1974 studio album by Gene Clark
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9 episodes with No Other
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I continue to execute the PLAN! You guys are going to LOVE this like NO OTHER!So, because of the restrictions with Patreon, I needed something that was better, easy to access, and had more features. Because I had already developed a few courses and I'm currently in the pre-launch stage right now with my TOEFL iTP Course, I really needed a membership site -- similar to the high-performance coach Brendon Burchard (my favorite human in the world). And after conferring, researching and getting everything done, HERE IS THE ULTIMATE MEMBERSHIP SITE! Yes, it needed to be typed in caps so I can elaborate on the gravity of what just happened. Tune in!Membership Page: https://arsenioseslpodcast.podia.com/toefl-ibtEnrollment Page: https://arsenioseslpodcast.podia.com/toefl-ibt/buyPodia Pronunciation Course Phase III (Buy Link): https://arsenioseslpodcast.podia.com/pronunciation-course-phase-iii/buyPronunciation Course Phase III (Page link): https://arsenioseslpodcast.podia.com/pronunciation-course-phase-iiiPodia TOEFL iTP Course: https://arsenioseslpodcast.podia.com/toefl-itp-structure/buyInstagram ESL Podcast: https://www.instagram.com/arsenioseslpodcast/Podcast on Spotify: https://open.spotify.com/show/7hdzplWx6xB8mhwDJYiP6fPodcast on ListenNote: https://www.listennotes.com/c/778cf3cfd2564ba5b01f693bfebc96de/arsenio-s-esl-podcast/Podcast on CastBox: https://castbox.fm/channel/Arsenio's-ESL-Podcast-id1251433?country=usCalendar (Consultation)- https://calendly.com/arseniobuck/teaching-coaching-for-1-hourCalendar (Patreon Badge Consultation) - https://calendly.com/arseniobuck/teaching-coaching-for-2-5-hourFacebook: https://www.facebook.com/Arseniobuck/?ref=bookmarksYoutube: https://www.youtube.com/channel/UCIzp4EdbJVMhhSnq_0u4ntAWebsite: https://thearseniobuckshow.com/Q & A: ArsenioBuck@icloud.comLinkedIn: https://www.linkedin.com/in/arsenio-buck-9692a6119/Instagram: https://www.instagram.com/thearseniobuckshow/?hl=enBuzz sprout: https://www.buzzsprout.com/165390Twitter: https://twitter.com/ArseniosESLPodSupport the show (https://www.patreon.com/arseniosesllearning)
No Other gods Before Me --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bros-for-real/support
MAKEBA MOONCYCLE I’m not a female MC! I'm a MC for life! Traveling around the universe looking for a way to release, inside there's a fire when set free comes peace! Makeba has been writing and performing since she was a child. Did she always know that she wanted to be an MC? Did she know that her writings and poetry would open a door to being a lyricist or a MC? No, Makeba looked at writing as a way to escape and the universe led her to connect with people in each stage of her life. From dancing lessons, piano lessons and being exposed to hard work and entrepreneurs helped her on my journey. Makeba believes that life experiences will shape your decisions and directions some right some wrong. All of these turns introduced her to a life, a world and to people that have prepared me for important moments. Her love for dance took her to clubs where she met LinQue. Makeba's love for helping others led her to the BlackWatch movement and X Clan and Sonny Carson. Makeba's loyalty to friends led her to helping in business which led her to MC Lyte. Which led her to finding talented artists and producers who eventually became family. Putting others and supporting their dreams before her own became part of an instinctive nature that taught her many things. Makeba said she was thankful to the people that inspired me even though she was afraid to show her skills, this fear brought on by her fear of loss. Makeba's first experiences in a professional recording studio was with X Clan, ISIS and Queen Mother Rage. She was able to road manage for ISIS, Queen Mother Rage, YZ and X Clan. When out with X Clan she only assisted Professor X and the road manager Walter. Hands on training was better than any book or instruction manual. Makeba found that she had an ear for talent, especially great producers. Makeba said that she learned a lot from those experiences which showed her how to work and maneuver within the music business. The first professional song Makeba recorded besides backgrounds and hooks was on MC Lyte's album Ain't No Other on the song Hard Copy produced by Backspin. Her MC name at this time was Kink Ez because she had locks and her hair locked up fast giving her antennas to the universe. Recording with Lyte and LinQue was amazing and lit a fire in her that could not be extinguished. Before the song a strong friendship/sisterhood was formed along with a management company called Duke Da Moon. Our dream was to manage LinQue and the other artists. At this time Makeba was focused on running the company, not music. While managing several artists she formed a group called Afrodeeziacs with Asia Minor, the group's demo was produced by Down Low productions own Self and Goldie. While looking for tracks for LinQue's album with Ruffhouse she met a production team called Friendly Fee Amelia and Kevin Moore. After leaving Duke Da Moon she began to record solo tracks with Friendly Fee the first being H20 with many more after that. Makeba recorded many songs and Friendly Fee put out her first single as Makeba Mooncycle called Desert Storm that was picked for a New MC's compilation on Rhino Records called Phat Beats and Bra Straps. Then another single called Ahhh featuring the COINS by this time Friendly Fee changed their name to Masters of the Art. With Masters of the Art, Makeba had written and recorded an extensive catalogue of songs. While performing in Washington DC she met promoters from Africa who said they wanted her to come and perform. Makeba performed on the FESTAM Tour of West Africa in Dakar, Senegal opening up for African artists in big venues and she performed day and night at smaller venues and schools. Armed only with a distribution deal from Orpheus/EMI, which did not pan out because they wanted her to pay for features she quickly parted ways. Still working hardmanaging herself and others Makeba quickly built a loyal fanbase and saw a string of releases. She is currently writing a book based on her experiences within the music business. Makeba’s catalogue of music includes the singles Lunchroom Classics and WE, duets with Talib Kweli produced by J. Rawls, An EP released on Buka Entertainment/Lone Catalysts called The Gibbous. We Can't be Touched produced by DJ Tony Touch and Ray Rolls, Doin our Thang produced by Joe Loops both with Sunz of Man, Crazy Love, a European release with Nona Hendryx, and Fire produced by Arabian Knight, a song with Royal Fam's Timbo King off of Wu Tang Records. After Duke Da Moon Makeba started her own management company called Must Maintain Entertainment, and was known as the hook up lady who served as a consultant for various artists such as Mood, Hi Tech, Talib Kweli, AZ, Skanks The Rap Martyr (Problem Child), P Funk, and The Rose Family. Makeba has also lent her voice to television, doing voice-overs for an Italian Adidas commercial that featured the late "Just Got Paid" Johnny Kemp and the late Jam Master Jay of Run DMC who produced the music for the commercial. She also used her voice over talents for two Sugar Golden Crisps commercials. Makeba also recorded and performed the theme song for BET Comic View’s 10th anniversary show, and appeared on the PBS television series Between the Lions. Makeba worked with many artists and producers trying to mark her spot in Hip Hop history. She has many releases on the way, the first being The Gibbous 2020 a twenty year anniversary celebration of the original release with new songs. Can You Feel Me a single off the Sunz of Anarchy Sicktape Volume one brought to us by Skanks The Rap Martyr and Anarchy Records. She will also be releasing a Mixtape called Featuring with Anarchy Records and an album name at the moment called Just A Part Of Me! She is still moving and as she says "Don't Stop, Don't Quit!
Style A Style Riddim: 1. Stylo G. - “Oh Lawd” 2. Moyann - “Backseat” 3. Ding Dong - “Watch A Style yah” 4. Jahvilliani - “Lizzard Pon Limb” 5. Qraig - “Everybody Out Yah” 6. Shenseea - “Upset” Prime Time Riddim: 1. Shawn Storm - “Skimage” 2. Sikka Rymes - “Weh Dem Hear Bout” 3. Vybz Kartel - “Yami Bolo” Reincarnation Riddim: (100) 1. Blaiz Fayah - “From The Otherside” 2. Kaibanon - “Jah Bless” 3. NC Dread & Black Dillinger - “Stop This Killing” 4. Tanto Metro & Devonte - “Nah Fren” Mango Juice Riddim: 1. Vybrid & Wayne Wonder - “Look Good” 2. Sizzla- Push Out” 3. Future Fambo - “Weak Fence” Kitchen Table Riddim: 1. Shaggy, Ne-Yo, & Ding Dong - “Jamaica Holiday” 2. Bounty Killer - “Stop Light” 3. Spice - “Spice Holiday” 1.Dilly Chris - “Money Up” (Clean 2 mix) Respirator Riddim: 1. Rxxdical - “Dweet Now” 2. Vinel - “Call police” Off-Topic Riddim: 1. Kemar Highcon - “Image Up” 2. Popcaan & Francess One - “Cream” 3. Emmanuel Wung - “Top Banga” 4. Zamunda - “Millions” 5. Beenie Man & 3Star - “Main Event” Mab Riddim: 1. JahStylez - “Star Life” 2. Jayryme - “No Other” Yorkdale Riddim: 1. Don Mafia - “2020” Ganja City Riddim: 1. Junior Cat Captured Land Riddim: 1. Delly Ranx - “Shotta” 2. Richie Spice - “Young Juvenile” 3. Gaza Kym - “Weed Minister” Sexy Ride Riddim: 1. Moyann - “Sex Me Up” 2. Jayds - “All On You” 3. Press K. - “Addiction” 4. Dee Dre - “Morning Ride” 1.Runkus & Naomi Cowan - “Wading Wading”
"I guess you guys aren't ready for that. yet. But your kids are gonna love it." - M. Mcfly Gene Clark went into the studio with some big ideas and a brand new cocaine habit. 8 songs and one hundred thousand dollars later, he left; scorned by his label, estranged from his family, lambasted by critics, and dejected. It wouldn't be until well after his death in 1991 that No Other would receive the posthumous praise is justly deserves. On that somber note, let's talk Gene Clark, No Other!
The Ten Commandments "No Other gods...(Exodus 20:1-3) Aaron Ellis 2/14/2021 by Deer Creek Church
Ya'll have waited patiently (or maybe impatiently).... for the launch of my brand new Six Figure Inner Circle. This is a mastermind like NO OTHER. It's the dopest of dope. And if you're saying "Whit.... I need all the details NOW".... I GOT YOU. They are all in this episode! Listen in as I give you every, singly juicy detail of my new Inner Circle Mastermind and then..... get your application IN. Applications wills be reviewed on a first come, first serve basis. And once spots are full, well...... snooze ya lose! And I don't want ya to lose, sister!! Ready to apply? https://forms.gle/QrBVFiDnsiTTeDJH9 Want to see the sales page for yourself? http://www.whitneybarbary.com/innercircle
E-Money and The Chisler welcome Mr. Clean back for his sixth episode, and Mr. Clean brings a tag team partner LONG OVERDUE to The Weekend Social, their good mutual friend, Fabian Hill! The four discuss chocolate bars, ushering in the new year, marathon concert tours, football, ear mushroom, was Chuck Norris at the Capitol Building, IoT hackers locking “smart” chastity belts, advice to kids, sex scenes in movies, how the guys met, Daddy Badger and wrestling. A fabulous new segment of “What’s In The Box?!” emerges and Mr. Clean claims his right as a sixth timer to select the quiz battle as Fabian puts his trivial knowledge to the test! It’s an episode like NO OTHER!!! •Show Nuts• You Really Don’t Want To Know What Caused This Guy’s Itchy Ears https://m.huffpost.com/us/entry/us_5ff2d4d4c5b61817a537c238 Fact check: No, Chuck Norris wasn't at the riot at the U.S. Capitol https://www.usatoday.com/story/news/factcheck/2021/01/12/fact-check-chuck-norris-wasnt-riot-u-s-capitol/6645332002/ Hacker used ransomware to lock victims in their IoT chastity belt https://www.bleepingcomputer.com/news/security/hacker-used-ransomware-to-lock-victims-in-their-iot-chastity-belt/ Win a Podcast Championship Belt! VOTE HERE: https://www.surveymonkey.com/r/ZQ3RCP7 Click the link above and select who you think should receive a title! And by entering your email address, you will be entered to win a belt of your own! We will randomly select one voter who will receive their own custom Podcast Championship Belt sent to them at no cost! Rules: Only one vote/entry per person. US residents only. Contest will be open for a period of time specified by The Weekend Social Podcast— the timeline will be updated on the.WeekendSocialPodcast.com and drawing date will be announced 14 days in advance. Winner will be contacted by email (or phone if provided) and Chisler will work with winner to customize their podcast championship belt. Belt will take approximately 3-4 weeks to construct. No purchase necessary. ***Support The Show by Shopping on Amazon*** How it works: if you shop on amazon, all you have to do is click this link and shop normally— just don’t have anything in your cart that you’re buying (https://www.amazon.com?&_encoding=UTF8&tag=weekendsoci0c-20&linkCode=ur2&linkId=ad23c0398deb0a66ce376e9af45f2e38&camp=1789&creative=9325). Everything costs the exact same, we just get a kick back from referring you. And that’s all it takes! We won’t do ads and we love you guys, but if you’re shopping on amazon anyway, think of it as that “take a penny, leave a penny” thing back when we used cash! #ReferralFee ••••Contact Us! We want your feedback and ideas!••• Email: TheWeekendSocialPodcast@gmail.com Twitter: The Chisler: https://twitter.com/fochisel E-Money: https://twitter.com/emoneytws Facebook: https://www.facebook.com/The-Weekend-Social-Podcast-100412098008836/ Instagram: https://www.instagram.com/theweekendsocialpodcast/
Full Service Jesus is not just a Saviour, He is a Saviour like No Other! 1. Jesus is Authority, not under authority. Jesus transcended human authority in His coming. Jesus is not controlled by earthly governmental authority. Not then and not...
