Podcasts about Percy Faith

Helen and Gavin chat about Murderbot, Until Dawn, and Final Destination: Bloodlines, and it's Week 3 of the list of Grammy Record of the Year Winners from 1961, which will be picked from Georgia on my Mind by Ray Charles, Theme From a Summer Place by Percy Faith, Mack the Knife by Ella Fitzgerald, Are You Lonesome Tonight by Elvis Presley, and Nice 'n' Easy by Frank Sinatra.

Songs include: The Third man Theme by Anton Karas, Ruby by Richard Hayman, The Syncopated Clock by Leroy Anderson, Swedish Rhaposdy by Percy Faith, Dragnet by Ray Anthony and Melancholy Serenade by Jackie Gleeson. 

Dans cet épisode, la cheffe et pizzaiola Carla Ferrari continue à nous distiller ses inspirations culturelles italiennes :Le péché mignon de la Cheffe ce sont les Ziti alla Genovese, ces pâtes très longues qui se cassent à la main, cuisinées avec un ragoût d'oignons et de viande !Ses traditions culinaires « di Natale » : le plateau de fruits de mer « alla francese », mais aussi la minestra maritata : une soupe aux choux de mariage divine, qui se savoure aussi durant les fêtes !Le Chef italien dont elle admire la cuisine est Enrico Crippa dont elle a eu la chance de découvrir son univers gastronomique dans son restaurant « Piazza Duomo » à Alba (Trois étoiles au Guide Michelin). Elle recommande de vivre l'expérience du menu « Carrousel » !Les livres qui racontent son Italie : La saga d'Elena Ferrante « L'amie prodigieuse » qui fête les 10 ans de sa sortie en France cette année, et « L'Artusi », l'abécédaire de la cuisine italienne !Le film qui dépeint l'Italie avec le plus de vérité : « C'è ancora domani » de Paola Cortellesi (2023) sur l'instauration du droit de vote des femmes en Italie en 1946.Les comptes Instagram qui illustrent le mieux l'art de vivre à l'italienne : « Il y en a deux que j'adore particulièrement : @italysegreta & @vita________lenta ! Ce sont des vrais moments de vie qui ont été captés avec un œil poétique et artistique. »Les personnalités qui seraient les prochains invités idéaux du podcast : Le chef Simone Tondo du restaurant Racines ou la productrice d'huile d'olive « Le Amantine », Anna Marina Gioacchini.Conçu, réalisé et présenté par Claire PlantinetMontage Générique : François PraudMusique : Happy Clapping Cinematic Score / PaBlikMM / Envato ElementsCréation visuelle : Thomas JouffritPodcast hébergé par Ausha.· Archives épisode :© Extraits Interview Enrico Crippa par S.Pellegrino & Acqua Panna, extrait morceau « Les Quatre Saisons » de Vivaldi -1er mouvement « Le Printemps » (revisité par Max Richter), Film « C'è ancora domani » de Paola Cortellesi (Wildside; Vision Distribution), Morceau « Nella città » BO du film « C'è ancora domani », Morceau « A Summer Place » de Percy Faith & son orchestre.· Contattami, Scrivimi !Retrouvez allora sur Instagram @allora.lepodcast & Facebook @alloralepodcast !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Over two and a half hours of non stop commercial free traditional Christmas music! Artists include Percy Faith and His Orchestra, Burl Ives, The Ray Conniff Singers, Dean Martin, Andy Williams, Lou Rawls, Mitch Miller and the Gang, Darlene Love and more! This is a custom mix I created from dozens of old Christmas albums and cassettes I grew up with. This show is unhosted and the Christmas music is uninterrupted. Enjoy!

Over two hours of non stop commercial free Christmas classics! Artists include Percy Faith and His Orchestra, Burl Ives, The Ray Conniff Singers, Dean Martin, Andy Williams, Lou Rawls, Mitch Miller and the Gang, Darlene Love and more! This is a custom mix I created from dozens of old Christmas albums and cassettes I grew up with. This show is unhosted and the Christmas music is uninterrupted. Enjoy!

Episode 300, Percy Faith, showcases the surprising range of music produced by one of the 20th century's most important orchestra leaders. Recordings include Theme From A Summer Place, The Theme From Moulin Rouge, Do You... Read More The post Episode 300, Percy Faith appeared first on Sam Waldron.

0:00 Nina Simone - Images (Live In New York, 1964) 2:33 Patti Page - Old Cape Cod 5:38 Flora Martinez - Take My Breath Away 8:58 Pink Martini - Let's Be Friends 11:52 Nicole Croisille, Pierre Barouh - Un homme et une femme 14:29 Joao Gilberto - Tin Tin Por Tin Tin 20:15 Percy Faith & His Orchestra - The Theme from "A Summer Place" (Single Version) 22:29 Organica - In a Manner of Speaking 26:14 Alain Goraguer - Black March (Bande originale du film "L'eau à la bouche") 27:40 Georges Garvarentz - Modigliani blues (From "Le Tatoué") 30:49 Dianne Reeves - Too Close For Comfort (Album Version) 34:28 Anita O'Day - Waiter, Make Mine Blues 37:46 Edna Vazquez, Pink Martini - Bésame Mucho 41:44 Connie Francis - Siboney 44:31 Henry Mancini & His Orchestra - Champagne And Quail 47:13 Flora Martinez - You Belong To My Heart - Solamente una Vez 52:53 Astrud Gilberto - (In Other Words) Fly Me To The Moon 55:10 Nino Rota - La Dolce Vita (In Via Veneto) (From "La Dolce Vita" Soundtrack) 56:05 Miriam Makeba - My Angel (Malaika) 59:19 Marjan Farsad - Khooneye Ma 1:03:40 Connie Francis - There's No Tomorrow 1:06:34 Astrud Gilberto - Love Is Stronger Far Than We 1:10:07 PIERO UMILIANI - RICORDANDOTI 1:12:58 Darcelle XV, PInk Martini - What'll I Do 1:16:06 Ennio Morricone & His Orchestra - Chi Mai 1:19:30 Nancy Sinatra - As Tears Go By 1:22:09 Dianne Reeves - One For My Baby (Album Version) 1:25:44 Nancy Wilson, Cannonball Adderley - Save Your Love For Me

David Eisenstadt is a PR/Communications expert. He also has music in his blood. For this reason, he decided at 76 years-old to start writing a book, which he called: Under the Radar: 30 Notable Canadian Jewish Musicians. Once that was done, he set about writing his second book called: Musicians Under the Radar: 36 Notable Canadian Jewish Performers. Some of the musicians/performers David has written about include: Percy Faith, Ofra Harnoy, Corey Hart, Rick Moranis, Steven Page and William Shatner. The book has endless number of interesting tidbits. Give it a read. Well worth it.

Otis Blackwell already was an established songwriter in June 1959 when he changed the life of a young doo-wop singer from Alabama. One of the top 1950s songsmiths whose work influenced early rock and roll, Blackwell already had written the sultry “Fever,” which was to be the signature hit for Peggy Lee. He also had penned “Great Balls of Fire” for Jerry Lee Lewis, not to mention “Don't Be Cruel,” which began his lucrative association with Elvis Presley through his followups like “All Shook Up” and “Return to Sender.”By contrast, singer Jimmy Jones, though the same age as Blackwell, had had none of his success. Coming to New York from Birmingham as a teenager, Jones' first gig in Gotham was as a tap dancer. Then he joined a doo-wop group in 1954, before going solo five years later.How the Song HappenedThat is when Jones connected with the MGM affiliate label Cub Records. There he met Blackwell with whom he wrote "Handy Man," the tune that would become the defining song of Jones' life and career.Blackwell produced the disc and also made an unplanned cameo appearance on the record: When a flute player hired for the session didn't show up, Blackwell stepped in to provide a whistling part that helped make the song a hit. “Handy Man" became a million seller, climbing to No. 2 on the Cash Box pop charts of Feb. 27 and March 5, 1960. (It easily could have gone all the way to No. 1, except that 64 years ago this week was the start of the eight weeks in which it competed with the chart-topping “Theme From 'A Summer Place'" by Percy Faith and his orchestra.)Other CoversJones could never quite repeat his “Handy Man” success, but his song did have some notable rebirths. Del Shannon had a hit with it in 1964; then more than a decade later, James Taylor charted with a slower, soulful rendition in 1977.Comparing the Jimmy Jones original with James Taylor's work, AllMusic critic Jason Elias commented, "Where Jones's version was chipper and a little obnoxious," Taylor's take was "so laid back it's almost somnolent."The LawsuitJimmy Jones pretty much dropped from public view after the early 1960s. That is until a quarter of a century later, when he made headlines with a lawsuit. Jones sued British rocker Boy George, claiming that Culture Club plagiarized "Handy Man" with its hit "Karma Chameleon." The suit claimed the "Karma Karma Karma Karma Karma Chameleon" part of Culture Club's tune was too similar to the "Come-a come-a come-a come-a come come a-come-a" part of “Handy Man.”The parties settled out of court. Boy George always has insisted he did nothing wrong. "I might have heard it once, but it certainly wasn't something I sat down and said, 'Yeah, I want to copy this.'” The settlement with Jones, he added, consisted of "10 pence and an apple." Our Take on the TuneYou never really forget the songs of your youth. Charlie was 10 years old in the summer of ‘59 when this tune hit the radio.It was such a hoot when he brought the song to a joyous recent Flood rehearsal so we could all take it for a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

