Check out all of our blogs at MaryandBlake.com including: Mary & Blake's Blog The Handmaid's Diaries Minute With Mary Outlander Cast Blog A huge thank you to all of our patrons for helping to make this podcast possible. EXECUTIVE PRODUCERS Anne Gavin, Bobbi Franchella, De Leach, Eliza, Jenn Sherman, Joanne Felci, Katy Valentine, Kirstie Wilson, Martha, Nadra Assaf, Peg Cumbie,  Sara Zaknoen, Siobhan M. O'Connor CO - PRODUCERS Amanda Draper, Anne-Leigh Dawson, Barbara Falk, Dana Mott-Bronson,  Janet, Jennifer L. Dominick, Keelin Dawe, Meredith Bustillo, Raynel Spiers,  Sharon Stevenson-Kelley, Tina Schneider, Whitney Robins ASSOCIATE PRODUCERS Angie Leith, Candy Hartsock, Carolyn Needham, Celine Moore, Christine Milleker, Dawn Kuenne, Dianne Karpowicz, Dianna Anderson, Jeffrey Zellan, Jennifer Wilson- Veil, Karen Snelling, Lindsay Loflin, Marilyn L. Neenan, Maureen Criasia, Patricia Barron Tardio, Rita Ada,  Stephanie Holm, Valerie Babecki If you would like to join these patrons, CLICK HERE

The Accosiation provided the soundtrack to many young lives in the 1960's. Their hits ranged from the soft sound of "Never My Love" and Cherish, to the rockers like Along Comes Mary and Six Man Band! Jim Yester was a first hand witness to the success of the band, and shares his memories of playing on The Smothers Brother's Show, the Monterey Pop Festival, and playing the Hollywood Bowl with the WHO. He also shares some great stories and insights to what it was like with the Association, and how they still play, so well, together today. --- Support this podcast: https://anchor.fm/dan-marro/support

In this episode, we discuss Outlander Episode 512 “Never My Love.”This episode is sponsored by Brooklinden. Get 10% off your first order and free shipping when you use promo code OUTLANDER, only at Brooklinen.com.  Join our exclusive Facebook community! (http://outlanderpod.com/group)Join our read-along of 'A Breath of Snow and Ashes'! (http://outlanderpod.com/snow)Support us on Patreon! (https://www.outlanderpod.com/patreon)Follow us on Twitter! (https://www.outlanderpod.com/twitter)Connect with us on Facebook! (https://www.outlanderpod.com/facebook)Help us spread the word!If this episode tickled your 'Outlander' fancy, head over to iTunes and kindly leave us a rating, a review, and subscribe!· Apple Podcasts (https://itunes.apple.com/us/podcast/the-outlander-podcast/id707360955?mt=2)· RSS (https://audioboom.com/channels/1689437.rss)· Stitcher (http://www.stitcher.com/podcast/the-outlander-podcast?refid=stpr)· Spotify (https://open.spotify.com/show/3ca8w2I8rlQyr7K5iEeGV8)· Google Play (https://play.google.com/music/listen?u=0&gclid=CPqUmY3tmc8CFQbrfgodSOsMCw&gclsrc=ds#/ps/Irr5s2ri372mj5fgmte23z6dghe)· iHeartRadio (https://www.iheart.com/show/270-the-outlander-podc/)You can ask questions and comment below and leave us voice feedback via our Listener Line at 916-587-0POD.

Meg and Joe recap the Outlander Season 5 Finale entitled "Never My Love"... Which is ironically what Joe said to Megan when she asked if he'd ever watch it again.

357. Never My Love - The AssociationRelated links for 357. Never My Love - The Association: Reply to this episode on ykyz: https://ykyz.com/p/cad25a453531618251c7a4e7d30149352e908367 Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

Never My Love On Ukulele (Uke) Key OF C RA by Podcast startup by Robin Aylor

MC Grand Puba who is best known as for his work with Brand Nubian in the late 80's and early 90's discusses the rise and fall of the group, how his eclectic musical taste was formed by his parents, starting out as a DJ before picking up the mic, and why he thought Mary J. Blige was strange when first met her.