This week, Craig curates a playlist of tunes that evoke the Moonlight Mile Music Club; featuring a song from an artist or band that first comes to mind when thinking of each member of the group. “I took some liberties with this one, but I hope everyone enjoys and finds it as entertaining as it was for me to piece together” ~ CVSong Samples:Mark GlubkeGene Clark – “Life’s Greatest Fool” from No Other (1974)Tom BombardU2 – “Dancing Barefoot” (Patti Smith Cover) from B-Sides 1980-1990 (1998)Juan GaviriaLaura Nyro – “Timer” from Eli & The Thirteenth Confession (1968)Don DudenhoefferSpoon – “Don’t You Evah” from Ga Ga Ga Ga Ga (2007)Shawn FarmerTeenage Fanclub – “What You Do To Me” from Bandwagonesque (1991)Kevin GlubkeDef Leppard – “Let It Go” from High ‘n’ Dry (1981)Support the show (https://www.patreon.com/SchizoMusic)
Episode 104 of A History of Rock Music in Five Hundred Songs looks at “He’s a Rebel”, and how a song recorded by the Blossoms was released under the name of the Crystals. 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 “Sukiyaki” by Kyu Sakamoto. 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. The material on Gene Pitney mostly comes from his page on This is My Story. 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. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both The Crystals and the Blossoms. 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. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. 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 A brief note — there are some very brief mentions of domestic abuse here. Nothing I think will upset anyone, but you might want to check the transcript if you’re at all unsure. Up to this point, whenever we’ve looked at a girl group, it’s been at one that had, to a greater or lesser extent, some control over their own career. Groups like the Marvelettes, the Chantels, and the Bobbettes all wrote their own material, at least at first, and had distinctive personalities before they ever made a record. But today, we’re going to look at a group whose identity was so subsumed in that of their producer that the record we’re looking at was released under the name of a different group from the one that recorded it. We’re going to look at “He’s a Rebel”, which was recorded by the Blossoms and released by the Crystals. [Excerpt: “The Crystals” (The Blossoms), “He’s a Rebel”] The Crystals, from their very beginnings, were intended as a vehicle for the dreams of men, rather than for their own ambitions. Whereas the girl groups we’ve looked at so far all formed as groups of friends at school before they moved into professional singing, the Crystals were put together by a man named Benny Wells. Wells had a niece, Barbara Alston, who sang with a couple of her schoolfriends, Mary Thomas and Myrna Giraud. Wells put those three together with two other girls, Dee Dee Kenniebrew and Patsy Wright, to form a five-piece vocal group. Wells seems not to have had much concept of what was in the charts at the time — the descriptions of the music he had the girls singing talk about him wanting them to sound like the Modernaires, the vocal group who sang with Glenn Miller’s band in the early 1940s. But the girls went along with Wells, and Wells had good enough ears to recognise a hit when one was brought to him — and one was brought to him by Patsy Wright’s brother-in-law, Leroy Bates. Bates had written a song called “There’s No Other Like My Baby”, and Wells could tell it had potential. Incidentally, some books say that the song was based on a gospel song called “There’s No Other Like My Jesus”, and that claim is repeated on Wikipedia, but I can’t find any evidence of a song of that name other than people talking about “There’s No Other Like My Baby”. There is a gospel song called “There’s No Other Name Like Jesus”, but that has no obvious resemblance to Bates’ song, and so I’m going to assume that the song was totally original. As well as bringing the song, Bates also brought the fledgling group a name — he had a daughter, Crystal Bates, after whom the group named themselves. The newly-named Crystals took their song to the offices of Hill and Range Music, which as well as being a publishing company also owned Big Top Records, the label that had put out the original version of “Twist and Shout”, which had so annoyed Bert Berns. And it was there that they ended up meeting up with Phil Spector. After leaving his role at Atlantic, Spector had started working as a freelance producer, including working for Big Top. According to Spector — a notorious liar, it’s important to remember — he worked during this time on dozens of hits for which he didn’t get any credit, just to earn money. But we do know about some of the records he produced during this time. For example, there was one by a new singer called Gene Pitney. Pitney had been knocking around for years, recording for Decca as part of a duo called Jamie and Jane: [Excerpt: Jamie and Jane, “Faithful Our Love”] And for Blaze Records as Billy Bryan: [Excerpt: Billy Bryan, “Going Back to My Love”] But he’d recently signed to Musicor, a label owned by Aaron Schroeder, and had recorded a hit under his own name. Pitney had written “(I Wanna) Love My Life Away”, and had taken advantage of the new multitracking technology to record his vocals six times over, creating a unique sound that took the record into the top forty: [Excerpt: Gene Pitney, “(I Wanna) Love My Life Away”] But while that had been a hit, his second single for Musicor was a flop, and so for the third single, Musicor decided to pull out the big guns. They ran a session at which basically the whole of the Brill Building turned up. Leiber and Stoller were to produce a song they’d written for Pitney, the new hot husband-and-wife songwriting team of Barry Mann and Cynthia Weil were there, as was Burt Bacharach, and so were Goffin and King, who wrote the song that *Spector* was to produce for Pitney. All of them were in the control booth, and all of them were chipping in ideas. As you might expect with that many cooks, the session did not go smoothly, and to make matters worse, Pitney was suffering from a terrible cold. The session ended up costing thirteen thousand dollars, at a time when an average recording session cost five hundred dollars. On the song Spector was producing on that session, Goffin and King’s “Every Breath I Take”, Pitney knew that with the cold he would be completely unable to hit the last note in full voice, and went into falsetto. Luckily, everyone thought it sounded good, and he could pretend it was deliberate, rather than the result of necessity: [Excerpt: Gene Pitney, “Every Breath I Take”] The record only went to number forty-two, but it resuscitated Pitney’s singing career, and forged a working relationship between the two men. But soon after that, Spector had flown back to LA to work with his old friend Lester Sill. Sill and producer/songwriter, Lee Hazelwood, had been making records with the guitarist Duane Eddy, producing a string of hits like “Rebel Rouser”: [Excerpt: Duane Eddy, “Rebel Rouser”] But Eddy had recently signed directly to a label, rather than going through Sill and Hazelwood’s company as before, and so Sill and Hazelwood had been looking for new artists, and they’d recently signed a group called the Paris Sisters to their production company. Sill had decided to get Spector in to produce the group, and Spector came up with a production that Sill was sure would be a hit, on a song called “I Love How You Love Me”, written by Barry Mann with another writer called Jack Keller: [Excerpt: The Paris Sisters, “I Love How You Love Me”] Spector was becoming a perfectionist — he insisted on recording the rhythm track for that record at one studio, and the string part at another, and apparently spent fifty hours on the mix — and Sill was spending more and more time in the studio with Spector, fascinated at his attitude to the work he was doing. This led to a breakup between Sill and Hazelwood — their business relationship was already strained, but Hazelwood got jealous of all the time that Sill was spending with Spector, and decided to split their partnership and go and produce Duane Eddy, without Sill, at Eddy’s new label. So Sill was suddenly in the market for a new business partner, and he and Spector decided that they were going to start up their own label, Philles, although by this point everyone who had ever worked with Spector was warning Sill that it was a bad idea to go into business with him. But Spector and Sill kept their intentions secret for a while, and so when Spector met the Crystals at Hill and Range’s offices, everyone at Hill and Range just assumed that he was still working for them as a freelance producer, and that the Crystals were going to be recording for Big Top. Freddie Bienstock of Hill & Range later said, “We were very angry because we felt they were Big Top artists. He was merely supposed to produce them for us. There was no question about the fact that he was just rehearsing them for Big Top—hell, he rehearsed them for weeks in our offices. And then he just stole them right out of here. That precipitated a breach of contract with us. We were just incensed because that was a terrific group, and for him to do that shows the type of character he was. We felt he was less than ethical, and, obviously, he was then shown the door.” Bienstock had further words for Spector too, ones I can’t repeat here because of content rules about adult language, but they weren’t flattering. Spector had been dating Bienstock’s daughter, with Bienstock’s approval, but that didn’t last once Spector betrayed Bienstock. But Spector didn’t care. He had his own New York girl group, one that could compete with the Bobbettes or the Chantels or the Shirelles, and he was going to make the Crystals as big as any of them, and he wasn’t going to cut Big Top in. He slowed down “There’s No Other Like My Baby” and it became the first release on Philles Records, with Barbara Alston singing lead: [Excerpt: The Crystals, “There’s No Other Like My Baby”] That record was cut late at night in June 1961. In fact it was cut on Prom Night — three of the girls came straight to the session from their High School prom, still wearing their prom dresses. Spector wrote the B-side, a song that was originally intended to be the A-side called “Oh Yeah, Maybe Baby”, but everyone quickly realised that “There’s No Other Like My Baby” was the hit, and it made the top twenty. While Spector was waiting for the money to come in on the first Philles record, he took another job, with Liberty Records, working for his friend Snuff Garrett. He got a thirty thousand dollar advance, made a single flop record with them with an unknown singer named Obrey Wilson, and then quit, keeping his thirty thousand dollars. Once “There’s No Other” made the charts, Spector took the Crystals into the studio again, to record a song by Barry Mann and Cynthia Weil that he’d got from Aldon Music. Spector was becoming increasingly convinced that he’d made a mistake in partnering with Lester Sill, and he should really have been working with Don Kirshner, and he was in discussions with Kirshner which came to nothing about them having some sort of joint project. While those discussions fell through, almost all the songs that Spector would use for the next few years would come from Aldon songwriters, and “Uptown” was a perfect example of the new kind of socially-relevant pop songwriting that had been pioneered by Goffin and King, but which Mann and Weil were now making their own. Before becoming a professional songwriter, Weil had been part of the Greenwich Village folk scene, and while she wasn’t going to write anything as explicitly political as the work of Pete Seeger, she thought that songs should at least try to be about the real world. “Uptown” was the first example of a theme which would become a major motif for the Crystals’ records — a song about a man who is looked down upon by society, but who the singer believes is better than his reputation. Mann and Weil’s song combined that potent teen emotion with an inspiration Weil had had, seeing a handsome Black man pushing a hand truck in the Garment District, and realising that even though he was oppressed by his job, and “a nobody” when he was working downtown, he was still somebody when he was at home. They originally wrote the song for Tony Orlando to sing, but Spector insisted, rightly, that the song worked better with female voices, and that the Crystals should do it. Spector took Mann and Weil’s song and gave it a production that evoked the Latin feel of Leiber and Stoller’s records for the Drifters: [Excerpt: The Crystals, “Uptown”] By the time of this second record, the Crystals had already been through one lineup change. As soon as she left school, Myrna Giraud got married, and she didn’t want to perform on stage any more. She would still sing with the girls in the studio for a little while — she’s on every track of their first album, though she left altogether soon after this recording — but she was a married woman now and didn’t want to be in a group. The girls needed a replacement, and they also needed something else — a lead singer. All the girls loved singing, but none of them wanted to be out in front singing lead. Luckily, Dee Dee Kenniebrew’s mother was a secretary at the school attended by a fourteen-year-old gospel singer named La La Brooks, and she heard Brooks singing and invited her to join the group. Brooks soon became the group’s lead vocalist on stage. But in the studio, Spector didn’t want to use her as the lead vocalist. He insisted on Barbara singing the lead on “Uptown”, but in a sign of things to come, Mann and Weil weren’t happy with her performance — Spector had to change parts of the melody to accommodate her range — and they begged Spector to