My dear friend and colleague soprano Sarah Pillow introduces one of her favorite Countermelody programs, which I repost as the first of this month's Listeners' Favorites episodes. Since Sarah is herself an enormously eclectic singer, it's entirely fitting that she should choose to foreground Eileen Farrell. The American dramatic soprano Eileen Farrell (1920–2002) was one of the finest and most versatile singers the United States has ever produced. Her singing career lasted more than fifty years, and this episode covers the entire chronological range of that career, from her early work as a radio singer in the 1940s to her final pop albums in the 1990s. While the episode focuses on her crossover work (and includes work by, among others, Harold Arlen, Jule Styne, Alec Wilder, George Gershwin, Rodgers and Hart, as heard on two of her lesser-known pop albums with Percy Faith and the late André Previn), we also sample her opera and concert work, with examples from Verdi and Wagner to Debussy and Charpentier, to Barber and Menotti. A late reunion with her favorite conductor Leonard Bernstein caps the episode. In all her singing Farrell combines ease of delivery and a relaxed, insouciant response to the words and music with a vocal and interpretive precision that inevitably strikes a bullseye. Bow down to the Queen of Crossover, nay, the Queen of Song!

A look at every number one song from the Rock Era that has been at number one on Leap Day. 18 songs spanning the 68 years between 1956-2024. Leap Day number one artists include Van Halen, The Beatles, Beyonce, Percy Faith, Harry Nillson, Queen, George Michael, Lonestar, Outkast, Maroon 5, Justin Bieber and more!

OK, it isn't rock music, but the Soundtrack to "Saturday Night Fever" was a tremendously successful album both commercially and critically, and it had a major impact in popular culture of the later 70's.  The theatrical release of the movie actually went back to December of 1977, but it was the winner of the Grammy Award for Album of the Year in February 1979, one of only three soundtrack albums to do so.  Composed by the Bee Gees and prominently featuring that band, this soundtrack is the second-best selling of all time behind "The Bodyguard."  The Bee Gees actually didn't get involved with the film until it was in post-production.  John Travolta was dancing to Stevie Wonder and Boz Scaggs when the scenes were filmed.  Columbia Records refused legal clearance for Scaggs material because they were pursuing another disco movie at the time, and the Bee Gees were commissioned to write the songs for the film.  The brothers Gibb wrote the songs primarily in a single weekend.  The resulting success would change the trajectory of both the Bee Gees and actor John Travolta.  The Bee Gees would become a group often compared to the Beatles in the late 70's.  Travolta, already well known for his role in the television series "Welcome Back, Kotter," would become an A-list celebrity and a household name.In 2013 the album was added to the National Recording Registry in the Library of Congress for preservation.Lynch is responsible for this travesty, as the other participants do so under protest.  Support your local rock band, folks! Night FeverThis song was originally called "Saturday Night," but Robin Gibb was concerned about that name because of the number of songs already bearing the name.  "Night Fever" was inspired by Percy Faith's "Theme from 'A Summer Place'", and it spent 8 weeks at the top of the Billboard charts.How Deep Is Your LoveThis pop ballad was released in September of 1977, ahead of the movie.  It had hit the top of the Billboard Hot 100 by Christmas Day of 1977, remained there for 3 weeks, and spent 17 total weeks in the top 10.  Barry Gibb has commented that this is his favorite Bee Gees song.  It won Best Pop Performance by a Group at the February 1978 Grammy awards.You Should Be DancingPrior to their involvement with the "Saturday Night Fever" soundtrack, the Bee Gees first released this track on their album "Children of the World" in 1976.  This is the song playing when Travolta takes over the disco dance floor. Jive Talkin'Here is another song that had been previously issued before the soundtrack was released.  The lead single from the album "Main Course" was released in May 1975, long before "Saturday Night Fever."  The song was originally called "Drive Talking," and the rhythm was inspired by the sound the band's car made crossing the Julia Tuttle Causeway as they traveled to the studio in Miami. ENTERTAINMENT TRACK:Dancing Queen by ABBAA mockumentary called "ABBA:  The Movie" was in the theatres at this time in the U.S. STAFF PICKS:Is She Really Going Out with Him by Joe JacksonWayne gets the staff picks going with a song that asks why good looking women date horrible men.  Joe Jackson is often confused with Elvis Costello, another artist releasing albums at the time.  This is Jackson's debut single from his debut album, "Look Sharp."The Gambler by Kenny RogersBruce brings us Kenny Roger's signature song.  Songwriter Don Schlitz wrote this song in 1976 and it was recorded by several musicians including Johnny Cash before Rogers took it to number 1 on the country charts and number 16 on the Billboard Hot 100.  The gambler looks through life through the lens of poker, knowing "every hand's a winner, and every hand's a loser," and of course "you've got to know then to hold 'em, know when to fold 'em."Stumblin' In by Chris Norman and Suzi QuatroRob's staff pick is the sole top 40 hit by female rock pioneer Suzi Quatro, and Norman's only hit outside of his previous band, Smokie.  This duet made it to number 4 on the Billboard Hot 100.  Both singers have a smoky vocal sound.Do You Think I'm Sexy? by Rod StewartLynch notes Stewart's ability to surf the waves of popularity with this staff pick.  While Rod Stewart honed his craft in the rock genre, he achieved both popularity and notoriety with his polarizing choice of embracing disco music in the late 70's.  Today this song remains one of his most popular tunes. INSTRUMENTAL TRACK:Pegasus by The Allman Brothers BandThe Allman Brothers were decidedly NOT a disco band in this instrumental jam. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Greta Gerwig is the director of the feature film Barbie - the first woman in cinematic history to have the sole director's credit for a billion dollar blockbuster. Her previous films include Lady Bird, inspired in part by her own childhood, and Little Women, a widely acclaimed adaptation of the much-loved novel. Greta was born and brought up in Sacramento in California. Her parents encouraged her love of the arts and she started trying to direct her friends in productions while she was still in kindergarten. She studied English and Philosophy at Barnard College in New York where she started acting and writing.After she graduated she appeared in a series of low budget, improvised, so-called mumblecore films, noted for their often low-key naturalistic style. Her solo directorial debut came in 2017 with Lady Bird, starring Saoirse Ronan and Laurie Metcalf. The film won two Golden Globe Awards and was nominated for five Academy Awards. Her follow up film, Little Women, received six Academy Award nominations including Best Picture and Best Adapted Screenplay.Greta has been named president of the jury for next year's Cannes Film Festival. She lives with her partner, the writer and director Noah Baumbach, and two sons in Manhattan. DISC ONE: Opening: I Hope I Get It - Don Pippin, A Chorus Line Orchestra, A Chorus Line Ensemble DISC TWO: Pinball Wizard - The Who DISC THREE: Sleigh Ride - Johnny Mathis, Percy Faith & His Orchestra DISC FOUR: And The Grass Won't Pay No Mind - Elvis Presley DISC FIVE: Moonage Daydream - David Bowie DISC SIX: Top Hat, White Tie and Tails - Johnny Green & His Orchestra, Fred Astaire DISC SEVEN: Camelot: Finale Ultimo - Camelot Orchestra conducted by Franz Allers, Original Broadway Cast of Camelot DISC EIGHT: Ain't Got No / I Got Life - Nina Simone BOOK CHOICE: The Complete Poems: Emily Dickinson LUXURY ITEM: A writing set CASTAWAY'S FAVOURITE: Sleigh Ride - Johnny Mathis, Percy Faith & His Orchestra Presenter Lauren Laverne Producer Paula McGinley

The Word–Fr Tony Percy–Faith (Fr Tony reflects on the events leading to the first Christmas and the faith of Mary and Joseph. After the angel came to Mary, Mary broke through her fear as did Joseph, and Mary said, "Yes, I will do what is being asked of me." heaven knows what she thought at that time. Then in obedience to a census they went down the Jordan Valley for a good walk, probably about a hundred kilometres or so, which would have taken a few days, to arrive in Bethlehem. Bethlehem, we think the name means the city of bread. So how appropriate that Jesus, who would later in life go on to call himself the bread of life was born in the city of bread, Bethlehem. The word Joseph means God will add. The word Jesus, of course, means God saves. And then the word Christ means the anointed one. As John Chrysostom said, forget about trying to get your mind around it, it's faith and of course faith is a light. Reason's a light too, but faith is a much more powerful light. Faith gives us a great light to see God, but also to see ourselves and to see others in the human condition. The baby Jesus is completely dependent on Mary and Joseph, so let's have a look around this Christmas to see who is dependent on us and let's try and respond to the needs of those people as Mary and Joseph responded to the needs of the baby Jesus, the child Jesus.)