1. Buddy Holly Plane Crash Radio Spot(Feb. 3rd 1959) 2. Iko Iko(Acapella), by The Dixie Cups 3. Adult Swim Pool Promo(2001) 4. Never My Love, by The Association 5. Banana Boat Scene from Beetlejuice 6. Jump In The Line/Shake Senora, by Harry Belafonte 7. Lime In The Coconut, by Harry Nilsson 8. Little Green Bag, from The Reservoir Dogs Soundtrack 9. Don't Worry Baby, by The Beach Boys 10. Streems, by The Symposium 11. Double Feature, by The Orwells 12. Bizarre Love Triangle(12-inch version), by New Order 13. Not For All The Love In The World, The Thrills 14. Gymopadie no. 1, by Erik Satie 15. Layla(Piano Exit), by Derek & The Dominoes Most tracks were remastered and remixed by moi in minor extents for podcast optimization. Enjoy

其实在听这首音乐的时候，并没有立马觉得很好听或者很震撼，但边干着活边单曲循环着，听着听着觉得，这就是生活吧，平平淡淡，但也有很多美好……

This week Lee and Daniel conclude the podcast's first serious look at noir, neo-noir, and crime films in general, with Paul Thomas Anderson's "Inherent Vice", from 2014. Because Daniel is such a big fan of both director and author, the conversation gets in depth about PT Anderson and Thomas Pynchon. Lee and Daniel also converse about their different takes on the film and how it's held up for them with repeated viewings. Also discussed in some depth, in an effort to perv up the podcast's reputation a bit, the career of actress Michelle Sinclair, formerly known as the porn star Belladonna -- who had a minor role in the film -- is talked about. It's almost a mini bit of what the amazing Rialto Report does on a regular basis. Also covered: listener comments and what they've watched as of late. "Inherent Vice":http://www.imdb.com/title/tt1791528/combined The Rialto Report: http://www.therialtoreport.com/ Belladonna: http://www.enterbelladonna.com/ Featured Music: "Harvest" by Neil Young; "Never My Love" by The Association; and "Any Day Now" by Chuck Jackson.

Greg Gilpin Music: 2016

This week Mike opens with a news tidbit just for the country music musicians out there! This may actually be more of a safety warning. Spotlight:Big Al spotlights the new release of Apple's Garage Band 3 and a great site for finding cover art for your digital music collection: http://FindMyCover.com Mike spotlights a great web site (http://HollywoodHangover.com) that focuses on the Hollywood scene in the 60's that gave us so much of our early recorded rock 'n roll and many of our present celebrities in music and the movies. (Pssst! Mike was part of that scene too and will soon be appearing on this site, including pictures back when he actually had hair!) Celebrity Interview:Big Al interviews Mike about a new feature on the show, "The Cabo Project." This will follow a song from it's creation as words and melody (Mike is the composer of this song, Christmas In Cabo), to it's completion as a mastered tune ready to be included in an album project currently being produced by Hit Street Records. We'll follow the process and along the way learn why certain decisions were made, why tracks were added or deleted, how it was mixed, etc. A sample of the very first raw, scratch track is played. Click here to download the entire scratch track of Christmas In Cabo Gear Review:Big Al reviews PSP Vintage Warmer from PSP Audioware (available for Mac and Windows). This a single- or multi-band compressor/limiter with sound and saturation characteristics carefully modeled on those of analog tape machines. Also, the programmers of this fine plugin have agreed to come on the Podcast for an interview after the NAMM at the end of January. Here's a link to their site: http://PSPAudioware.com Big Al's Review Recommendation: He gives PSP Vintage Warmer 5 our of 5 VU meters! This Weeks Trivia Question:What was the most played song on American radio in the twentieth century? E-mail in your answer! Hints: Although recorded by different artists, this song is the only one in history to be played over 8 million times on the radio. That amounts to about 45 years if the song was played back to back! There are 3 songs that were played 7 million times: Never My Love, Yesterday, and Stand By Me (in that order). And it's not something silly or a trick answer like Happy Birthday or White Christmas. Answer To Last Week's Trivia Question:The famous guitar player on the 1983 David Bowie cut, Let's Dance? Stevie Ray Vaughn! See you next week! Tags: music recording studio performing arts multimedia cabo vintage warmer garage band