rerecord the lead vocal with Little Eva singing. However, Eva became irritated with Spector’s incessant demands for more takes and his micromanagement, cursed him out, and walked out of the studio. The record was released with Barbara’s original lead vocal, and while Mann and Weil weren’t happy with that, listeners were, as it went to number thirteen on the charts: [Excerpt: The Crystals, “Uptown”] Little Eva later released her own version of the song, on the Dimension Dolls compilation we talked about in the episode on “The Loco-Motion”: [Excerpt: Little Eva, “Uptown”] It was Little Eva who inspired the next Crystals single, as well — as we talked about in the episode on her, she inspired a truly tasteless Goffin and King song called “He Hit Me And It Felt Like A Kiss”, which I will not be excerpting, but which was briefly released as the Crystals’ third single, before being withdrawn after people objected to hearing teenage girls sing about how romantic and loving domestic abuse is. There seems to be some suggestion that the record was released partly as a way for Spector to annoy Lester Sill, who by all accounts was furious at the release. Spector was angry at Sill over the amount of money he’d made from the Paris Sisters recordings, and decided that he was being treated unfairly and wanted to force Sill out of their partnership. Certainly the next recording by the Crystals was meant to get rid of some other business associates. Two of Philles’ distributors had a contract which said they were entitled to the royalties on two Crystals singles. So the second one was a ten-minute song called “The Screw”, split over two sides of a disc, which sounded like this: [Excerpt: The Crystals, “The Screw”] Only a handful of promotional copies of that were ever produced. One went to Lester Sill, who by this point had been bought out of his share of the company for a small fraction of what it was worth. The last single Spector recorded for Philles while Sill was still involved with the label was another Crystals record, one that had the involvement of many people Sill had brought into Spector’s orbit, and who would continue working with him long after the two men stopped working together. Spector had decided he was going to start recording in California again, and two of Sill’s assistants would become regular parts of Spector’s new hit-making machine. The first of these was a composer and arranger called Jack Nitzsche, who we’ll be seeing a lot more of in this podcast over the next couple of years, in some unexpected places. Nitzsche was a young songwriter, whose biggest credit up to this point was a very minor hit for Preston Epps, “Bongo, Bongo, Bongo”: [Excerpt: Preston Epps, “Bongo Bongo Bongo”] Nitzsche would become Spector’s most important collaborator, and his arrangements, as much as Spector’s production, are what characterise the “Wall of Sound” for which Spector would become famous. The other assistant of Sill’s who became important to Spector’s future was a saxophone player named Steve Douglas. We’ve seen Douglas before, briefly, in the episode on “LSD-25” — he played in the original lineup of Kip and the Flips, one of the groups we talked about in that episode. He’d left Kip and the Flips to join Duane Eddy’s band, and it was through Eddy that he had started working with Sill, when he played on many of Eddy’s hits, most famously “Peter Gunn”: [Excerpt: Duane Eddy, “Peter Gunn”] Douglas was the union contractor for the session, and for most of the rest of Spector’s sixties sessions. This is something we’ve not talked about previously, but when we look at records produced in LA for the next few years, in particular, it’s something that will come up a lot. When a producer wanted to make records at the time, he (for they were all men) would not contact all the musicians himself. Instead, he’d get in touch with a trusted musician and say “I have a session at three o’clock. I need two guitars, bass, drums, a clarinet and a cello” (or whatever combination of instruments), and sometimes might say, “If you can get this particular player, that would be good”. The musician would then find out which other musicians were available, get them into the studio, and file the forms which made sure they got paid according to union rules. The contractor, not the producer, decided who was going to play on the session. In the case of this Crystals session, Spector already had a couple of musicians in mind — a bass player named Ray Pohlman, and his old guitar teacher Howard Roberts, a jazz guitarist who had played on “To Know Him is to Love Him” and “I Love How You Love Me” for Spector already. But Spector wanted a *big* sound — he wanted the rhythm instruments doubled, so there was a second bass player, Jimmy Bond, and a second guitarist, Tommy Tedesco. Along with them and Douglas were piano player Al de Lory and drummer Hal Blaine. This was the first session on which Spector used any of these musicians, and with the exception of Roberts, who hated working on Spector’s sessions and soon stopped, this group put together by Douglas would become the core of what became known as “The Wrecking Crew”, a loose group of musicians who would play on a large number of the hit records that would come out of LA in the sixties. Spector also had a guaranteed hit song — one by Gene Pitney. While Pitney wrote few of his own records, he’d established himself a parallel career as a writer for other people. He’d written “Today’s Teardrops”, the B-side of Roy Orbison’s hit “Blue Angel”: [Excerpt: Roy Orbison, “Today’s Teardrops”] And had followed that up with a couple of the biggest hits of the early sixties, Bobby Vee’s “Rubber Ball”: [Excerpt: Bobby Vee, “Rubber Ball”] And Ricky Nelson’s “Hello Mary Lou”: [Excerpt: Ricky Nelson, “Hello, Mary Lou”] Pitney had written a song, “He’s a Rebel”, that was very strongly inspired by “Uptown”, and Aaron Schroeder, Pitney’s publisher, had given the song to Spector. But Spector knew Schroeder, and knew that when he gave you a song, he was going to give it to every other producer who came knocking as well. “He’s a Rebel” was definitely going to be a massive hit for someone, and he wanted it to be for the Crystals. He phoned them up and told them to come out to LA to record the song. And they said no. The Crystals had become sick of Spector. He’d made them record songs like “He Hit Me and it Felt Like a Kiss”, he’d refused to let their lead singer sing lead, and they’d not seen any money from their two big hits. They weren’t going to fly from New York to LA just because he said so. Spector needed a new group, in LA, that he could record doing the song before someone else did it. He could use the Crystals’ name — Philles had the right to put out records by whoever they liked and call it the Crystals — he just needed a group. He found one in the Blossoms, a group who had connections to many of the people Spector was working with. Jack Nitzsche’s wife sometimes sang with them on sessions, and they’d also sung on a Duane Eddy record that Lester Sill had worked on, “Dance With the Guitar Man”, where they’d been credited as the Rebelettes: [Excerpt: Duane Eddy, “Dance With the Guitar Man”] The Blossoms had actually been making records in LA for nearly eight years at this point. They’d started out as the Dreamers one of the many groups who’d been discovered by Johnny Otis, back in the early fifties, and had also been part of the scene around the Penguins, one of whom went to school with some of the girls. They started out as a six-piece group, but slimmed down to a quartet after their first record, on which they were the backing group for Richard Berry: [Excerpt: Richard Berry, “At Last”] The first stable lineup of the Dreamers consisted of Fanita James, Gloria Jones (not the one who would later record “Tainted Love”), and the twin sisters Annette and Nanette Williams. They worked primarily with Berry, backing him on five singles in the mid fifties, and also recording songs he wrote for them under their own name, like “Do Not Forget”, which actually featured another singer, Jennell Hawkins, on lead: [Excerpt: The Dreamers, “Do Not Forget”] They also sang backing vocals on plenty of other R&B records from people in the LA R&B scene — for example it’s them singing backing vocals, with Jesse Belvin, on Etta James’ “Good Rocking Daddy”: [Excerpt: Etta James, “Good Rocking Daddy”] The group signed to Capitol Records in 1957, but not under the name The Dreamers — an executive there said that they all had different skin tones and it made them look like flowers, so they became the Blossoms. They were only at Capitol for a year, but during that time an important lineup change happened — Nanette quit the group and was replaced by a singer called Darlene Wright. From that point on The Blossoms was the main name the group went under, though they also recorded under other names, for example using the name The Playgirls to record “Gee But I’m Lonesome”, a song written by Bruce Johnston, who was briefly dating Annette Williams at the time: [Excerpt: The Playgirls, “Gee But I’m Lonesome”] By 1961 Annette had left the group, and they were down to a trio of Fanita, Gloria, and Darlene. Their records, under whatever name, didn’t do very well, but they became the first-call session singers in LA, working on records by everyone from Sam Cooke to Gene Autry. So it was the Blossoms who were called on in late 1962 to record “He’s a Rebel”, and it was Darlene Wright who earned her session fee, and no royalties, for singing the lead on a number one record: [Excerpt: The “Crystals” (The Blossoms), “He’s a Rebel”] From that point on, the Blossoms would sing on almost every Spector session for the next three years, and Darlene, who he renamed Darlene Love, would become Spector’s go-to lead vocalist for records under her own name, the Blossoms, Bob B. Soxx and the Blue Jeans, and the Crystals. It was lucky for Spector that he decided to go this route rather than wait for the Crystals, not only because it introduced him to the Blossoms, but because he’d been right about Aaron Schroeder. As Spector and Sill sat together in the studio where they were mastering the record, some musicians on a break from the studio next door wandered in, and said, “Hey man. we were just playing the same goddam song!” Literally in the next room as Spector mastered the record, his friend Snuff Garrett was producing Vicki Carr singing “He’s a Rebel”: [Excerpt: Vicki Carr, “He’s a Rebel”] Philles got their version out first, and Carr’s record sank without trace, while “The Crystals” went to number one, keeping the song’s writer off the top spot, as Gene Pitney sat at number two with a Bacharach and David song, “Only Love Can Break a Heart”: [Excerpt: Gene Pitney, “Only Love Can Break a Heart”] The Crystals were shocked that Spector released a Crystals record without any of them on it, but La La Brooks had a similar enough voice to Darlene Love’s that they were able to pull the song off live. They had a bit more of a problem with the follow-up, also by the Blossoms but released as the Crystals: [Excerpt: “The Crystals”/The Blossoms, “He’s Sure the Boy I Love”] La La could sing that fine, but she had to work on the spoken part — Darlene was from California and La La had a thick Brooklyn accent. She managed it, just about. As La La was doing such a good job of singing Darlene Love’s parts live — and, more importantly, as she was only fifteen and so didn’t complain about things like royalties — the Crystals finally did get their way and have La La start singing the leads on their singles, starting with “Da Doo Ron Ron”. The problem is, none of the other Crystals were on those records — it was La La singing with the Blossoms, plus other session singers. Listen out for the low harmony in “Da Doo Ron Ron” and see if you recognise the voice: [Excerpt: The Crystals, “Da Doo Ron Ron”] Cher would later move on to bigger things than being a fill-in Crystal. “Da Doo Ron Ron” became another big hit, making number three in the charts, and the follow-up, “Then He Kissed Me”, with La La once again on lead vocals, also made the top ten, but the group were falling apart — Spector was playing La La off against the rest of the group, just to cause trouble, and he’d also lost interest in them once he discovered another group, The Ronettes, who we’ll be hearing more about in future episodes. The singles following “Then He Kissed Me” barely scraped the bottom of the Hot One Hundred, and the group left Philles in 1964. They got a payoff of five thousand dollars, in lieu of all future royalties on any of their recordings. They had no luck having hits without Spector, and one by one the group members left, and the group split up by 1966. Mary, Barbara, and Dee Dee briefly reunited as the Crystals in 1971, and La La and Dee Dee made an album together in the eighties of remakes of the group’s hits, but nothing came of any of these. Dee Dee continues to tour under the Crystals name in North America, while La La performs solo in America and under the Crystals name in Europe. Barbara, the lead singer on the group’s first hits, died in 2018. Darlene Love continues to perform, but we’ll hear more about her and the Blossoms in future episodes, I’m sure. The Crystals were treated appallingly by Spector, and are not often treated much better by the fans, who see them as just interchangeable parts in a machine created by a genius. But it should be remembered that they were the ones who brought Spector the song that became the first Philles hit, that both Barbara and La La were fine singers who sang lead on classic hit records, and that Spector taking all the credit for a team effort doesn’t mean he deserved it. Both the Crystals and the Blossoms deserved better than to have their identities erased in return for a flat session fee, in order to service the ego of one man.