Menú selecto de novedades y algunas giras recomendadas.Playlist;TV’S DANIEL “Usual students” (Never change, 2023)TAXI GIRLS “Stay with me” (Coming up roses, 2023)SICK THOUGHTS “I hate you” (Heaven is no fun, 2022)FRUSTRATION “We have some” (Relax, 2008)MASTER PLAN “14th Street” (Gran cru, 2023)FULL TIME MEN “We were using” (adelanto del álbum “Part time job”)THE WOGGLES “Mr last chance” (single, 2023)MESSER CHUPS “Hard times for Dracula” (Blood and black lace, 2023)MESSER CHUPS “Blue velvet” (Night rider, 2023)Versión y Original; TONY BENNET with Percy Faith & His Orchestra “Blue velvet” (1951)THE RUBINOOS “Do you remember” (From home, 2019)THE RUBINOOS “Sugar sugar” (The CBS tapes, 222)VELVET CRUSH “Hold me up” (Teenage symphonies to God, 1994)ALLAH-LAS “Dust” (Zuma 85, 2023)LUNA “Chinatown” (Penthouse, 1995) Escuchar audio

Las grandes Orquestas del mundo en escena, gracias a su conductor Carlos Bautista

National gorgeous grandma day. Entertainment from 1953. Gimili Glider, !st swimming pool in US, Ice cream cone invented. Todays birthdays - Ronnie Cox, Edie McClurg, Woody Harrelson, Slash, Philip Seymour Hoffman, Alison Krauss, Omar Epps, Michelle Williams, Daniel Radcliffe. Ulysses S Grant died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/She's a beauty - The TubesWhere is your heart - Percy Faith & his orchestraIt's been so long - Webb PierceBirthdays - In da club - 50 Cent http://50cent.com/Sweet child o mine - Guns N RosesNothing at all - Alison KraussSay my name - Destiny's ChildExit - It's not love - Dokken

Í byrjun þáttar var leikinn pistill Páls Zóphóníassonar, búnaðarmálastjóra og alþingismanns, um ástand túna og heyskap sumarið 1951. Ólafur Örn Haraldsson, útivistarmaður og fyrrverandi forseti Ferðafélags Íslands, sagði frá Jarlhettum og svæðinu þar í kring. Jarlhettur eru móbergstindar suður af Langjökli og þar er einstök fegurð og ró. Björn Malmquist, fréttamaður í Brussel, fjallaði um leiðtogafund Atlantshafsbandalagsins í síðustu viku og lék brot úr viðtali sem hann átti við Svetlönu Tsíkhoniskayu, útlægan leiðtoga stjórnarandstöðunnar í Belarús. Ragnheiður Jóna Ingimarsdóttir, sveitarstjóri í Þingeyjarsveit, sagði frá lífinu og tilverunni í þessu landmesta sveitarfélagi landsins. Tónlist: Theme from A summer place - Percy Faith, He?ll have to go - Jim Reeves, I?m sorry - Brenda Lee, New kid in town - Eagles. Umsjón: Björn Þór Sigbjörnsson.

Í byrjun þáttar var leikinn pistill Páls Zóphóníassonar, búnaðarmálastjóra og alþingismanns, um ástand túna og heyskap sumarið 1951. Ólafur Örn Haraldsson, útivistarmaður og fyrrverandi forseti Ferðafélags Íslands, sagði frá Jarlhettum og svæðinu þar í kring. Jarlhettur eru móbergstindar suður af Langjökli og þar er einstök fegurð og ró. Björn Malmquist, fréttamaður í Brussel, fjallaði um leiðtogafund Atlantshafsbandalagsins í síðustu viku og lék brot úr viðtali sem hann átti við Svetlönu Tsíkhoniskayu, útlægan leiðtoga stjórnarandstöðunnar í Belarús. Ragnheiður Jóna Ingimarsdóttir, sveitarstjóri í Þingeyjarsveit, sagði frá lífinu og tilverunni í þessu landmesta sveitarfélagi landsins. Tónlist: Theme from A summer place - Percy Faith, He?ll have to go - Jim Reeves, I?m sorry - Brenda Lee, New kid in town - Eagles. Umsjón: Björn Þór Sigbjörnsson.

"Meet Me in St. Louis" fue el mejor de los musicales de época de MGM de la década de los años 40 y el primero de los grandes musicales cinematográficos. La película cuenta la historia de la familia Smith y sus crisis domésticas. Con José Manuel Corrales.

The inexplicably popular Percy Faith returns to the podcast with another eeeeeasy listening adventture into the world of cinema. This time with can-can dancers, Australian maximalist directors, and French artists that cruel film trailer voiceovers refer to as "grotesque." 

The king welcomes history podcaster Rudyard Lynch, host of the WhatIfAltHist YouTube channel. He began it to ruminate about the big "what ifs" of history, but recently moved on to geopolitics, philosophy, demographics, and other issues focused on the big-picture trends changing our society and our world.Jon then rambles on about all the stuff in the news: the end of Title 42, illegal immigration, Fox News's travails, and more. Subscribe to the King of Stuff Spotify playlist featuring picks from the show. This week's track is “Percy Faith” by Damien Jurado.For video versions of the interviews, subscribe to Jon's YouTube or Rumble channel!

BRUNO MARS, 50 CENT, PHIL COLLINS, MINNIE RIPERTON, THE SUPREMES, ROLLING, BEATLES, FRANK QUINTERO, DWAN, DEODATO, CARPENTERS, GUILLERMO DAVILA, JOSE LUIS, PAUL ANKA, TONY BENNETT, PRESLEY, ANTONIO PRIETO, AMERICA, JOAN JETT, JENNIFER LOPEZ, ARAGON, LITTLE RICHARD, CARL PERKINS, TRINO MORA, RIGHETEOUS BROTHERS, GLORIA ESTEFAN, CELINE DION, JUANES, JUAN LUIS GUERRA, JANET JACKSON, EXTREME, FRANCO DE VITA, LADY GAGA, CESAR COSTA, HUGO BLANCO, PERCY FAITH, DEL SHANNON, EMILITA DAGO, ... Y MUCHO MAS! DE COLECCION! --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

No dance/disco or crunchy guitar instrumentals - your light & easy-ish favorites! ENTRY OF THE GLADIATORS  United States Marine BandBABY ELEPHANT WALK  Henry ManciniRONDO ALLA TURCA  Van CliburnCHARIOTS OF FIRE  VangelisSYMPHONY NO. 40 IN G MINOR  Wolfgang Amadeus MozartJAVA  Al HirtTUBULAR BELLS  Mike OldfieldPOPCORN  Hot ButterOUR WINTER LOVE  Bill PursellMIA & SEBASTIAN'S THEME  Justin HurwitzJOY  Apollo 100THROWIN' IT DOWN  Wayman TisdaleTHEME FROM LOVE STORY  Francis LaiLA MARSEILLAISE  United States Marine BandFÜR ELISE  Daniel BlumenthalGONNA FLY NOW  Bill ContiEASY WINNER  Scott JoplinWAS DOG A DOUGHNUT  Cat StevensIN THE MOOD  The Glenn Miller OrchestraMORNING DANCE  Spyro GyraIN THE HALL OF THE MOUNTAIN KING  The Berlin Philharmonic OrchestraALLEY CAT  Bent Fabric and His PianoTORREADOR MARCH  Georges BizetTHEME FROM A SUMMER PLACE  Percy Faith and His OrchestraLIEBESTRAUM  Van CliburnLOVE IS BLUE  Paul MauriatLAST DATE  Floyd CramerLOVE THEME FROM ST. ELMO'S FIRE  David FosterLINUS AND LUCY  The Vince Guaraldi TrioTHE ENTERTAINER  Marvin HamlischPETER AND THE WOLF - THE BIRD  Eugene OrmandyHABANERA  The London Philharmonic OrchestraRIDE OF THE VALKYRIESSABRE DANCEWILLIAM TELL OVERTURESONGBIRD  Kenny GLOVE THEME FROM ROMEO AND JULIET  Henry ManciniALSO SPRACH ZARATHUSTRA  The Berlin Philharmonic OrchestraTHE BLUE DANUBECHASE  Giorgio MoroderCHICAGO SONG  David SanbornFEEL SO GOOD  Chuck Mangione RISE  Herb AlpertTHE RAIDERS MARCH  John Williams and The Boston Pops OrchestraSTAR WARS  The London Symphony OrchestraMARCHTREPAKDANCE OF THE MIRLITONSWALTZ OF THE FLOWERSDANCE OF THE SUGAR PLUM FAIRIESCHILDREN  Robert Miles THEME FROM MISSION: IMPOSSIBLE  Adam Clayton and Larry Mullen Jr. MUSIC BOX DANCER  Frank MillsSHAKER SONG  Spyro GyraROMEO AND JULIET - MASQUES  The London Symphony OrchestraCELESTIAL SODA POP  Ray Lynch ROUTE 101  Herb Alpert GOING HOME  Kenny G

Uur 1 1.         Where is your heart – Percy Faith & Felicia Sanders 2.         Cuore cosa fai – Ornella Vanoni 3.         In je hoofd een wervelwind – Sjors van der Panne 4.         On a bus to St. Cloud – Gretchen Peters 5.         So little time (so much to do) – Catherine Russell 6.         Maladie d'amour – Gabi Hartmann 7.         Ik zou wel eens willen weten – Martine Bijl 8.         Friendship – Norah Jones & Mavis Staples 9.         As I went out one morning – Bob Dylan 10.       Die Antwort weiss ganz allein der Wind – Marlene Dietrich 11.       Temptation – VKB Band 12.       Stel dat het zou kunnen – Jan Rot 13.       In the wee small hours of the morning – Ann Burton 14.       Those were the days – Vera Lynn   Uur 2 1.         Meet on the ledge – Fairport Convention 2.         A foggy day – Ella Fitzgerald & Louis Armstrong 3.         Melk en honing – Trijntje Oosterhuis & Xander Vrienten 4.         Foule sentimentale – Alain Souchon 5.         Bon voyage – Kim Carnes 6.         Swan upon Leda – Hozier 7.         Tijd is alles – Yevgueni 8.         Djamai – Elida Almeida 9.         Lazy bones – Leon Redbone 10.       Let's take the long way home – Pearl Bailey 11.       Grosse Hände – Annet Louisan 12.       Titles – Barclay James Harvest 13.       Allegria – Gipsy Kings

Conductor Andre Kostelanetz specialized in “light classical” music which was accessible to the everyday listener. CBS (“The Tiffany Network”) gave the maestro his own weekly show to spread this less than high-brow form of cultural enlightenment. This episode was aired on August 13, 1944 with conductor Percy Faith and soprano Eleanor Steber. The host is David Ross.

Y a las 22,05h tenemos Guateque en Onda Regional de Murcia(orm.es). Dijo Mel Tormé, "la Navidad es para los niños". Yo añadiría, para todo aquel que aún conserva un rastro de ilusión. Nos montamos en un trineo mágico para recorrer las mejores canciones de navidad con Frank Sinatra, Eartha Kitt, Booker T & The MG's, Nat King Cole, Julie Andrews, The Supremes, En A Christmas Gift For You, Spector jugó a ser el Frank Capra de la música popular. Escuchar ese pop es como ver ¡Qué bello es vivir! (cuenta la leyenda que el disco, "A christmas gift for you", fue un fracaso comercial al salir a la venta el mismo día que asesinaron a John F. Kennedy: The Ronettes, Darlene Love, The Beach Boys, Percy Faith, Ike & Tina Turner, Brenda Lee, Bing Crosby, Bert Kaempfert, Andy Williams.¡A disfrutar estas fiestas, háganme el favor!

On this episode of Vinyl Verdict, Bell, Jamie and Plouffe talk about their favourite holiday records! Plouffe and Jamie bring two Christmas classics with Bing Crosby's Merry Christmas and Percy Faith's Music of Christmas. Bell brings a Hannukah themed album with the soundtrack to Eight Crazy Nights. Along the way they discuss holiday memories such as "having the tree". What does that mean? Come along and find out, and Happy Holidays from the three of us at Vinyl Verdict!

Panic and Sarah are feeling the holiday spirit and want to share all the sounds and memories they have around the holidays! So relax by the fire, have some holiday cheer, and join the Christmas conversation.Music Elixir Holiday PlaylistSupport the showPlease help Music Elixir by rating, reviewing, and sharing the episode. We appreciate your support!Follow us on:TwitterInstagram If have questions, comments, or requests click on our form:Music Elixir FormDJ Panic Blog:OK ASIA

Over two and a half hours of uninterrupted and unhosted Christmas classics. A custom mix I created from dozens of old Christmas albums and cassettes I grew up with. Artists include Percy Faith and His Orchestra, Burl Ives, The Ray Conniff Singers, Dean Martin, Andy Williams, Lou Rawls, Mitch Miller and the Gang, Darlene Love and more!

Songs include: Silent Night, I Saw Mommy Smoochin Santy Claus, Boogie Woogie Santa Claus, Oh Little Town of Bethlehem, The Nutcracker, Christmas and You, Jingle Bells and Here Comes Santa Claus. Performers include: Joni James, Percy Faith, Perry Como, Doris Day, Mable Scott, The NY Philharmonic, Homer and Jethro, Johnny Mercer and Les Paul and Mary Ford.

“Hold On Baby” - Sam Hawkins; “Honey Child” - Bobby Bland; “Come On Back Jack” - Nina Simone; “You’re Losing Me” - Ann Sexton; “Breakin’ Bread” - Fred & The New J.B.’s; “Jim Dandy” - Margie Hendrix; “True Love” - Little Johnny Taylor; “If You Don’t Come Back” - The Drifters; “Give It Up” - Jerry Butler; “Aprieta” - Joe Cuba; “Corazón” - Percy Faith; “Like It Stands” - Robert Ramsey; “I Can’t See My Way” - Erma Franklin; “The Masterkey” - Harold Burrage; “Fever” - Earl Grant; “Bésame mucho” - The Ray-O-Vacs Todas las músicas extraídas de la recopilación “Soulsugar, vol. 2” (Columbia/Sony, 2005) Escuchar audio

Singer, songwriter and guitarist Serena Ryder was born on December 8, 1983 in Millbrook, Ontario, Canada. A strikingly pretty brunette with a remarkably deep, soulful and powerful three-octave voice, Serena stems from strong musical roots: Her Canadian mother was a go-go dancer and touring back-up singer while her Trinidadian father was a guitarist and percussionist with the Carribean folk group the Tradewinds. Ryder began singing publicly when she was just a little girl and got her first guitar from her dad at age thirteen. She attended the Integrated Arts Program at Peterborough Collegiate and Vocational Institute and took music lessons from Terry Finn at Finn's House of Music. Serena started out performing solo as a teenager plus performed with the Christian rock band Thousand Foot Krutch and the hard rock alternative group Three Days Grace. Ryder released her first album "Falling Out" on the indie label Mime Radio in 1999. In 2002 she recorded a demo album which led to her playing on the air on CBC Radio. Fellow Canadian musician Hawksley Workman heard the broadcast and was sufficiently impressed enough to ask Serena to record an album on his Isadora record label. The album "Unlikely Emergency" was released in 2005 and received favorable reviews from music critics. Moreover, the poignant song "Just Another Day" got considerable airplay on various Canadian radio stations. Ryder's follow-up album "If Your Memory Serves You Well," a terrific collection of mostly inspired covers of notable songs by Canadian music artists that includes Leonard Cohen's "Sisters of Mercy," Galt MacDermot's "Good Morning Starshine," and Percy Faith's "My Heart Cries for You" as well as three excellent original compositions, was released in November, 2006 and once again garnered highly positive reviews from critics. Serena won the 2008 Juno Award for New Artist of the Year and released the EP CD "Told You in a Whispered Song" on June 19, 2007. This was followed by both the EP CD "Sweeping the Ashes" and the album "Is It O.K." in 2008.

In this episode we welcome the legendary Billy James, all the way from the Bay Area, and tap him for his memories of working with Bob Dylan, the Doors and more.We start with Dylan and the interview the young Minnesotan gave to Billy in October 1961 in the latter's capacity as a Columbia Records publicist. Billy reminisces about his early interactions with the kid born Zimmerman; we hear a snatch of that 1961 audio, plus two clips from Eric Von Schmidt talking to Larry Jaffee about his friendship with Bob in that same period. In passing, we mention two great Dylan pieces by the week's featured scribe Greil Marcus, author of a new Bob "biography in seven songs" entitled Folk Music.From the early Bob years we switch coasts to California, where Billy worked in Columbia's Hollywood office and fell in with the Byrds between arranging press conferences for Patti Page, Percy Faith and his beloved Tony Bennett (pictured in the photo Billy is holding above). Finally, he talks about Terry Melcher, Elektra Records, the Doors, and the significant part he played in putting Laurel Canyon on L.A.'s pop map after moving up there from Beverly Hills in 1965...Many thanks to special guest Billy James; you can book his Airbnb in Redwood City here.Pieces discussed: Bob Dylan, Bob Dylan audio, Dylan #2, Eric Von Schmidt, The Billy James Underground, Billy James interviewed by Richie Unterberger, Time Out of Mind, Preemptive Obituaries and Prince's Dirty Mind.