Episode 104 of A History of Rock Music in Five Hundred Songs looks at "He's a Rebel", and how a song recorded by the Blossoms was released under the name of the Crystals. 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 "Sukiyaki" by Kyu Sakamoto. 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/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. The material on Gene Pitney mostly comes from his page on This is My Story. 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. Girl Groups by John Clemente contains potted biographies of many groups of the era, including articles on both The Crystals and the Blossoms. 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. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. 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 A brief note -- there are some very brief mentions of domestic abuse here. Nothing I think will upset anyone, but you might want to check the transcript if you're at all unsure. Up to this point, whenever we've looked at a girl group, it's been at one that had, to a greater or lesser extent, some control over their own career. Groups like the Marvelettes, the Chantels, and the Bobbettes all wrote their own material, at least at first, and had distinctive personalities before they ever made a record. But today, we're going to look at a group whose identity was so subsumed in that of their producer that the record we're looking at was released under the name of a different group from the one that recorded it. We're going to look at "He's a Rebel", which was recorded by the Blossoms and released by the Crystals. [Excerpt: “The Crystals” (The Blossoms), "He's a Rebel"] The Crystals, from their very beginnings, were intended as a vehicle for the dreams of men, rather than for their own ambitions. Whereas the girl groups we've looked at so far all formed as groups of friends at school before they moved into professional singing, the Crystals were put together by a man named Benny Wells. Wells had a niece, Barbara Alston, who sang with a couple of her schoolfriends, Mary Thomas and Myrna Giraud. Wells put those three together with two other girls, Dee Dee Kenniebrew and Patsy Wright, to form a five-piece vocal group. Wells seems not to have had much concept of what was in the charts at the time -- the descriptions of the music he had the girls singing talk about him wanting them to sound like the Modernaires, the vocal group who sang with Glenn Miller's band in the early 1940s. But the girls went along with Wells, and Wells had good enough ears to recognise a hit when one was brought to him -- and one was brought to him by Patsy Wright's brother-in-law, Leroy Bates. Bates had written a song called "There's No Other Like My Baby", and Wells could tell it had potential. Incidentally, some books say that the song was based on a gospel song called "There's No Other Like My Jesus", and that claim is repeated on Wikipedia, but I can't find any evidence of a song of that name other than people talking about "There's No Other Like My Baby". There is a gospel song called "There's No Other Name Like Jesus", but that has no obvious resemblance to Bates' song, and so I'm going to assume that the song was totally original. As well as bringing the song, Bates also brought the fledgling group a name -- he had a daughter, Crystal Bates, after whom the group named themselves. The newly-named Crystals took their song to the offices of Hill and Range Music, which as well as being a publishing company also owned Big Top Records, the label that had put out the original version of "Twist and Shout", which had so annoyed Bert Berns. And it was there that they ended up meeting up with Phil Spector. After leaving his role at Atlantic, Spector had started working as a freelance producer, including working for Big Top. According to Spector -- a notorious liar, it's important to remember -- he worked during this time on dozens of hits for which he didn't get any credit, just to earn money. But we do know about some of the records he produced during this time. For example, there was one by a new singer called Gene Pitney. Pitney had been knocking around for years, recording for Decca as part of a duo called Jamie and Jane: [Excerpt: Jamie and Jane, "Faithful Our Love"] And for Blaze Records as Billy Bryan: [Excerpt: Billy Bryan, "Going Back to My Love"] But he'd recently signed to Musicor, a label owned by Aaron Schroeder, and had recorded a hit under his own name. Pitney had written "(I Wanna) Love My Life Away", and had taken advantage of the new multitracking technology to record his vocals six times over, creating a unique sound that took the record into the top forty: [Excerpt: Gene Pitney, "(I Wanna) Love My Life Away"] But while that had been a hit, his second single for Musicor was a flop, and so for the third single, Musicor decided to pull out the big guns. They ran a session at which basically the whole of the Brill Building turned up. Leiber and Stoller were to produce a song they'd written for Pitney, the new hot husband-and-wife songwriting team of Barry Mann and Cynthia Weil were there, as was Burt Bacharach, and so were Goffin and King, who wrote the song that *Spector* was to produce for Pitney. All of them were in the control booth, and all of them were chipping in ideas. As you might expect with that many cooks, the session did not go smoothly, and to make matters worse, Pitney was suffering from a terrible cold. The session ended up costing thirteen thousand dollars, at a time when an average recording session cost five hundred dollars. On the song Spector was producing on that session, Goffin and King's "Every Breath I Take", Pitney knew that with the cold he would be completely unable to hit the last note in full voice, and went into falsetto. Luckily, everyone thought it sounded good, and he could pretend it was deliberate, rather than the result of necessity: [Excerpt: Gene Pitney, "Every Breath I Take"] The record only went to number forty-two, but it resuscitated Pitney's singing career, and forged a working relationship between the two men. But soon after that, Spector had flown back to LA to work with his old friend Lester Sill. Sill and producer/songwriter, Lee Hazelwood, had been making records with the guitarist Duane Eddy, producing a string of hits like “Rebel Rouser”: [Excerpt: Duane Eddy, "Rebel Rouser"] But Eddy had recently signed directly to a label, rather than going through Sill and Hazelwood's company as before, and so Sill and Hazelwood had been looking for new artists, and they'd recently signed a group called the Paris Sisters to their production company. Sill had decided to get Spector in to produce the group, and Spector came up with a production that Sill was sure would be a hit, on a song called "I Love How You Love Me", written by Barry Mann with another writer called Jack Keller: [Excerpt: The Paris Sisters, "I Love How You Love Me"] Spector was becoming a perfectionist -- he insisted on recording the rhythm track for that record at one studio, and the string part at another, and apparently spent fifty hours on the mix -- and Sill was spending more and more time in the studio with Spector, fascinated at his attitude to the work he was doing. This led to a breakup between Sill and Hazelwood -- their business relationship was already strained, but Hazelwood got jealous of all the time that Sill was spending with Spector, and decided to split their partnership and go and produce Duane Eddy, without Sill, at Eddy's new label. So Sill was suddenly in the market for a new business partner, and he and Spector decided that they were going to start up their own label, Philles, although by this point everyone who had ever worked with Spector was warning Sill that it was a bad idea to go into business with him. But Spector and Sill kept their intentions secret for a while, and so when Spector met the Crystals at Hill and Range's offices, everyone at Hill and Range just assumed that he was still working for them as a freelance producer, and that the Crystals were going to be recording for Big Top. Freddie Bienstock of Hill & Range later said, "We were very angry because we felt they were Big Top artists. He was merely supposed to produce them for us. There was no question about the fact that he was just rehearsing them for Big Top—hell, he rehearsed them for weeks in our offices. And then he just stole them right out of here. That precipitated a breach of contract with us. We were just incensed because that was a terrific group, and for him to do that shows the type of character he was. We felt he was less than ethical, and, obviously, he was then shown the door.” Bienstock had further words for Spector too, ones I can't repeat here because of content rules about adult language, but they weren't flattering. Spector had been dating Bienstock's daughter, with Bienstock's approval, but that didn't last once Spector betrayed Bienstock. But Spector didn't care. He had his own New York girl group, one that could compete with the Bobbettes or the Chantels or the Shirelles, and he was going to make the Crystals as big as any of them, and he wasn't going to cut Big Top in. He slowed down "There's No Other Like My Baby" and it became the first release on Philles Records, with Barbara Alston singing lead: [Excerpt: The Crystals, "There's No Other Like My Baby"] That record was cut late at night in June 1961. In fact it was cut on Prom Night -- three of the girls came straight to the session from their High School prom, still wearing their prom dresses. Spector wrote the B-side, a song that was originally intended to be the A-side called "Oh Yeah, Maybe Baby", but everyone quickly realised that "There's No Other Like My Baby" was the hit, and it made the top twenty. While Spector was waiting for the money to come in on the first Philles record, he took another job, with Liberty Records, working for his friend Snuff Garrett. He got a thirty thousand dollar advance, made a single flop record with them with an unknown singer named Obrey Wilson, and then quit, keeping his thirty thousand dollars. Once "There's No Other" made the charts, Spector took the Crystals into the studio again, to record a song by Barry Mann and Cynthia Weil that he'd got from Aldon Music. Spector was becoming increasingly convinced that he'd made a mistake in partnering with Lester Sill, and he should really have been working with Don Kirshner, and he was in discussions with Kirshner which came to nothing about them having some sort of joint project. While those discussions fell through, almost all the songs that Spector would use for the next few years would come from Aldon songwriters, and "Uptown" was a perfect example of the new kind of socially-relevant pop songwriting that had been pioneered by Goffin and King, but which Mann and Weil were now making their own. Before becoming a professional songwriter, Weil had been part of the Greenwich Village folk scene, and while she wasn't going to write anything as explicitly political as the work of Pete Seeger, she thought that songs should at least try to be about the real world. "Uptown" was the first example of a theme which would become a major motif for the Crystals' records -- a song about a man who is looked down upon by society, but who the singer believes is better than his reputation. Mann and Weil's song combined that potent teen emotion with an inspiration Weil had had, seeing a handsome Black man pushing a hand truck in the Garment District, and realising that even though he was oppressed by his job, and "a nobody" when he was working downtown, he was still somebody when he was at home. They originally wrote the song for Tony Orlando to sing, but Spector insisted, rightly, that the song worked better with female voices, and that the Crystals should do it. Spector took Mann and Weil's song and gave it a production that evoked the Latin feel of Leiber and Stoller's records for the Drifters: [Excerpt: The Crystals, "Uptown"] By the time of this second record, the Crystals had already been through one lineup change. As soon as she left school, Myrna Giraud got married, and she didn't want to perform on stage any more. She would still sing with the girls in the studio for a little while -- she's on every track of their first album, though she left altogether soon after this recording -- but she was a married woman now and didn't want to be in a group. The girls needed a replacement, and they also needed something else -- a lead singer. All the girls loved singing, but none of them wanted to be out in front singing lead. Luckily, Dee Dee Kenniebrew's mother was a secretary at the school attended by a fourteen-year-old gospel singer named La La Brooks, and she heard Brooks singing and invited her to join the group. Brooks soon became the group's lead vocalist on stage. But in the studio, Spector didn't want to use her as the lead vocalist. He insisted on Barbara singing the lead on "Uptown", but in a sign of things to come, Mann and Weil weren't happy with her performance -- Spector had to change parts of the melody to accommodate her range -- and they begged Spector to rerecord the lead vocal with Little Eva singing. However, Eva became irritated with Spector's incessant demands for more takes and his micromanagement, cursed him out, and walked out of the studio. The record was released with Barbara's original lead vocal, and while Mann and Weil weren't happy with that, listeners were, as it went to number thirteen on the charts: [Excerpt: The Crystals, "Uptown"] Little Eva later released her own version of the song, on the Dimension Dolls compilation we talked about in the episode on "The Loco-Motion": [Excerpt: Little Eva, "Uptown"] It was Little Eva who inspired the next Crystals single, as well -- as we talked about in the episode on her, she inspired a truly tasteless Goffin and King song called "He Hit Me And It Felt Like A Kiss", which I will not be excerpting, but which was briefly released as the Crystals' third single, before being withdrawn after people objected to hearing teenage girls sing about how romantic and loving domestic abuse is. There seems to be some suggestion that the record was released partly as a way for Spector to annoy Lester Sill, who by all accounts was furious at the release. Spector was angry at Sill over the amount of money he'd made from the Paris Sisters recordings, and decided that he was being treated unfairly and wanted to force Sill out of their partnership. Certainly the next recording by the Crystals was meant to get rid of some other business associates. Two of Philles' distributors had a contract which said they were entitled to the royalties on two Crystals singles. So the second one was a ten-minute song called "The Screw", split over two sides of a disc, which sounded like this: [Excerpt: The Crystals, "The Screw"] Only a handful of promotional copies of that were ever produced. One went to Lester Sill, who by this point had been bought out of his share of the company for a small fraction of what it was worth. The last single Spector recorded for Philles while Sill was still involved with the label was another Crystals record, one that had the involvement of many people Sill had brought into Spector's orbit, and who would continue working with him long after the two men stopped working together. Spector had decided he was going to start recording in California again, and two of Sill's assistants would become regular parts of Spector's new hit-making machine. The first of these was a composer and arranger called Jack Nitzsche, who we'll be seeing a lot more of in this podcast over the next couple of years, in some unexpected places. Nitzsche was a young songwriter, whose biggest credit up to this point was a very minor hit for Preston Epps, "Bongo, Bongo, Bongo": [Excerpt: Preston Epps, "Bongo Bongo Bongo"] Nitzsche would become Spector's most important collaborator, and his arrangements, as much as Spector's production, are what characterise the "Wall of Sound" for which Spector would become famous. The other assistant of Sill's who became important to Spector's future was a saxophone player named Steve Douglas. We've seen Douglas before, briefly, in the episode on "LSD-25" -- he played in the original lineup of Kip and the Flips, one of the groups we talked about in that episode. He'd left Kip and the Flips to join Duane Eddy's band, and it was through Eddy that he had started working with Sill, when he played on many of Eddy's hits, most famously "Peter Gunn": [Excerpt: Duane Eddy, "Peter Gunn"] Douglas was the union contractor for the session, and for most of the rest of Spector's sixties sessions. This is something we've not talked about previously, but when we look at records produced in LA for the next few years, in particular, it's something that will come up a lot. When a producer wanted to make records at the time, he (for they were all men) would not contact all the musicians himself. Instead, he'd get in touch with a trusted musician and say "I have a session at three o'clock. I need two guitars, bass, drums, a clarinet and a cello" (or whatever combination of instruments), and sometimes might say, "If you can get this particular player, that would be good". The musician would then find out which other musicians were available, get them into the studio, and file the forms which made sure they got paid according to union rules. The contractor, not the producer, decided who was going to play on the session. In the case of this Crystals session, Spector already had a couple of musicians in mind -- a bass player named Ray Pohlman, and his old guitar teacher Howard Roberts, a jazz guitarist who had played on "To Know Him is to Love Him" and "I Love How You Love Me" for Spector already. But Spector wanted a *big* sound -- he wanted the rhythm instruments doubled, so there was a second bass player, Jimmy Bond, and a second guitarist, Tommy Tedesco. Along with them and Douglas were piano player Al de Lory and drummer Hal Blaine. This was the first session on which Spector used any of these musicians, and with the exception of Roberts, who hated working on Spector's sessions and soon stopped, this group put together by Douglas would become the core of what became known as "The Wrecking Crew", a loose group of musicians who would play on a large number of the hit records that would come out of LA in the sixties. Spector also had a guaranteed hit song -- one by Gene Pitney. While Pitney wrote few of his own records, he'd established himself a parallel career as a writer for other people. He'd written "Today's Teardrops", the B-side of Roy Orbison's hit "Blue Angel": [Excerpt: Roy Orbison, "Today's Teardrops"] And had followed that up with a couple of the biggest hits of the early sixties, Bobby Vee's "Rubber Ball": [Excerpt: Bobby Vee, "Rubber Ball"] And Ricky Nelson's "Hello Mary Lou": [Excerpt: Ricky Nelson, "Hello, Mary Lou"] Pitney had written a song, "He's a Rebel", that was very strongly inspired by "Uptown", and Aaron Schroeder, Pitney's publisher, had given the song to Spector. But Spector knew Schroeder, and knew that when he gave you a song, he was going to give it to every other producer who came knocking as well. "He's a Rebel" was definitely going to be a massive hit for someone, and he wanted it to be for the Crystals. He phoned them up and told them to come out to LA to record the song. And they said no. The Crystals had become sick of Spector. He'd made them record songs like "He Hit Me and it Felt Like a Kiss", he'd refused to let their lead singer sing lead, and they'd not seen any money from their two big hits. They weren't going to fly from New York to LA just because he said so. Spector needed a new group, in LA, that he could record doing the song before someone else did it. He could use the Crystals' name -- Philles had the right to put out records by whoever they liked and call it the Crystals -- he just needed a group. He found one in the Blossoms, a group who had connections to many of the people Spector was working with. Jack Nitzsche's wife sometimes sang with them on sessions, and they'd also sung on a Duane Eddy record that Lester Sill had worked on, "Dance With the Guitar Man", where they'd been credited as the Rebelettes: [Excerpt: Duane Eddy, "Dance With the Guitar Man"] The Blossoms had actually been making records in LA for nearly eight years at this point. They'd started out as the Dreamers one of the many groups who'd been discovered by Johnny Otis, back in the early fifties, and had also been part of the scene around the Penguins, one of whom went to school with some of the girls. They started out as a six-piece group, but slimmed down to a quartet after their first record, on which they were the backing group for Richard Berry: [Excerpt: Richard Berry, "At Last"] The first stable lineup of the Dreamers consisted of Fanita James, Gloria Jones (not the one who would later record "Tainted Love"), and the twin sisters Annette and Nanette Williams. They worked primarily with Berry, backing him on five singles in the mid fifties, and also recording songs he wrote for them under their own name, like "Do Not Forget", which actually featured another singer, Jennell Hawkins, on lead: [Excerpt: The Dreamers, "Do Not Forget"] They also sang backing vocals on plenty of other R&B records from people in the LA R&B scene -- for example it's them singing backing vocals, with Jesse Belvin, on Etta James' "Good Rocking Daddy": [Excerpt: Etta James, "Good Rocking Daddy"] The group signed to Capitol Records in 1957, but not under the name The Dreamers -- an executive there said that they all had different skin tones and it made them look like flowers, so they became the Blossoms. They were only at Capitol for a year, but during that time an important lineup change happened -- Nanette quit the group and was replaced by a singer called Darlene Wright. From that point on The Blossoms was the main name the group went under, though they also recorded under other names, for example using the name The Playgirls to record "Gee But I'm Lonesome", a song written by Bruce Johnston, who was briefly dating Annette Williams at the time: [Excerpt: The Playgirls, "Gee But I'm Lonesome"] By 1961 Annette had left the group, and they were down to a trio of Fanita, Gloria, and Darlene. Their records, under whatever name, didn't do very well, but they became the first-call session singers in LA, working on records by everyone from Sam Cooke to Gene Autry. So it was the Blossoms who were called on in late 1962 to record "He's a Rebel", and it was Darlene Wright who earned her session fee, and no royalties, for singing the lead on a number one record: [Excerpt: The "Crystals" (The Blossoms), "He's a Rebel"] From that point on, the Blossoms would sing on almost every Spector session for the next three years, and Darlene, who he renamed Darlene Love, would become Spector's go-to lead vocalist for records under her own name, the Blossoms, Bob B. Soxx and the Blue Jeans, and the Crystals. It was lucky for Spector that he decided to go this route rather than wait for the Crystals, not only because it introduced him to the Blossoms, but because he'd been right about Aaron Schroeder. As Spector and Sill sat together in the studio where they were mastering the record, some musicians on a break from the studio next door wandered in, and said, "Hey man. we were just playing the same goddam song!" Literally in the next room as Spector mastered the record, his friend Snuff Garrett was producing Vicki Carr singing "He's a Rebel": [Excerpt: Vicki Carr, "He's a Rebel"] Philles got their version out first, and Carr's record sank without trace, while "The Crystals" went to number one, keeping the song's writer off the top spot, as Gene Pitney sat at number two with a Bacharach and David song, "Only Love Can Break a Heart": [Excerpt: Gene Pitney, "Only Love Can Break a Heart"] The Crystals were shocked that Spector released a Crystals record without any of them on it, but La La Brooks had a similar enough voice to Darlene Love's that they were able to pull the song off live. They had a bit more of a problem with the follow-up, also by the Blossoms but released as the Crystals: [Excerpt: "The Crystals"/The Blossoms, "He's Sure the Boy I Love"] La La could sing that fine, but she had to work on the spoken part -- Darlene was from California and La La had a thick Brooklyn accent. She managed it, just about. As La La was doing such a good job of singing Darlene Love's parts live -- and, more importantly, as she was only fifteen and so didn't complain about things like royalties -- the Crystals finally did get their way and have La La start singing the leads on their singles, starting with "Da Doo Ron Ron". The problem is, none of the other Crystals were on those records -- it was La La singing with the Blossoms, plus other session singers. Listen out for the low harmony in "Da Doo Ron Ron" and see if you recognise the voice: [Excerpt: The Crystals, "Da Doo Ron Ron"] Cher would later move on to bigger things than being a fill-in Crystal. "Da Doo Ron Ron" became another big hit, making number three in the charts, and the follow-up, "Then He Kissed Me", with La La once again on lead vocals, also made the top ten, but the group were falling apart -- Spector was playing La La off against the rest of the group, just to cause trouble, and he'd also lost interest in them once he discovered another group, The Ronettes, who we'll be hearing more about in future episodes. The singles following "Then He Kissed Me" barely scraped the bottom of the Hot One Hundred, and the group left Philles in 1964. They got a payoff of five thousand dollars, in lieu of all future royalties on any of their recordings. They had no luck having hits without Spector, and one by one the group members left, and the group split up by 1966. Mary, Barbara, and Dee Dee briefly reunited as the Crystals in 1971, and La La and Dee Dee made an album together in the eighties of remakes of the group's hits, but nothing came of any of these. Dee Dee continues to tour under the Crystals name in North America, while La La performs solo in America and under the Crystals name in Europe. Barbara, the lead singer on the group's first hits, died in 2018. Darlene Love continues to perform, but we'll hear more about her and the Blossoms in future episodes, I'm sure. The Crystals were treated appallingly by Spector, and are not often treated much better by the fans, who see them as just interchangeable parts in a machine created by a genius. But it should be remembered that they were the ones who brought Spector the song that became the first Philles hit, that both Barbara and La La were fine singers who sang lead on classic hit records, and that Spector taking all the credit for a team effort doesn't mean he deserved it. Both the Crystals and the Blossoms deserved better than to have their identities erased in return for a flat session fee, in order to service the ego of one man.
Two hours of bangers. Wear headphones. Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Blue Lines by Massive Attack on Blue Lines (Virgin) 5′55″ Back To Life (Zepherin Saint Mix) by Soul II Soul on Single (Funki Dred) 🆕 19′29″ Watermelon Man (Under The Sun) by Poppy Ajudha on Blue Note Re:Imagined (Blue Note) 🆕 24′24″ Love Wars by Womack & Womack on Love Wars (Elektra) 29′37″ Haven't You Heard by Patrice Rushen on Pizazz (Strut) 36′59″ Inner Game by Nubya Garcia on SOURCE (Concord Jazz) 🆕 45′01″ Everybody Here Wants You by Jeff Buckley on Sketches for my Sweetheart The Drunk (Columbia) 49′03″ Shadrach by Beastie Boys on Paul's Boutique (Capitol) 53′11″ Loose Booty by Sly and the Family Stone on Small Talk (Epic) 61′52″ Waiting For Your Love by Toto on Toto IV (Columbia) 65′50″ This Must Be The Place (Naive Melody) by Talking Heads on Speaking In Tongues (Sire Records) 72′22″ It's Hot Tonight by Alice Cooper on Lace And Whiskey (Warner) 72′25″ No Other by Gene Clark on No Other (4AD) 86′27″ Open Sesame (12 by Kool & The Gang on Open Sesame (De-Lite Records) 87′54″ Ascension Day by Talk Talk on Laughing Stock (Polydor) 97′04″ Arpeggi by Kelly Lee Owens on Inner Song (Small-town Supersound) 101′42″ Weird Fishes by Lianne La Havas on Lianne La Havas (Nonesuch) 🆕 108′54″ Computer Love by Kraftwerk on Computer World (Elektra Records) 108′55″ Castles In The Sand by Seals and Croft on Greatest Hits (Elektra) 119′58″ Dark Star by Crosby, Stills & Nash on CSN (Atlantic) The next @Jon_Digital is on Thursday, September 24th at 5:30 am. Check out the full archives on the website.
In episode 35 of The Great Women Artists Podcast, Katy Hessel interviews the world-renowned art historian and biographer, Natalie Lettner, on the FASCINATING and BRILLIANT Austrian-born artist, MARIA LASSNIG (1919–2014) !!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] And WOW. This is one of the most interesting life stories I have ever heard of an artist whose work I am COMPLETELY blown away by. Known for her psychologically charged figurative paintings, Lassnig's work is based on the extreme observation of the physical presence of the body – what she termed ‘body awareness’. Born in 1919, in a small town in southern Austria, Maria's mother gave birth to her out of wedlock and later married a much older man, but their troubled and tempestuous relationship meant Lassnig was raised by her grandmother, who hardly spoke to her since she was six. Studying at the Academy of Fine Arts in Vienna in the midst of the Second World War, where she was only exposed to classical and academic art, Lassnig quickly moved away from the state-approved academic realism and travelled around Europe in search of the avant-garde. After experimenting with surrealism, abstraction, expressionism and constantly being treated lesser than her male counterparts, at age nearly 50 Lassnig moved on to NYC to join forces with the feminist movement. And it was here where her work turned to external realism and painted portraits, nudes and still lifes, at times combining these with her ‘body awareness’ self-portraits. Recording her psychological states through a direct and unflinching style, her work used garish greens, yellows and blues to giver her paintings a POWERFUL and DRASTIC impact. Maria Lassnig painted like NO OTHER in the history of art. With such conviction, force, and lack of embarrassment. She was not afraid to reveal anything. This is one of the most fascinating stories of an artist I have ever SEEN. An artist who almost predicted the influence of technology through her paintings (in the 80s she became obsessed with the machine, and addicted to television!!). Please listen to this sensation of an episode with the brilliant Natalie who tells her story so well. Only to be recognised with a major exhibition at the age of 89 at the Serpentine Galleries. WORKS DISCUSSED IN THIS EPISODE! You, or Me (2005) Expressive Self Portrait (1945) Beams (1950) Head (1956) Self Portrait as a Monster (2005) Self Portrait with Stick (1971) Chain of Tradition My Teddy is more real than me (2002) Hospital (2005) Further reading: https://www.hauserwirth.com/artists/2795-maria-lassnig https://www.tate.org.uk/whats-on/tate-liverpool/exhibition/maria-lassnig Natalie's brilliant book! https://www.abebooks.co.uk/Maria-Lassnig-Natalie-Lettner-Brandst%C3%A4tter-Verlag/22323627600/bd This episode is sponsored by Alighieri https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/
After a 1 Week Hiatus, Curtis Welcomes Everybody Back to the Show!It's Crazy, Repetitive and Random all in a Couple of Minutes!It's the Perfect Welcome Back Episode to the Crazy!Check it Out for a Listen like No Other!Listen! Listen! Listen! is a show hosted by Curtis Elton. Speaking non-stop in each episode, you'd think he'd actually say something valuable. WRONG! The show has NO THEME...NO USEFUL INFORMATION...NO, NOT THAT EITHER! What it does have is Funny, Completely Random and Crazy non-stop talking lasting Only a Couple of Minutes per episode. Every episode is different! Go on, you know you want to, have a listen to Listen! Listen! Listen! New episodes Every Thursday. Stay tuned for more of Listen! Listen! Listen!TRANSCRIPTCurtis:I'm Back Baby!Oh I Missed you! I Missed You (Kissing Sounds)Oh I Missed you! Oh You have a Little Something There! You Have a Little Something There!Ha! Made you Look!Anyway...I'm Back!!!Hello! Hi, How are You! Hi! Hello! And Hello and Welcome Back to Another Episode of Listen! Listen! Listen!I am Your Host Curtis Elton, and in Case you Didn't Hear Me...I'm Back!And if you have a Problem with that See! I'll have to Pull out the Big Guns See!I've been on a 1 Week, Not 2 Week, Not 3 Week, But 1 Week Hiatus!Oh it's Good to be Back! And in Case I Haven't Said it Enough, I'm Back Baby!And When I'm Saying Baby I'm Still Not Sure If I'm Saying (Impression of Baby) Baby or an MmmHmm Baby!But Right Now, We Don't Have Any time for that! Why?! Take a Guess!Anybody, Anybody Want to Guess? Anybody?! You! You! You! You! Uh, Let's See! You! No the Person Next to You! Person Above You! Person to the Right! Uh, Person to the Right! Person Above! Person Down! No, Not You! Not You! Person with the Mustache! Person with the Glasses! Next to You! And You! Person Right in Front of you! Yeah, There we Go! Got any Ideas?Exactly! There is Actually Nobody Here because we Haven't Welcomed Anybody Back so Come Inside Everybody!(Curtis doing Impressions People Saying Hello in Different Accents and Phrases, Talking Over Each Other)Yes it is Great to be Back!I'd Also like to Welcome Back my Downloaded Studio Audience! (Clapping) Welcome Back!Wait a Second! I Never had a Downloaded Studio Audience! Ladies and Gentlemen, You've Gotta Go! Get Outta Here! (Sound Effect of Audience Talking to Each other while Leaving) Thank You! Thank You! Bubye!And That, My Friends, is the Magic of Sound Effects! Isn't it Just Fabulous!Now I've Welcomed Everybody Back to the Show, That Brings us to the End of This Episode of Listen! Listen! Listen!See you Next Time! See you Next Week! Bubye I'm Outta Here!I'm Back! I'm Not Back! I'm Back! I'm Not Back! (In Slow Motion) I'm Back! I'm Not Back! (Normal Speed) I'm Back! I'm Not Back! I'm Back! I'm Not Back! I Said I'm Back! I Said I'm Not Back!I'm Back Baby!