In this episode we welcome the legendary Billy James, all the way from the Bay Area, and tap him for his memories of working with Bob Dylan, the Doors and more.We start with Dylan and the interview the young Minnesotan gave to Billy in October 1961 in the latter's capacity as a Columbia Records publicist. Billy reminisces about his early interactions with the kid born Zimmerman; we hear a snatch of that 1961 audio, plus two clips from Eric Von Schmidt talking to Larry Jaffee about his friendship with Bob in that same period. In passing, we mention two great Dylan pieces by the week's featured scribe Greil Marcus, author of a new Bob "biography in seven songs" entitled Folk Music.From the early Bob years we switch coasts to California, where Billy worked in Columbia's Hollywood office and fell in with the Byrds between arranging press conferences for Patti Page, Percy Faith and his beloved Tony Bennett (pictured in the photo Billy is holding above). Finally, he talks about Terry Melcher, Elektra Records, the Doors, and the significant part he played in putting Laurel Canyon on L.A.'s pop map after moving up there from Beverly Hills in 1965...Many thanks to special guest Billy James; you can book his Airbnb in Redwood City here.Pieces discussed: Bob Dylan, Bob Dylan audio, Dylan #2, Eric Von Schmidt, The Billy James Underground, Billy James interviewed by Richie Unterberger, Time Out of Mind, Preemptive Obituaries and Prince's Dirty Mind.

"Music of my mind" de Stevie Wonder cumple 50 años y en Revista Beatles lo recordamos como se merece. Doble entrega de Originales vs. Covers. Seguimos con "Forthlin Road", el primer unplugged de la historia por los Silver Beatles; un Ya no hay clásicos con Scorpions; Pop para divertirse y tercera entrega de El Album de Oro de las Grandes Orquestas con Percy Faith. Revista Beatles. Este sábado a las 16.00 por FM Galena 94.5. www.radiogalena.com.ar. App https://bit.ly/2GBP0ST.

Musicians include: Percy Faith, Ray Conniff, Ferrante & Teicher, Charlie Parker, Henry Mancini, Mantovani, Roger Williams and Jackie Gleason. Music includes: My One and Only Love, Be My Love, Marie, Autumn Leaves, Laura, Around the World and Bugler's Holiday.

Andre Kostelanetz Show aired May 21, 1944 on CBS Radio and transcribed for Armed Forces Radio. Host is David Ross and the orchestra is conducted by Percy Faith. Guest artist is soprano Eleanor Steber (July 17, 1914 – October 3, 1990) an American operatic soprano. Steber is noted as one of the first major opera stars to have achieved the highest success on the American opera stages.

Percy Faith nació en Toronto, Canadá, en 1908, y era hijo primogénito de un matrimonio conformado por el sastre de nombre Abraham Faith y su esposa Minnie, quienes tuvieron en total 8 hijos. Desde temprana edad Percy manifestó un interés especial por la música, revelándose muy pronto como niño prodigio, al interpretar melodías de manera muy complejas. Gran compositor.

**It's The Pacman Show Replay On traxfm.org. This Week The Pacman Gave Us Dance/Hindi/Hip Hop/R&B/Boogie/Bollywood Classics From The New Single From Trax FM Allstars Feat Lata "Behind The Bungalow", Viola Wills "Dare To Dream" Remix, Kool & The Gang, The Fatback Band, Prime Time, Paul Hardcastle, Second Image, Percy Faith, Van Mckoy's "The Hustle" (Remix), The Bee Gees/N Trance, Hanson & Davies, Juggy D, Derek B, Mac Thornhill, Joyce Sims, Michael Jackson's "Baby Be Mine" (Remix), Shirley Lites & More Catch The Pacman Live Every Monday From 9:00 PM UK Time #traxfm #tThePacman #DoinItToYa #Soul #Funk #Hindi #Bollywood #Reggae #HipHop #R&B #Boogie #DanceClassics Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. 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/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. And the I Never Loved a Man album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode,  I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father.  But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards  called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem

Episode 211, “More Favorite 50s Music,” presents 20 of Sam Waldron's favorite recordings from the decade when he became a teenager. Performers include Frank Sinatra, Tommy Sands, Brenda Lee, Percy Faith, Sam Cooke, Elvis Presley,... Read More The post Episode 211, “More Favorite 50s Music,” appeared first on Sam Waldron.

Episode 210, “Big Bands,” traces the evolution of band and orchestra music from the late 1930s through rock-and-roll groups in the late 1950s. Performers include Benny Goodman, Jimmy and Tommy Dorsey, Ray Conniff, Percy Faith,... Read More The post Episode 210, “Big Bands,” appeared first on Sam Waldron.

Percy Faith was a Canadian bandleader, orchestrator, composer, and conductor knows for his lush arrangements of pop and Christmas standards.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------

Martin Block interviews famous easy listening music conductor Percy Faith on the National Guard public service transcription. But first we hear a "Summer Montage" with Faith's recordings of The Theme From A Summer Place, Summer Breeze and Summer of '42.

John Doremus (August 3, 1931 in Sapulpa, Oklahoma – July 6, 1995 in Naperville, Illinois) was an American radio personality, best known for his radio syndication of The Passing Parade and easy listening syndicated domestic radio series also heard on AFRTS.

Born in North Carolina, Ray Denson started to dance professionally in 1951, taking on the professional name of Billy Lamont. His singing career started in 1956. "(Zap! Pow!) Do the Batman" was recorded for Atlantic in January 1966 with Gate Wesley and his band, one of the first Batman records. "Communications Is Where It's At, Parts 1 & 2" was credited to Billy the Baron & His Smokin Challangers (sic), released in 1976.  Probably Lamont's final release was the 12-inch maxi-single "The Man With the Master Plan"/"The Cowboy" (credited to Billy Lamont & the Unn Band), issued in 1980.  Billy Lamont died on June 3, 2012, aged 82.  Billy The Baron & His Smokin Challengers - Communications Is Where It's At (1975) Billy Baron and the Umm Band - The Man With The Master Plan (1980)  Gate Wesley & Band - (Zap! Pow!) Do The Batman (1966) Billy LaMont on lead vocals Freddie Cannon - She's A Mean Rebel Rouser (1983) On Amherst Records! Notice the label reads, "From The LP 'Rock Attack'" which never came out. Oh, Lenny...I played this side because the credited writer Frederick A. Picariello is Freddie Cannon's real name. He wrote this. Old rocker to the bone. In his discography, his name is spelled "Freddy" AND "Freddie".  Side 2 of the 1966 Musicor Label All-Star (?) Album "The Gene Pitney Show"! Gene Pitney - There's No Living  The Critters - I'm Gonna Give The Bitter End Singers - I'm On The Run  Teddy and the Pandas - (Bye, Bye) Out The Window Steve Rossi - My Alphabet of Tears  Marie Knight - Cry Me A River    Selections from the 1973 album, "Carnival", by The Les Humphries Singers. Dixie  Something I Saw  Uniform  Carnival    Me - Scare Us (2012)   The first try was so successful, we need to do it again.  Percy Faith - A Summer Place '76 (Original release in 1959) In 1960, the original Percy Faith version (from the movie of the same name) reached #1 on the Billboard Hot 100 chart for nine consecutive weeks, a record at that time.  Gene Vincent - Be-Bop-A-Lula '69 (1956) Produced by Kim Fowley, the remake eliminates the swing in favor of a straight 4/4. The original reached #7.  Charlie Daniels Band - Uneasy Rider 88' (1973) The original reached #9. Charlie Daniels had played on records by Bob Dylan, Leonard Cohen, and co-wrote the Elvis song, "It Hurts Me." And apparently, he felt the need to retro-fit his big hit to denounce gays instead of hippies. His biggest hit was "The Devil Went Down To Georgia." Bobby Hebb - Sunny '76 (1966)  The Residents - Santa Dog '78 (1972) The Moonglows - Sincerely '72 (1954)  Sœur Sourire (The Singing Nun) - Dominique '82 (1963) Belgian singer (born Jeannine Deckers) in 1933. Later she became a nun (Sister Luc-Gabrielle) and recorded 'Dominique' in 1963. The song was an international hit and even reached #1 on the Billboard chart after it was released in the USA with the artist name 'The Singing Nun'. The Singing Nun also achieved the remarkable feat — the first in American chart history — of a simultaneous No. 1 single and No. 1 album, both of which sold over a million copies. She committed suicide on March 31, 1985. Deckers and her companion Annie Berchet were found dead in a flat at Waure near Brussels. Both had taken an overdose of barbiturates. The tragedy happened after the Belgian authorities demanded the tax from the monies earned during her fleeting 15 minutes of fame. The convent took a large share of the royalties from her success, as did her record company. This apparently left the former nun in such a state of depression that she took her own life. In a joint suicide note, Deckers wrote: “We are going together to meet God our Father. He alone can save us from this financial disaster.” I told you. Religion ruins everything.  Michael Rabon & The Five Americans - I See The Light '69 (1965) John Durrill was the keyboardist and wrote "Dark Lady" for Cher.  Louis Jordan - Caledonia '56 (1945)  Johnny Kidd & The Pirates - Shakin' All Over '65 (1960) Legendary Stardust Cowboy - Paralyzed '80 (1968) Andre Williams - Bacon Fat '86 (1956)      

Las grandes Orquestas del mundo en escena, gracias a su conductor Carlos Bautista

Episode 181, “Easy Listening Ala Carte,” presents 20 recordings, with minimal interruptions, of nice and easy music mostly from the 1950s. Performers include Perry Como, Dinah Shore, Jimmy Durante, Percy Faith, The Platters, Ray Price,... Read More The post Episode 181, “Easy Listening Ala Carte,” appeared first on Sam Waldron.