French Revolution began 150 years of chaos, war, bloodshed, revolution…. Each movement being eaten by the next… France in the 1789 had LOTS of problems: high tax on poor, Rich, oppression etc. CLEARLY in need of Revolution. America had just gone through their own revolution. But the ideal of these two revolutions were VERY different. In America, the Puritan and Protestants came over in search from religious freedom. They adopted ideas of Milton on freedom of speech and the dangers of censorship. They adopted believed in the premise that the INDIVIDUAL was the supreme expression of the state. And the state was in place to EMPOWER the individual. John Adams’ Declaration of the Rights of the Inhabitants of the Commonwealth of Massachusetts, ratified in 1780, provides the basic framework for American governing philosophy: “All men are born free and equal, and have certain natural, essential, and unalienable rights; among which may be reckoned the right of enjoying and defending their lives and liberties; that of acquiring, possessing, and protecting property; in fine, that of seeking and obtaining their safety and happiness.” Note: This put the power and responsibility into the hands of the individual. Liberty in the hand of the individual… the seeking and obtaining safety and happiness was the individual’s responsibility. France’s 1789 Declaration of the Rights of Man is an ode to the collective. “The principle of all sovereignty resides essentially in the nation. No body nor individual may exercise any authority which does not proceed directly from the nation,” it states. “Law is the expression of the general will.” The guide of the French Revolution was not liberty—but “Equality”. Not individual freedom—but the government responsibility to level the playing field and give equity to all people. The America Revolution the PEOPLE gave power to the government, in the French the GOV/collective give power to the people. In the years following the American revolution we see peaceful governance. In the years following the French Revolution we see the Reign of Terror with mass execution “for the common good” . . . they hunted down nobles and business owners and beheaded them without trials. The premise was IF there was an inequality it was due to oppression—and oppression must be punished “To punish the oppressors of humanity is clemency; to forgive them is cruelty” Robespierre EQUALITY was more important that LIBERTY. Maximilien Robespierre was monumental in sparking the French revolution… and ironically he was also lead to the guillotine when the people decided he too had too much power and an oppressor. That is the issue here—one of many in the post modern marxist ideologies… those who lead the revolution often meet the same fate and the fury of the movement for equality continues to eat those who bring leadership. It is the ouroboros —the self eating snake. Self destructive never satisfying force of chaos and destruction. The French Revolution was lead by ANTI religious. It was largely sparked by an Anti-Clerical movement—AKA secularism. They created a new religion to replace the Roman Catholic Church (which was in desperate need for reform). But instead of reforming—the torn it down, killed 16000+ clergy and nobles, and set up the Cult of Reason. Doing away with God—Mandated religion. (Note the difference—freedom of religion vs MANDATE religion. Individual freedom and liberty vs subject to the state to press for equality.) So—is the fact that it was a revolution that makes this Totalitarian? By no means—America had a revolution around the same time but the ideas and results were very different. The French revolution was Totalitarian in idealogy because the idea was absolutely control over the individual for the sake of “equality” and with that came state mandated religion—a very different idea from the America Revolution—Freedom of religion. First came the “Cult of Reason” that supplanted the Catholic church (Supplanting one mandated religion with another) Here is where is gets really crazy and we see the extreme censorship and control of media and the totality of Totalitarian even in their erasure and rewriting of history. Post Modern Leftist revolutions seek to erase and rewrite history so the past can completely be forgotten so that there is NO OTHER option—no descending voice—no other way of thinking. The “Cult of Reason” Did away with the Gregorian calendar and set up a NEW calander to erase christianity, religion, and the past. (Tear everything down and start over mentality VS let us learn from the past and slowly improve upon the foundations) What did they do? First introduced in 1788 and adopted in Oct 1793 – did away with 7 day week, replaced with 10 days. Three “Dedaces” instead of week. With the name of the months being “snow” Rain, Vintange, fruits, heat, harvest, seedtime. Replace the names of the Greek Roman Gods with scientific names. Replaced all the Christian Holiday with holidays around the State and Political events (Putting Science and Government as God) Each of the 360 days in the year was named for a seed, tree, flower, fruit, animal, or tool, replacing the saints’-day names and Christian festivals. If you remember from the previous episode on the traits of Totalitarian cult they want TOTAL control, total control of media, of thought, ideas, they re-write history and ideas so that their ideologies have no beginning middle or end. Why? Because if there is a beginning that means there could be a NOTHER option of thinking. And another option outside of their control is the greatest danger. This Calendar lasted until January 1, 1806 when Napoleon did away with the old new way, and reestablished the catholic church and the Gregorian calendar. Liberalism accepts and is open to criticism to they can find, and accept what they are doing wrong in order to correct their mistakes (slowly line by line improving society) Totalitarianism and the ideas that drove the French Revolution were “Tear everything down and START OVER” Don’t accept criticism. Don’t allow another narrative. Control everything. The result? Some would argue that the French revolution didn’t end until the 1950s when France joined the EU. For 150 years France cycled through revolution and instability. French Revolution (1789–1792) French First Republic (1792–1799) First Empire (1804–1814) Bourbon restoration (1814–1830) July Monarchy (1830–1848) Second Republic (1848–1852) Second Empire (1852–1870) Third Republic (1870–1940), until 1914 Paris Commune (1871) Royalist domination (1871–1879) "Radicals" (1879–1914) 150 years of chaos, war, bloodshed, revolution…. Each movement being eaten by the next… We must be awake and aware of the warning sign of marxist groups like Black Lives Matter . . . warning sign that could ultimately lead to your own destruction as the movement begins to eat itself. Sources and additional resources: https://en.wikipedia.org/wiki/Ouroboros https://en.wikipedia.org/wiki/Reign_of_Terror https://en.wikipedia.org/wiki/Dechristianization_of_France_during_the_French_Revolution https://www.britannica.com/science/French-republican-calendar https://en.wikipedia.org/wiki/Cult_of_the_Supreme_Being https://en.wikipedia.org/wiki/Anti-clericalism https://patriotpost.us/opinion/1775-the-second-french-revolution-2009-04-08 Until next time… Be a change maker, take responsibility, own the future. Thank you for listening, and as always you can find me at: WhatsApp: +1-202-922-0220 LucasSkrobot.com Tiktok: https://www.tiktok.com/@lucasskrobot LinkedIn: https://www.linkedin.com/in/lucasskrobot Instagram: https://www.instagram.com/lucasskrobot
In this outrageously fun episode, the crew talks to Sam Elliot, Willford Brimley, and the one and only Allen Woffard. Allen has a new podcast of his own starting soon, but this should tide you over in the meantime. Not only will you laugh, you'll also learn. Find out what it means to "Protect Your Puppets," if you're "HR Positive," and discover the truth behind alien abductions. NO OTHER "safety" show has stories like this!
This week the Moonlight Mile Music Club decides to forgo reviewing albums in favor of discussing an interesting question and one we invite you to answer as well:When was the last time you heard an album that truly floored you?Songs sampled:The Dismemberment Plan – “The City” from Emergency & I (1999)Gene Clark – “Some Misunderstanding” from No Other (1974)XTC – “I’d Like That” from Apple Venus, Vol.1 (1999)Fantastic Negrito – “Hump Thru The Winter” from The Last Days of Oakland (2016)Mark Knopfler – “Postcards From Paraguay” from Shangri-La (2004)Lyle Lovett – “I Can’t Love You Anymore” from The Road To Ensenada (1996)Local Natives – “You & I” from Hummingbird (2013)Whiskeytown – “Excuse Me While I Break My Own Heart Tonight” from From Stranger’s Almanac (1997)Ryan Adams – “Harder Now That It’s Over” from Gold (2002)K.D. Lang – “Sugar Moon” from Shadowland (1988)Nick Drake – “Which Will” from Pink Moon (1972)Big Thief – “Century” from U.F.O.F. (2019)Adrianne Lenker – “Terminal Paradise” from Abysskiss (2018)
More quality jamz... 1) I've Been Waiting For You by Neil Young 2) Easy Ride by Relatively Clean Rivers 3) Life on the Road by Man 4) The Fool by Quicksilver Messenger Service 5) Lately I by The Maldives 6) I Don't Want by Sir Douglas Quintet 7) Nevada Fighter by Michael Nesmith 8) Lonesome L.A. Cowboy by New Riders of the Purple Sage 9) Outlaw Man by David Blue 10) Lonesome Valley by Magnolia Electric Co 11) Country Moon Pt 1 by New Madrid 12) Old Man by Help Yourself 13) No Other by Gene Clark 14) Falling Rain by Reigning Sound 15) Hotel Chambermaid by Graham Parker & The Rumour 16) Morning Rain by The Hot Dogs
Disruptive Innovation Series: Day 5 The most significant discovery that is beneficial to our health is DNA. Science and technology have come together, using our DNA, to bring us a health product that is relevant, and in much need! There is NO OTHER company that has a product that can compete, and that has science and tech on its side. Disrupting the supplement industry? YES! I encourage you to see for yourself the impact this will make in an industry that was once untouchable, by watching the 90 second video! The Supplement that is going to disrupt an industry! Watch this 90 second video, and be informed! https://uforian.com/res/9051/83297?source=mobile
I Am God and there is No Other by Summit Park Bible Church
Customer service lines are FRUSTRATING, but this caller realizes the representative helping her has even BIGGER ISSUES than herself. Jubal poses as Barry, a phone help line employee like NO OTHER. Hear for yourself in the Phone Tap!
Desde "Islas de Robinson" mandamos un sincero abrazo a náufragos y robinsonas, compañer@s y diversos "héroes cotidianos" que en estos días dan lo mejor de sí para hacer que todo sea lo más seguro y llevadero posible. Nuestra legendaria cuña da nombre al programa de esta semana (el último por el momento hasta nueva orden). Sirva, de paso, para trasladar nuestro ánimo a sacar lo mejor de esta situación tan extraña y delicada. Resistan mucho y, esta vez sí que sí, "obedezcan"... Que impere el sentido común (gran opción a mantener también cuando el horizonte se vea al fin más claro). Suenan: GRATEFUL DEAD - "UNBROKEN CHAIN" ("FROM MARS HOTEL", 1974) / JONI MITCHELL - "TROUBLE CHILD" ("COURT AND SPARK", 1974) / THE BAND - "RAGS AND BONES" ("NORTHERN LIGHTS - SOUTHERN CROSS", 1975) / STEELY DAN - "ANY WORLD (THAT I'M WELCOME TO)" ("KATY LIED", 1975) / THOMAS JEFFERSON KAYE - "EASY KIND OF FEELING" ("FIRST GRADE", 1974) / GENE CLARK - "NO OTHER" ("NO OTHER", 1974) / TIM BUCKLEY - "LOOK AT THE FOOL" ("LOOK AT THE FOOL", 1974) / SLY & THE FAMILY STONE - "TIME FOR LIVING" ("SMALL TALK", 1974) / ROBERT PALMER - "HERE WITH YOU TONIGHT" ("PRESSURE DROP", 1975) / TRAFFIC - "DREAM GERRARD" ("WHEN THE EAGLE FLIES", 1974) / Escuchar audio
In this episode, we covered high-yield aspects of female reproductive physiology for the USMLE and COMLEX. Get ready to learn about topics like fertilization, physiologic changes of pregnancy – particularly related to the cardiovascular system – as well as molar pregnancy. Enjoy! Welcome to Physiology by Physeo (an InsideTheBoards podcast)! This show brings together some of the best boards-relevant content for physiology and pathophysiology from three innovative platforms: Physeo, InsideTheBoards, and Med School Phys. Having gone through the grind of med school ourselves, we understand the fast-paced lifestyle you're living right now, so our aim is to help the listener learn while on-the-go. By listening to our show, you'll be one step closer to slaying the USMLE. … Book Blurb - Read this before medical school: How to study smarter and live better while excelling in class and on your USMLE or COMLEX board exams Will medical school make or break you? Whether you’ve just gotten your acceptance or are already in the cadaver lab, you can get through (relatively) unscathed by learning from those who’ve already survived and thrived. Herein, we provide you with the hard-won tips, tools, and insights that helped us to excel during those four grueling years. Beyond providing study tips, we draw on inspiration from fields like psychology, neuroscience, education, business, and even self-help to assemble a complete guide to accelerate your development as a medical student and future physician. You’ll even get our personal recommendations for outside resources, such as specific websites and apps, that gave us a leg-up during medical school. NO OTHER book offers this much information, assembled together in one place, and without the fluff. Below are some of the key topics we chose to cover: 1) Study tips to help you sail through classes 2) Test-taking strategies to help you ace the USMLE and/or COMLEX board exams 3) Accelerated learning techniques like speed reading, memory palaces and concept maps 4) Time-management and productivity hacks 5) Tools for self-assessment to track your development 6) Advice on wellness, work-life balance, and burnout prevention We’ve been down this road before, and we can show you the best paths to travel, which ones to avoid, and which can take you all the way to the top. Book Links: Free PDF Summary- http://freemeded.org/medstudent/ Amazon- https://www.amazon.com/dp/B07YCXZM3X/ref=docs-os-doi_0 … Discounted Physeo Subscription for InsideTheBoards listeners Head over to Physeo's Website and sign up for a subscription. Use the code ITB25 to receive 25% off your subscription. Keep calm and watch Physeo. Legal Stuff InsideTheBoards and Physeo are not affiliated with the NBME, USMLE, COMLEX, NBOME or any professional licensing body. InsideTheBoards fully adheres to the policies on irregular conduct outlined by the aforementioned credentialing bodies. All information, content, and materials published by this podcast are for informational purposes only and are NOT intended to serve as a substitute for the consultation, diagnosis, and/or medical treatment of a qualified healthcare provider. Please consult your healthcare provider regarding personal medical decisions.