# percy faith his orchestra the theme from a summer place# classic instrumental kam# early 60's and film# period piece# respect --- Support this podcast: https://anchor.fm/mr-maxxx/support

We're back!  Mostly music this summer, with odd bits of other stuff.  Ibrahim Ferrer, Percy Faith, The Flamingos, The Ink Spots, Rita Payés, Vic Damone, The Temptations, The Miracles, Bob Dylan, Toots & The Maytals, Etta James, Penguin Cafe Orchestra. Also the Top Ten Thousand anniversary, Danny Finkleman, Ross Porter, road trips, Dad and daughters and granddaughters and music, summer weddings, Barcelona jazz, Joe Versus the Volcano, Omega Man, The Princess and the Warrior. 

Our Debtor Country. The Emerald city in the Wizard of Oz was a dream for our nation. But that dream has been highjacked, corrupted by a system that demands you get more. Consumerism has robbed you of your destiny. Our quiet peaceful nights have been interrupted by the sounds of sirens. The politicians say just get more and everything will be all right but it's led to greed, violence and deceit. Our government is bankrupt. The ground is giving way and the earthquake is coming. The collapse is coming because the dream wasn't true. MUSIC Frank Chucksfield, Percy Faith, Acker Belk, outtakes from the Wizard of Oz

Programa 149. Tras el descanso semanasantero volvemos con ganas. Disfrute de los apartados y de las canciones Alberto Cortez, NO SOY DE AQUÍ. EFEMÉRIDES. Igor Stravinsky. SUITE ITALIANA. Scherzino. Duke Ellington – TAKE THE “A” TRAIN.     SAN TORAL Emilio José, SOLEDAD. Percy Faith. LET IT BE de The Beatles. Ella Fitzgerald – SATIN DOLL. CON FUNDAMENTO […] The post Los Tres Tenores 07/04/2021 first appeared on Ripollet Ràdio.

How old was Aretha Franklin when she released her first single? Who recorded the original version of I Say A Little Prayer? What label did Sam Cooke want Franklin to sign with? Join Stevie Nix as he answers all of these questions and more on this episode that celebrates one of the most joyful songs ever recorded.WARNING: This episode contains traces of Glen Campbell.Featured artists [in alphabetical order]:Meg BirchBuskaid Percy FaithAretha FranklinTalisha KarrerLadies Of SoulLianne La HavasAcantha LangAnne MurraySerendipia Jazz QuartetConnie Talbot Dionne WarwickHidden track: Aretha Franklin medleyJoin Stevie on Spotify and Instagramwww.songsungnew.com20 Songs To Play If You Want To Dance About The House Naked* [*Optional]

Uur 1 1. Life is nothing without music – Sam Browne 2. Altijd heimwee – Lenny Kuhr 3. Meu primero amor – Lucas Santtana & Duda Beat 4. I don’t care to dance – JE Sunde 5. Les copains d’abord – Pomplamoose 6. Crunchy granola suite – Percy Faith 7. Song for Sam Cooke – Dion & Paul Simon 8. Een lied voor…. – The Kik 9. Pasxa kai protomagio – George Dalaras 10. Bloesem in de bomen – Leoni Jansen 11. Two hearts – Nils de Caster & Sara de Smedt 12. Wannabe – Scott Bradlee’s Postmodern Jukebox 13. Bachata van de oude liefde – Alex Roeka Uur 2 1. If I needed you – Townes van Zandt 2. Nur ein schlechte Kopie – Greetje Kauffeld 3. You rascal you – Loudon Wainwright III 4. Gezicht op Delft – Harrie Jekkers 5. Your favorite tune – VanWyck 6. Ne me quitte pas – Maria Gadu 7. Father and son – Cat Stevens & Yusuf 8. Ruimtevaarder – Kommil Foo 9. Change partners – Frank Sinatra & Tom Jobim 10. Love for sale – Boulevard of Broken Dreams 11. Bali ha’i – Peter Cincotti 12. Liedje van verlangen – Henny Vrienten & Eefje de Visser 13. Chykh pykh – Amsterdam Klezmer Band

“Christmas is sleigh bells. Christmas is sharing. Christmas is holly. Christmas is caring.” At least that’s what Percy Faith once wrote. In his not-so-familiar holiday song, entitled, Christmas Is, he tried to capture some of the things that make Christmas, well, Christmas. The sights, sounds, and feelings – apparently that’s what Christmas is. And most would agree. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thomas-perez/support

After a rousing conversation about peanut butter and it's many uses to kick off the show, it's an impromptu Christas concert with seasonal favorites from Michael Bublé, Dean Martin, Nat King Cole, Andy Willams, Julie Andrews, John Denver and Percy Faith & His Orchestra & Chorus. John shares some of his early Christmas memories and BeiBei learns a new English word: "Crooner."

Elton John [00:32] "Honky Cat" Greatest Hits MCA Records MCA-3007 1974 (1980 reissue) Funky feline fun! Loretta Lynn [05:46] "Wine Women and Song" Greatest Hits MCA Records MCA-1 1968 (1973 reissue) Loretta's 3rd top ten single on Decca, reaching number 3 on the country charts in 1964. Dawn [07:48] "Candida" Greatest Hits Arista AL-4045 1975 This first outing from Tony Orlando and Dawn reached number 3 on the Hot 100 in 1970. Webb Pierce [10:53] "I Ain't Never" Greatest Hits MCA Records MCA-120 1968 Legend has it that Mel Tillis traded crediting Webb as a co-writer on this number for a pair of boots that Pierce was wearing at the time. Webb's 1959 version made it to number 2 on the country charts. In 1972, Tillis' version (https://youtu.be/S8npzNIbF14) made it to number 1. Diana Ross [14:32] "Upside Down" All the Greatest Hits Motown M13-960C2 1981 A great tune penned for Ms. Ross by Chic's Nile Rodgers and Bernard Edwards. Made it to number 1 on the charts of course. I dig the guitar work on the outro. Sly & the Family Stone [18:38] "Sing a Simple Song" Greatest Hits Epic KE 30325 1970 The b-side from the all killer no filler 1968 Sly single "Everyday People". War [22:35] "The Cisco Kid" Greatest Hits United Artists Records UA-LA648-G 1976 One of my favorite songs when I was a kid, and I still love it. Definitely an irresistable hook. Made it all the way up to number 2 on the Hot 100, but was held out of the number one spot by... Tony Orlando & Dawn's "Tie a Yellow Ribbon Round the Ole Oak Tree". Willie Nelson [26:20] "Good Hearted Woman" Greatest Hits (& Some that Will Be) Columbia KC2 37542 1981 Waylon Jennings wrote this inspired by a newspaper piece about Tina Turner's relationship with Ike. Purportedly written by Jennings and Nelson over a poker game. Jenning's version is quite excellent (https://youtu.be/bU7hic-KtVw). Petula Clark [30:37] "Call Me" Greatest Hits, Vol. 1 Warner Bros - Seven Arts Records WS1765 1968 Pretty snappy for what would become an Easy Listening standard. ABBA [33:24] "The Name of the Game" Greatest Hits, Vol 2 Atlantic SD 16009 1979 Not sure why I like the more dramatic ABBA songs like this (https://youtu.be/iJ90ZqH0PWI) and "Knowing Me, Knowing You (https://youtu.be/iUrzicaiRLU)", but I do. This one made it to number 12 on the Hot 100. The bass intro was inspired Stevie Wonder's "I Wish" (https://youtu.be/c7IYSAUj78g). Conway Twitty [38:13] "Hello Darlin'" Greatest Hits Vol. I MCA Records MCA-52 1972 (1973 reissue) Long associated with Conway Twitty, this single stayed at the top of the country charts for four weeks in the summer of 1970. Bob Dylan [40:38] "Tonight I'll Be Staying Here with You" Greatest Hits Volume II Columbia KG 31120 1971 The third single released from his 1969 album Nashville Skyline. Some pretty hot guitar licks. Elton John [45:57] "Lucy in the Sky with Diamonds" Greatest Hits Volume II MCA Records MCA-3027 1977 Released in 1974 and topping the pop charts in January of 1975, this Beatles cover features John Lennon himself joining in on guitar and backing vox under the pseudonym Winston O'Boogie. I am pretty sure was the first version I heard as a kid, thanks to pop radio. Definitely recall the Univibe guitar opening and the synth lead in the middle, and the odd but awesome reggae break. Marty Robbins [51:47] "El Paso" The Greatest Hits Columbia C2X-3 Please enjoy this Dudley (aka H.B. Barnum) spoof (https://youtu.be/-EVP_ISgPNk) of this 1959 song. Johnny Cash [56:27] "It Ain't Me, Babe" Greatest Hits Volume 1 Columbia CL 2678 1967 Great admirers of each other, Cash recorded this Dylan song for his 1965 Orange Blossom Special with June Carter helping out on vocals. Their single made it to number 4 in the country charts. Trini Lopez [59:29] "La Bamba" Greatest Hits! Reprise Records R 6226 1966 A live version from 1963 of this traditional Mexican folk song, non-traditionally credited to Lopez which would normally be credited as traditional. Perhaps it's due to Lopez's Beatles-esque break in the middle of the arrangement. Music behind the DJ: "Theme from a Summer Place" by Percy Faith & his Orchestra

Two hours of Christmas music from the Hit Parade artists and Big Bands of yesterday and today, with no interruptions. We also feature great singers you know and love. It’s my present to you, Merry Christmas. These are the songs featured in this episode: 1) Happy Holiday / The Holiday Season by The Manhattan Transfer 2) Rudolph The Red-Nosed Reindeer by Bing Crosby 3) Let It Snow! Let It Snow! Let It Snow! by Lena Horne 4) Winter Wonderland by Louis Armstrong 5) The Christmas Medley: I'll Be Home For Christmas / Let It Snow / Silver And Gold by Linda Eder 6) Have Yourself A Merry Little Christmas by Frank Sinatra 7) White Christmas by Ella Fitzgerald 8) The Christmas Song (Chestnuts Roasting On An Open Fire) by Mel Tormé 9) (Everybody's Waitin' for) The Man With The Bag by Vonda Shepard 10) (There's No Place Like) Home For The Holidays by Perry Como 11) Santa Claus Is Coming To Town by Diana Krall (with The Clayton/Hamilton Jazz Orchestra) 12) Must Be Santa by Mitch Miller and The Gang 13) Good King Wenceslas by The Ames Brothers 14) It's Beginning To Look Like Christmas by Kate Smith 15) The Christmas Can-Can by Straight No Chaser 16) Carol Of The Bells by Nancy Wilson 17) Because It's Christmas (For All The Children) by Barry Manilow & Rosie O'Donnell 18) I've Got My Love To Keep Me Warm by Billie Holiday 19) Go Tell It On The Mountain by Yellowjackets 20) I'll Be Home For Christmas by Diane Schuur 21) Sleigh Ride by Freddy Martin & His Orchestra (with Merv Griffin & The Martin Men) 22) Ole Santa by Dinah Washington 23) Cool Yule by Bette Midler 24) Christmastime In Tinsel Town by Big Bad Voodoo Daddy 25) Silver Bells by The Fontane Sisters 26) A Holly Jolly Christmas by Burl Ives 27) Winter Wonderland Cha Cha by Tina Robin 28) Happy Holidays by Andy Williams 29) Here Comes Santa Claus / Santa Claus Is Comin To Town by Linda Eder 30) Merry Christmas Baby by Lionel Hampton & His Orchestra 31) Santa Baby by Eartha Kitt 32) Christmas Night in Harlem by Louis Armstong & His All-Stars 33) Have Yourself A Merry Little Christmas by Dinah Shore 34) Jingle Bells by Frank Sinatra 35) The Secret Of Christmas by Ella Fitzgerald 36) I Saw Mommy Do The Mambo (With You Know Who) by Jimmy Boyd (with Mitch Miller & His Orchestra) 37) Let It Snow, Let It Snow, Let It Snow by Diana Krall (with The Clayton/Hamilton Jazz Orchestra) 38) The Christmas Song (Chestnuts Roasting On An Open Fire) by Johnny Mathis (with Percy Faith & His Orchestra

Two folky tunes from Burl Ives start us off. A jolly orchestrated(Percy Faith) version of Oh! Dear! She's wonderful beautiful and the more pared down Bonnie Wee Lassie. Ives spent the 1930s travelling the USA as an Itinerant musician and developed his singing career via the radio. He was also a well known actor, his most famous acting role was probably as Big Daddy in Cat on a Hot Tin Roof. Old favourites Carroll Gibbons, Len Fillis Roberto Murolo, Archie Lewis, Ted Heath, Bob and Alf Pearson and Harry Roy return. Edna Kaye does vocals for Gibbons. A new Italian singer joins us though, Carlo Butti.  We have Miss Lee Wiley, whose jazz singing career was at its peak from the 1930s to 50s. She had a short tempestuous marriage to Jess Stacy, the jazz pianist. Great voice. Big Bill Campbell was a Canadian born purveyor of Cowboy music here in Britain- I'm Rocking to the Rockies is jolly and cheesy. Nowt wrong with that. Ted Wallace and his Campus boys provide some lovely 30s music and vocals. Wallace was Wallace T Kirkeby, manager of the highly prolific Californian Ramblers. Must play them again. Penultimate record is Jimmie Rodgers, Blue Yodel from 1927. So bluesy, great lyrics. Just to prove we like a good mix of music on Forgotten Songs we go out with The Jacques String Orchestra and Berinice by Handel.  How Highfalutin is that!  

I have loved love kd Lang's music since 1987, we did this interview once face-to-face and my tape didn't record! But kd kindly went to a studio in LA, while I sat in my studio in Dublin and we did the interview down the wire. It is a positively uplifting half-hour - minus music - discussion about Bobby Sherman, classical music, kd coming out at 17 to her mother, Percy Faith, Joni Mitchell, performance art, subverting stereotypes in Nashville, "I was a Buddhist, vegetarian and lesbian!" - Roy Orbison, and her own astounding songs such as Season of Hollow Soul. She is a joy to listen to - singing or talking. 

Song Title: He's Got the Whole World in His HandsSong by: Mahalia JacksonPodcast Vocals: Gail NoblesKeyboard: Gail NoblesInfo: WikipediaHello! I'm Gail Nobles and today's topic is Mahalia Jackson on The Gospel Greats. A show about great gospel singers. Did you know Mahalia Jackson once appeared on Sesame Street? It was 1969 when she sung the gospel "He's Got the Whole World in His Hands". (singing) ......... Mahalia would sing something like that, and she would never sing a song the same way all the time. Mrs. Jackson was a great gospel singer, and I was surprised to find out that she had appeared on Sesame Street.Mahalia would refuse to sing any but religious songs or indeed to sing at all in surroundings that she considered inappropriate. But she sang on the radio and on television. With her mainstream success, Jackson was criticized by some gospel purists she complained about her hand-clapping and foot-stomping and about her bringing "Jazz into the church". She had many notable accomplishments during this period, including her performance of many songs in the 1958 film St. Louis Blues, singing "Trouble of the World" in 1959's Imitation of Life, and recording with Percy Faith. At the March on Washington in 1963, Jackson sang in front of 250,000 people "How I Got Over" and "I Been Buked and I Been Scorned". Martin Luther king Jr. made his I Have a Dream speech there. She also sang "Take My Hand Precious Lord" at his funeral after he was assassinated in 1968. Mahalia made many performances and recorded about 30 albums (mostly for Columbia Records) during her career, and her 45 rpm records included a dozen "gold" - million sellers. Jackson's last album was What The World Needs Now (1969). The next year, in 1970, she and Louis Armstrong performed "Just a Closer Walk With Thee" and "When the Saints Go Marching In" together. She ended her career in 1971 with a concert in Germany and the she returned to the U.S., she made ne of her final television appearances on The Flip Wilson Show. There is a quote left from Mahalia Jackson. She said, "I sing God's music because it makes me feel free. It gives me hope. With the blues, when you finish, you still have the blues." When I hear Mahalia Jackson sing, I'm reminded to remember this song ......

Música para una larga noche "in maschera" como la de Chico Buarque de Holanda y su "Noite dos Mascarados" ("¿Quién eres tú? ¿adivina quién soy?"). Música para pasar y ver pasar, como el lounge, asociada a un estilo frívolo, ligero, de distancia social. No por ello menos experimental en las manos de Juan Garcia Esquivel. Invitación al "ballo in maschera" con Percy Faith, Liberace o Bryan Ferry. Máscaras venecianas o mortuorias como la de Trinidad Lopez III, Trini Lopez, que emprendió viaje al más allá del "swing latino" del que fue rey indiscutible. De repente, el último verano. Escuchar audio

The American dramatic soprano Eileen Farrell (1920–2002) was one of the finest and most versatile singers the United States has ever produced. Her singing career lasted more than fifty years, and this episode covers the entire chronological range of that career, from her early work as a radio singer in the 1940s to her final pop albums in the 1990s. While the episode focuses on her crossover work (and includes work by, among others, Harold Arlen, Jule Styne, Alec Wilder, George Gershwin, Rodgers and Hart, as heard on two of her lesser-known pop albums with Percy Faith and the late André Previn), we also sample her opera and concert work, with examples from Verdi and Wagner, to Debussy and Charpentier, to Barber and Menotti. A late reunion with her frequent collaborator Leonard Bernstein caps the episode. In all her singing Farrell combines ease of delivery and a relaxed, insouciant response to the words and music with a vocal and interpretive precision that inevitably strikes a bullseye. Bow down to the Queen of Crossover, nay, the Queen of Song! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!