Rhiannon Giddens is a Grammy Award winning musician. She's in the Woman's Hour studio to perform a track from her new album “There is No Other”. She’ll be talking about her music, her career and why some of her best gigs have been inside prisons. This week there's been news of still births, neo-natal baby deaths, mothers dying during labour and children born with brain damage in Shropshire. It involved the Shrewsbury and Telford Hospital NHS Trust and it's widely been described as the largest maternity scandal in the UK. This week’s news has led to even more families getting in contact with lawyers asking for help. We speak to one solicitor in Shrewsbury called Beth Harrison, who says new enquiries are coming in every day. We also talk to Dr Bill Kirkup who chaired a major review into the Morecambe Bay scandal. Women in Data is an organisation which connects up women who work in the field of data. Research suggests that only 26% of people working in data in the UK are women. So why should women think about a career in data and what can they achieve? What's stopping girls from going into it as a profession?
DC’s Mike James and Mollie Ames discuss: How the FCC works is probably not at all what you think, and meanwhile, basing anything regulatory on "community standards" is total bullshit. (Part 1 of the Podcast only content) Living in a state of fear over local weather alerts exists only to drum up better ratings, as well as to drive any rational person insane. Camouflage, if only it made all the people who wear it everywhere actually invisible. Pulling out with the Defend Cleveland Show, is just the safest way to go. The stupid headlines of sports talk, and why would you serve a professional athlete any eggs at all if they're allergic to eggs? All frozen pizza is garbage, but not all bad pizza is awful (Special Report: Week 1 of Pizza Month) (Part 2 of the Podcast only content, begins around the 1:07:00 mark) Lachlan MacKinnon’s Let Me Tell You A Story: “Neighbors” (begins around the 1:23:00 mark) The best of all art appeals to the dumbest parts of who we are, and to the smartest aspects of who we are as well. "Load Management", the NBA story of the week, and why we had to save this actual sports story content for the podcast. (Part 3 of the Podcast only content, begins around the 1:55:00 mark) Baker Mayfield and the racism behind why he's so much more popular and marketable than QBs way better than him who are in a different color skin. Mollie’s Weekly Report: Bills Mafia comes to town and being in full stalker mode, and mustaches are the worst, just stop. (Part 4 of the Podcast only content, begins at the 2:35:00 mark) Realizing we are not having nightmares, we are actually having white-mares. Buffalo has the same depressed football culture as we do. In other words they do a whole bunch of dumb fan hobo shit too. The story of Deadspin's demise, Jim Spanfeller is a herb, and thanks to this corporate takeover we are now the only irreverent sports talk left. All this and so much more on this episode of the Defend Cleveland Podcast. Enjoy~ To contribute to this 100% listener supported show please go to our Patreon page by clicking here. Check out Lachlan MacKinnon’s best selling book, ‘Let Me Tell You A Story: Small Stories Of A Large Family’! Thank yous to 91.1-FM WRUW Cleveland for being home to the show, and to the city that inspires us, Cleveland, Ohio. Your recommended listening for the week is the new Gene Clark's 1974 absolute masterpiece (and arguably the single greatest country-rock album ever) "No Other", which is currently reissued on 4AD records. The intro and outro to Lachlan’s segment is the song “My Summer In Traction” by the band Ohio Civil War , and it’s used with permission.
Find out in this episode, the true significance of the Lord's Holy Days he said we should observe. Also find out why NO OTHER man made holiday matters. Galatians 1:10 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/idream/message
In this episode, we covered high-yield aspects of female reproductive physiology for the USMLE and COMLEX. Get ready to learn about topics like the menstrual cycle, granulosa cells, theca cells, anovulatory cycles, Turner syndrome, and more. Enjoy! Welcome to Physiology by Physeo (an InsideTheBoards podcast)! This show brings together some of the best boards-relevant content for physiology and pathophysiology from three innovative platforms: Physeo, InsideTheBoards, and Med School Phys. Having gone through the grind of med school ourselves, we understand the fast-paced lifestyle you're living right now, so our aim is to help the listener learn while on-the-go. By listening to our show, you'll be one step closer to slaying the USMLE. … Book Blurb - Read this before medical school: How to study smarter and live better while excelling in class and on your USMLE or COMLEX board exams Will medical school make or break you? Whether you’ve just gotten your acceptance or are already in the cadaver lab, you can get through (relatively) unscathed by learning from those who’ve already survived and thrived. Herein, we provide you with the hard-won tips, tools, and insights that helped us to excel during those four grueling years. Beyond providing study tips, we draw on inspiration from fields like psychology, neuroscience, education, business, and even self-help to assemble a complete guide to accelerate your development as a medical student and future physician. You’ll even get our personal recommendations for outside resources, such as specific websites and apps, that gave us a leg-up during medical school. NO OTHER book offers this much information, assembled together in one place, and without the fluff. Below are some of the key topics we chose to cover: 1) Study tips to help you sail through classes 2) Test-taking strategies to help you ace the USMLE and/or COMLEX board exams 3) Accelerated learning techniques like speed reading, memory palaces and concept maps 4) Time-management and productivity hacks 5) Tools for self-assessment to track your development 6) Advice on wellness, work-life balance, and burnout prevention We’ve been down this road before, and we can show you the best paths to travel, which ones to avoid, and which can take you all the way to the top. Free PDF Summary- http://freemeded.org/medstudent/ Amazon- https://www.amazon.com/dp/B07YCXZM3X/ref=docs-os-doi_0 … Discounted Physeo Subscription for InsideTheBoards listeners Head over to Physeo's Website and sign up for a subscription. Use the code ITB25 to receive 25% off your subscription. Keep calm and watch Physeo. Legal Stuff InsideTheBoards and Physeo are not affiliated with the NBME, USMLE, COMLEX, NBOME or any professional licensing body. InsideTheBoards fully adheres to the policies on irregular conduct outlined by the aforementioned credentialing bodies. All information, content, and materials published by this podcast are for informational purposes only and are NOT intended to serve as a substitute for the consultation, diagnosis, and/or medical treatment of a qualified healthcare provider. Please consult your healthcare provider regarding personal medical decisions.
Giddens shares songs from her latest album, There is No Other, in an emotional and transfixing performance at the Tiny Desk.
Giddens shares songs from her latest album, There is No Other, in an emotional and transfixing performance at the Tiny Desk.
Subscribe to get Notification in your E-mail Inbox: https://bloggingfire.com/podcast-in-your-inbox/ Why Site Loading Speed ⚡ Matters For SEO Performence Website speed is one of the most crucial elements for SEO. Better site speed leads to better user experience. According to me, No Other, ON Page Elements matters more than site speed because this is the very first thing that the user is going to experience when he lands to the website. For Example, A user lands on your website, and it takes 15 Seconds to loads. Then it makes, no sense to the user to stay there. The second reason why your website needs to load quickly is, It can increase or decrease your conversion rate. According to Amazon Case Study, Every single second, amazon.com load quickly thier conversion rate got boasted up by 1%. That's a lot of money, So site speed also affects your online revenue because a decrease in conversions means fewer sales. That's All for today. My Question to you is, What are your experiences with your website speed. let me know by replying to this email. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
In this episode, we covered high-yield aspects of male reproductive anatomy and embryology for the USMLE and COMLEX. Get ready to learn about topics like the urogenital ridge, the processus vaginalis, varicocele, hydrocele, testicular torsion, epididymitis, and more. Enjoy! Welcome to Physiology by Physeo (an InsideTheBoards podcast)! This show brings together some of the best boards-relevant content for physiology and pathophysiology from three innovative platforms: Physeo, InsideTheBoards, and Med School Phys. Having gone through the grind of med school ourselves, we understand the fast-paced lifestyle you're living right now, so our aim is to help the listener learn while on-the-go. By listening to our show, you'll be one step closer to slaying the USMLE. … Book Blurb - Read this before medical school: How to study smarter and live better while excelling in class and on your USMLE or COMLEX board exams Will medical school make or break you? Whether you’ve just gotten your acceptance or are already in the cadaver lab, you can get through (relatively) unscathed by learning from those who’ve already survived and thrived. Herein, we provide you with the hard-won tips, tools, and insights that helped us to excel during those four grueling years. Beyond providing study tips, we draw on inspiration from fields like psychology, neuroscience, education, business, and even self-help to assemble a complete guide to accelerate your development as a medical student and future physician. You’ll even get our personal recommendations for outside resources, such as specific websites and apps, that gave us a leg-up during medical school. NO OTHER book offers this much information, assembled together in one place, and without the fluff. Below are some of the key topics we chose to cover: Study tips to help you sail through classes Test-taking strategies to help you ace the USMLE and/or COMLEX board exams Accelerated learning techniques like speed reading, memory palaces and concept maps Time-management and productivity hacks Tools for self-assessment to track your development Advice on wellness, work-life balance, and burnout prevention We’ve been down this road before, and we can show you the best paths to travel, which ones to avoid, and which can take you all the way to the top. … Discounted Physeo Subscription for InsideTheBoards listeners Head over to Physeo's Website and sign up for a subscription. Use the code ITB25 to receive 25% off your subscription. Keep calm and watch Physeo. Legal Stuff InsideTheBoards and Physeo are not affiliated with the NBME, USMLE, COMLEX, NBOME or any professional licensing body. InsideTheBoards fully adheres to the policies on irregular conduct outlined by the aforementioned credentialing bodies. All information, content, and materials published by this podcast are for informational purposes only and are NOT intended to serve as a substitute for the consultation, diagnosis, and/or medical treatment of a qualified healthcare provider. Please consult your healthcare provider regarding personal medical decisions.
No Other
No Other
"#1 No Other (g)ods" Exodus 20:1-3 Danny Panter Associate Pastor, NextGen Marrieds & Community Missions
"#1 No Other (g)ods" Exodus 20:1-3 Danny Panter Associate Pastor, NextGen Marrieds & Community Missions
No Other
No Other
Evening Worship Service, No Other gods – John 2:8 – Pastor P Kloosterman
Complete show notes here! Welcome to the We Like Shooting show, Episode 300 – tonight we’ll talk about No Other choice firearms training, Tactical Glasses, Strike Industries, Reloaded ammo, LASRApp and more!Our Guest is John Wallace from LASRapp Co-creator of the Laser Activated Shot Reporter software. Our cast for episode 300 is Shawn Herrin, Aaron Krieger, … Continue reading "We Like Shooting 300 – Stealing Ducks"
Indie Dance/Afro House "No Other [17 Steps]","Polymod""Turn Around","DJ Shante""Back (Gerd Janson Remix)","Lorenz Rhode""Perth (Original Mix) (Running Back)","KiNK""Neutron Dance","Krystal Klear""Midnight Moving (2000 And One's 1984 Electro Synth Pop Mix) [PUREDV016]","Bart Skils""Who Run Tings","Shan""Those Days (Original Mix)","David Penn""What Da Hell (Original Mix)","Tommy Vee, Mauro Ferrucci & Keller""Tambaka (Original Mix)","Purple Pill""Gatluak (Nandu Remix) [MoBlack Records]","Nyaruach""La Mangueleña (Original Mix)","Gianni Romano & Emanuele Esposito Feat. Martina Camargo""Asembi Ara Amba (Henrik Schwarz Version)","Henrik Schwarz & Y-Bayani"
Richard East and Willow, Van Cat Meow Travelling Australia Richard East, also known as Van Cat Meow, is a nomad from Tasmania, which he describes as one of the last untouched wildernesses in the world. He says he and his cat Willow are no longer travellers, but ‘nomads.’ They travel around Australia in a van. Rich goes on to say, If you’d asked me when I was ten what I’d be doing in twenty years’ time, I suspect my answer would have been exactly this. Exploration and adventure — the kinds of things we lose sight of as we’re thrown into adulthood. But now, I feel like I have those things back, even though, two years ago, they seemed like an absurd and impossible dream. I didn’t know where I fit in the world. There was so much to be grateful for but I wasn’t grateful so I was on a quest to change my life. He envies the mind of a cat — unable to experience existential dread. Rich made a decision to leave it all—the Australian dream. A promise was made to look after Willow. "I realized how much this little cat meant to me. She has a beautiful personality and she's adapted to the lifestyle quite easily." (The nomad lifestyle of travelling in a van while taking in the Australian beauty.) An interesting read During Willow’s and my travels I lost a cousin to Motor Neurone Disease. We weren’t close and a reason for that is because we go through life saying, ‘oh ya, let’s get together soon’ and it never happens. I realized that life is too short and I need to do what I say. Motor neurone disease (MND) is the name given to a group of diseases in which the nerve cells - neurones - controlling the muscles that enable us to move, speak, breathe and swallow; undergo degeneration and die. It is a form of ALS. Rich just released a book about his struggles before traveling and he shares anecdotes. He also shares some of his adventures with Willow on their journey around Australia. The book, "Van Cat Meow: A Lost Man. A Rescue Cat. A Road Trip like No Other." His travels with Willow are entertaining and his love for his pet comes through loudly and clearly. Rich’s positive imprints are reaching around the globe. Take a listen to the podcast and learn more about his positive imprints. What’s your P.I.? Subscribe to my podcast and sign up for my email updates through my contact page or sign-up form below. Thank you! You can follow Rich and Willow on his social media and also purchase his products. Click on the icon to open a new page. Instagram: https://www.instagram.com/vancatmeow/ Website http://vancatmeow.com Facebook: https://www.facebook.com/VanCatMeow/ Motor Neurone Disease: https://www.mndaust.asn.au/Discover-our-research/Latest-research.aspx Please sign up! Podcast email updates! You can sign up for Your Positive Imprint email updates below. Emails are from me. Please post positive reviews on iTunes or your favorite Podcast platform! Please subscribe to this podcast by clicking on the Subscribe button at your favorite podcast platform! Thank you for the support!! Please enter your name. Please enter a valid email address. Sign up for Email updates Something went wrong. Please check your entries and try again.
In this episode Ryan and Rob sit back while the legendary Kevin Dixie delivers an epic interview about his life growing up in the center of St. Louis, MO and how he became a success against all odds. Kevin Dixie is the Founder of N.O.C. No Other Choice Firearms Training. Website: http://legendarymancave.com/ Become a Patron! Sponsered Links: Learn a new skill that can get you out of the same tired ratrace your in. Always be better and do better than the next guy and you will eventually be on top. Skillshare can help! Get 2 months free when you sign up through our link below. Show Notes: Links: No Other choice Firearms Training Website: http://www.nootherchoice.net/ No Other choice Firearms Training Facebook Page: https://www.facebook.com/KD-of-NOC-790744307800962/ Donations: https://www.patreon.com/NOCFIREARMS or https://www.paypal.me/nootherchoice or https://www.gofundme.com/aimingforthetruth
With some of the most historical landmarks and diverse culture, Egypt is a country to visit. One of the most exciting things you experience is the food. Thankfully you can forget about your passport and feast on nutritious and delicious offerings at Pot’s Restaurant. Owner Iman is a Professional Veggie Slayer who’s plate may be jammed packed with tons of responsibilities, but she’s still slaying veggies and takes her customers on a veggie-tastic voyage with every single bite. By mixing the familiar with the unfamiliar, she produces a taste like NO Other! #ProfessionalVeggieSlayer Class is in session, y’all!!! What do you do when you can’t find the food you want, you open your own restaurant. What Is This Week’s PPS (Powerful Produce Selection) Get Wellness Tips So You Can Get Ya Wellness This Summer Stay connected with Iman on social media!⠀ Instagram: https://www.instagram.com/potslasvegas Facebook: https://www.facebook.com/POTsLasVegas/ Website: https://potslv.com/ ⠀ Are you ready to get veggie with it? Class is in session! Do you constantly struggle with making healthy eating or lifestyle changes? Whether you’re someone who has a specific wellness issue you want to address, or you just need support and accountability to help you achieve your health goals, I’d love to help.HEAD TO www.veggiesarebae.com for low-cost holistic education courses or to www.thatveggiegurl.com to book a 1-on-1 session. Submit questions to: veggieschoolpodcast@gmail.com Let’s stay connected, y’all!!Social media FB-@letsvegaboutitpodcastInstagram-@letsvegaboutitpodcast Disclaimer: This Podcast is not intended to diagnose, treat, prevent or cure any illness or disease. The information provided in this program is for general wellness education purposes, it has not been reviewed nor approved by the FDA and is not intended to take the place of advice from your medical professional. You are solely responsible for your health care and activity choices. Listening to this show does not constitute a 1-on-1 coaching relationship.
FIGHT THE FUTURE: club classics. past. present. w/ Steve Callaghan
TRACKLIST FOR #014 00:00 - 1. Steve Angello Feat. Highly Sedated - "Flashing Lights" [Size] [2018] 04:46 - 2. Kaskade + Deadmau5 - "Move For Me" (Original Mix) [Ultra] [2008] 08:23 - 3. D Mob - "One Day" (Loveland Full on Vocal Mix) [FFRR] [1994] 14:48 - 4. Krystal klear - "Moonshake Miner" [Running Back] [2018] 18:30 - 5. Polymod - "No Other" [17 Steps] [2018] 23:30 - 6. ADMN - "Formant Groove" [Sampled Detroit] [2018] 26:26 - 7. Eli Brown - "Kingston Crunch" [Sola] [2018] 31:25 - 8. Shiba San - "Off" [Relief] [2018] 35:10 - 9. Undercatt - "Brittania" [Diynamic] [2018] 39:53 - 10. Rex The Dog - "Crasher" [Kompakt] [2018] 44:46 - 11. Golden Gilrs - "Kinetic" (Frank De Wulf Remix) [R&S Records] [1992] 49:52 - 12. Lifelike - "So Electric" [Different] [2007] 55:14 - 13. Avicii - "The Nights" [Universal] [2015] Follow Me: http://www.soundcloud.com/stevecallaghan http://www.mixcloud.com/stevecallaghan http://www.twitter.com/djstecallaghan http://www.facebook.com/stevecallaghanmusic
FIGHT THE FUTURE: club classics. past. present. w/ Steve Callaghan
TRACKLIST FOR #014 00:00 - 1. Steve Angello Feat. Highly Sedated - "Flashing Lights" [Size] [2018] 04:46 - 2. Kaskade + Deadmau5 - "Move For Me" (Original Mix) [Ultra] [2008] 08:23 - 3. D Mob - "One Day" (Loveland Full on Vocal Mix) [FFRR] [1994] 14:48 - 4. Krystal klear - "Moonshake Miner" [Running Back] [2018] 18:30 - 5. Polymod - "No Other" [17 Steps] [2018] 23:30 - 6. ADMN - "Formant Groove" [Sampled Detroit] [2018] 26:26 - 7. Eli Brown - "Kingston Crunch" [Sola] [2018] 31:25 - 8. Shiba San - "Off" [Relief] [2018] 35:10 - 9. Undercatt - "Brittania" [Diynamic] [2018] 39:53 - 10. Rex The Dog - "Crasher" [Kompakt] [2018] 44:46 - 11. Golden Gilrs - "Kinetic" (Frank De Wulf Remix) [R&S Records] [1992] 49:52 - 12. Lifelike - "So Electric" [Different] [2007] 55:14 - 13. Avicii - "The Nights" [Universal] [2015] Follow Me: http://www.soundcloud.com/stevecallaghan http://www.mixcloud.com/stevecallaghan http://www.twitter.com/djstecallaghan http://www.facebook.com/stevecallaghanmusic
Taking inspiration from the past but carving out a musical future, this is a neon lit Future Disco Radio show. Showcasing each month the best in future disco sounds from emerging producers and future disco favourites. Hosted by compiler and disco digger Sean Brosnan plus a guest mix from Kraak & Smaak 01) Synapson ft. Holly - Hideaway (Cassara Remix) [Parlophone]02) Amp Fiddler - Steppin (Future Disco Piano Edit) [Future Disco]03) Harry Wolfman - Stromboli [Toy Tonics]04) Kevin McKay - Run & Hide (House Mix) [Nervous Records]Guest Mix: Kraak & Smaak05) Polymod - No Other [17 Steps]06) Joseph Ashworth - Cascade (Bizarre Love Remix) [ID]07) Talaboman - Brutal Chugga Chugga (L.B. Dub Corp Remix) [R&S Records]08) DJ Koze - Pick Up (12" Extended Disco Version) [Pampa Records]Star Of The Future: Perel09) Perel - Myalgia [DFA Records]
"DDM" DOUBLE DOSE MUZIC...Is the Medicine that the people need, Just What the Doctor ordered! The Group Members Ty Flemmings aka T.Y./MR.VOCALS and Mike Rawls aka MIKE RAW/RAWSTIEN.. Two Talented Good Dudes From Philadelphia that are bringing that Feel good Music back to the music scene. Fusing Hip Hop n R&B like No Other with an Edge to it, their Songwritting Abilities, MCeeing and Singing make up the Perfect blend n Chemistry that is Double Dose.. These two Guys are no strangers to the Music Game, Seperately they've Rubbed elbows n Rocked stages with the likes of such Artists as Lil Wayne, Young Chris and Scratch Formerly of The Roots Crew just to name a few... But Now T.Y. n Mike Raw have joined Forces about 2 years ago and formed the group/duo DDM, Double Dose Muzic and also an Entertainment Company WHAM ON'EM ENT.. And they are on a Quest of their own for Greatness! So be on the look out for "DDM" cause these Guys are Making Moves and are on their way to Big things for sure!
Paul Barker preaching on Deuteronomy 4:1-40 'There is No Other'
Tonight on Let's Talk Love, Sex and Nutrition we pay honored to The Legendary Prince. Are hearts are heavy, but we rejoice because we had the opportunity to LOVE and experience him in our lifetime. He was that catalyst for the grown folk "get down"! The "Do YOU BABY...LIKE YOU'VE NEVER BEEN DONE BEFORE Man! Tonight we celebrate the gift of the man we all so affectionately called Prince. A man that could mesmerize that inner "freak", and bring it out like NO OTHER! We're setting the mood tonight for some HOT and Juiciness! Join us as we celebrate the music and share memories of Prince on Let's Talk Love, Sex and Nutrition #LoveSexandNutrition
Hoy dedico el programa a las muejeres que publicaron su música en los 90s. En esta primera parte viajo desde el 1990 hasta el 95. Tracklist: 1. JJ FAD - Gold (Not Just A Fad) 1990 2. NIKKI D - Hang On Kid(Daddy´s Little Girl) 1991 3. SISTER SOULJAH – 360 Degrees Of Power (360 Degrees Of Power) 1992 4. YO-YO – Ibwin´Wit My Crewin´ (You Better Ask Somebody) 1993 5. QUEEN LATIFAH – Just Another Day (Black Reign) 1993 6. MC LYTE – Hard Copy (Ain´t No Other) 1993 7. MONIE LOVE – Born 2 B.R.E.E.D. (In A Word Or 2) 1993 8. SALT N PEPA – Shoop – Guru´s Remix (Very Necessary) 1993 9. NEFERTITI – Mecca To Watts (L.I.F.E. Living In Fear Of Extinction)1993 10. GRIPSTA – Pop Goz The 9 (Maxi: Pop Goz The 9)1994 11. SHANTE – Big Mama (The Bitch I Back) 1995 12. MIA X – Yo Boyz (Good Girl Gone Bad) 1995 13. LADY APACHE – Rock And Comeen (Alexander Circuit Power) 1995 14. LIN QUE – Par Ley (Let It Fall Remix) 1995 15. MC LYTE, MESHELL NDEGEOCELLO, NEFERTITI, PATRA, QUEEN LATIFAH, SALT N PEPA, TLC & YO-YO – Freedom -Theme from Panther (OST Panther) 1995 Visita: http://paranoiahiphop.com
Mark Gluth is the guest. His new novel No Other is available now from Sator Press. Kate Zambreno says "In Mark Gluth's beautiful family gothic No Other, the reader encounters a landscape of mood and mystery, burning with a stripped-down pain. Gluth's sentences devastate in their raw economy, attempting to penetrate the everyday, tracing abbreviated existences struggling to survive through bare seasons." And Blake Butler says "In clipped, incantatory verse shined from whorls somewhere between Gummo and As I Lay Dying, Mark Gluth's No Other invents new ambient psychological terraforma of rare form, a world by turns humid and eerie, nowhere and now, like a blacklight in a locked room." Monologue topics: the holidays, Santa, mail, answering questions with questions. Learn more about your ad choices. Visit megaphone.fm/adchoices
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
--{ Be Prepared -- Make People Scared: "Now We're All Familiarized With a Police Who've been Militarized, They're Moving On, Flawless, Without Error, Militarizing Children for a War on Terror, Baden-Powell Would be Proud, Loved Uniforms and Order, His Scouts to Unify World in a Time of No Border, These Empty Mini-Stasi Already Love Big Brother, Will Turn In Parents, Neighbours, Loyal to No Other, From Cartoon Heroes to Real Guns, Children All the Same, Betwixt Fantasy and Reality, Life is Still a Game, Pentagon's Behind it, Preparing Long-Term Strategy, When Created Shortages Hit, Beginnings of Tragedy, Predicted Thirty Years of Rioting, Starting in Due Time, Enter the Brainwashed Young Thugs to Keep People in Line" © Alan Watt }-- Transition Phase, Upheaval - Jacques Attali, Next Boat People are Americans Looking for Work, Corporate Employment - EU. Orwell's "The Last Man" (1984), Torture, Belief in New Reality, Loving Big Brother. Voting, Politicians, Upper Class Psychopaths - Gulf War I and II, Lies - CFR - Obama, Guantanamo Prison Inmates, Torture, Military Tribunals - Abu Ghraib. Movies, Violence, Desensitization - Training Children for Changes - Julian Huxley, UNESCO - Boy Scouts, Uniformed Youth, Lord Baden Powell (Loved Hitler and Mussolini). Chinese Cultural Revolution - "The Ogre" movie - Militarized Boy Scouts and Explorers, Border Patrol / Terrorism / Drug Raid Exercises - Pedophilia - Police Officers, Predators. Darwin, Theory (Religion) of Evolution, Eugenics - Executions in Soviet Union and China, Population Reduction - Creation of Apathy - Superficial Acting, Conditioned Responses. (Articles: ["Obama restarting Guantanamo" (timesonline.co.uk) - May 15, 2009.] ["Robert Baden-Powell, 1st Baron Baden-Powell" (wikipedia.org).] ["Scouts Train to Fight Terrorists, and More" [Explorer-Scouts Train in Post-9/11 Law Enforcement Methods] (nytimes.com) - May 14, 2009.] [Video: "GHOSTS OF ABU GHRAIB" (video.google.com) - Feb. 7, 2009.]) *Title/Poem and Dialogue Copyrighted Alan Watt - May 15, 2009 (Exempting Music, Literary Quotes, and Callers' Comments)
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