Day 11557, The First Annual Earth Day International Film Festival, Thelma Schoonmaker, high school guidance, fresh Hot Cross Buns from Loren Wilkinson, and New York: Goings On About Town. Featuring music by Percy Faith, Barry and Lyn and Cara Luft, James Danderfer, Frank Sinatra, and Al Jolson.

Episode 25 "Madame La Gimp" The Damon Runyon Theater March 20, 1949 Opening Music: "A woman in Love" by Frankie Lane and Percy Faith covering song from Guys and Dolls Clip: Frank Capra's Lady For a Day (1933)

At the dawn of a new decade, America decided to get swept up in the magic of cinema. Or, more specifically, the magic of cinematic music. What led this peaceful, instrumental track to become one of the most dominant singles of the 1960s? Literally nobody knows! But it happened, and we're here to talk about it.

From STUDIO 67 in Hollywood—turn off the lights, pour yourself a drink, kick off your shoes and let your hair down as we go “After Hours at the Buddies Lounge” this evening…presented in LIVING STEREO!!! Originally aired on 1420am The Breeze Radio 3/30/19 Playlist Show 367: You Stepped Out of a Dream - Julie London If He Walked Into My Life - Jackie Gleason Squeeze Me - Lucy Ann Polk The Lonely Whistler - Les Baxter My Funny Valentine - Arthur Lyman Mr. Wonderful - Ann-Margret Gently - Elvis Presley Sranger In The Shore - Martin Denny This Can`t Be Love - Nelson Riddle Give Me The Simple Life - Dakota Staton Green Eyes - Xavier Cugat Fools - Carole Simpson Bye Bye Blues - Paul Weston All I Have to Do Is Dream - The Four Preps I Love Paris - Esquivel As Time Goes By - Frank Sinatra The Things We Did Last Summer - Nancy Wilson with George Shearing Quintet Girl Talk - Billy May Moonlight Becomes You - Ella Fitzgerald The Girl From Ipanema - Henry Mancini Love is Here to Stay - Marty Gold Fly Me to the Moon - Peggy Lee Only The Lonely - Count Basie & His Orchestra My Melancholy Baby - Dean Martin Theme From "A Summer Place" - Percy Faith & His Orchestra The Touch Of Your Lips - Nat King Cole Someone To Watch Over Me - Peter Nero In Love Vain - Bobby Darin The One I Love Belongs To Somebody Else - Steve Allen The End of a Love Affair - Vic Damone Here's That Rainy Day - Sammy Davis Jr. & Laurindo Almeida I Remember You - Sarah Vaughan

Johnny Mathis has one of the most distinctive voices in popular music, and in 2014, I got a chance to interview him about Christmas music. He talks about another day in music when musicians were expected to record Christmas music, and the role that music played in his career. He also talks about working with arrangers Percy Faith and Don Costa. I conducted this interview by phone, so the sound quality is less than optimal. Still, you can clearly hear it, and Mathis is someone who has a very different perspective on Christmas music than many of the indie artists that I have talked to about Christmas music.  

To celebrate the release of longtime Morning Show favorite Damien Jurado's thirteenth album, The Horizon Just Laughed, John Richards sat down with Jurado with a live audience in the KEXP Live Room for an extended chat about the album - played here in its entirety, including three live songs. Recorded 05/04/2018. 11 songs - Allocate, Dear Thomas Wolfe, Percy Faith, Over Rainbows And Rainier, The Last Great Washington State, Cindy Lee, 1973, Marvin Kaplan, Lou-Jean, Florence-Jean, Random FearlessSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Show 21, “Music from Canada” features songs by more than a dozen Canadian performers. Included are Percy Faith, Hank Snow, Guy Lombardo and his Royal Canadians, Giselle McKenzie, Jack Scott, Dorothy Collins, Norman Brooks, and... Read More The post Episode 21- Music from Canada appeared first on Sam Waldron.

Show 20, “Top Hits of 1953,” includes every Billboard #1 hit plus a handful of other notable songs from that year. Performers include Patti Page, Perry Como, Nat King Cole, Kay Starr, Percy Faith’s orchestra,... Read More The post Episode 20- Top Hits of 1953 appeared first on Sam Waldron.

Al Caiola es el nombre artístico del guitarrista Alexander Emil Caiola, nació un 7 de septiembre de 1920 en Jersey City, Nueva Jersey Estados Unidos. En su larga carrera lo mismo ha sido interprete de guitarra que presentador de espectáculos, como guitarrista ha incursionando en los estilos country, jazz, rock, western y música pop. Ha grabado mas de 50 álbumes y ha trabajado a lado de personajes del calibre de Frank Sinatra, Percy Faith, Buddy Holly, Mitch Miller y Tony Bennett. Durante la segunda guerra mundial Caiola sirvió en el cuerpo de marinos en la banda de música y como camillero en la batalla de Iwo Jima.

A tribute to musicians who died in 1976, including: Connee Boswell, Howlin Wolf, Percy Faith, Benjamin Britten, Victoria Spivey, Paul Robeson, Johnny Mercer and Alexander Brailowsky. Music includes: Old Man River, Heart and Soul, Libestramume #3, Candy, Moaning the Blues, All My Love and Nocturne.

We return from our recent hiatus with an admittedly somewhat deranged chimera of a show for you, dear listener. This is two themes for the price of one as we bring you a show about both country music and the … Continue reading →

I live with a super social twelve-year-old.  Our home is conveniently located within biking and walking distance to a vast majority of her friends.  Therefore, I interact with dozens, seemingly hundreds, of middle-schoolers on the reg.  That means “regularly.”  Not only do I hear, and apparently absorb (…totes…) their language, but I also hear, and often abhor, their music.  At times, I’m tempted to let something much like this slip from my mouth, “Music is horrible today.” Guess what, though? It’s not true. What I’d really be saying is, “When I was a kid…our shitty pop music was less shitty than this generation’s shitty pop music.”  But see, shitty pop music is shitty pop music is shitty pop music.  And also, all art is relative, and personal, and wrought with nostalgic, emotional overlay. I realized this as Jen played, “Hit the Quan” for me.  If you stream the podcast just below this post, you can hear both the song and the insights. For those of you who’ll just read, and to assure myself that, indeed, every decade’s shitty pop…let’s call it Poop Music, is merely soon-to-be-dated Poop, I did some research.  I use the term “research” quite loosely.  What I really did was look at the “List of Billboard Top 100 chart achievements by decade” on Wikipedia, within which I found the top songs of each decade back to 1958.  That’s right, 1958.  People, Wikipedia is absolutely wonderful for many things.  Not serious academic research, and not as a solitary source.  Don’t dismiss it out of hand just because it’s crowd-sourced.  While it only takes one dick to ruin something, the crowd generally trumps the dick.  However, also realize that the community created a 1958 – 1969 “decade” because, I dunno, the dick won there. So, for any of you who’ve claimed, in your best crotchety old-man/old-woman demeanor, “Music ain’t like it used to be,” feast your eyes on these lists.  (And hell, link through to the videos to feast your ears as well!)  Keep in mind, there are absolute gems of pop perfection in each decade…and there are heaping mounds of steaming shit as well.  All the way back to the decade that began in, uh…1958.  I won’t try to convince you which songs here are genius, which are formulaic, which are immediately forgetful, unforgettable, and which are vomit-worthy.  I only ask you to keep track of your reactions as you travel back…and be completely honest with yourself. Because a turd by any other name would smell as putrid. Here goes: 2010’s – “Songs,” and artists (by total weeks at number one) “Uptown Funk,” Mark Ronson featuring Bruno mars (14)“Blurred Lines,”* Robin Thicke featuring T.I. and Pharrell (12)*No-boobies version****If you like boobies, and who doesn’t like boobies (?!),  just google search: blurred lines unrated“See You Again,” Wiz Khalifa featuring Charlie Puth (12)“We Found Love,” Rihanna featuring Calvin Harris (10)“Happy,” Pharrell Williams (10)“Tik Tok,” Kesha (9)“Call Me Maybe,” Carly Rae Jepson (9)“One More Night,” Maroon 5 (9)“Royals,” Lorde (9)“Somebody That I Used to Know,” Gotye featuring Kimbra (8)“All About That Bass,” Meghan Trainor (8) 2000’s – “Songs,” and artists (by total weeks at number one) “We Belong Together,” Maria Carey (14)“I Gotta Feeling,” The Black Eyed Peas (14)“Lose Yourself,” Eminem (12)“Yeah!,” Usher featuring Lil John and Ludacris (12)“Boom Boom Pow,” The Black Eyed Peas (12)“Independent Woman,” Destiny’s Child (11)“Irreplaceable,” Beyonce (10)“Low,” Flo Rida featuring T-Pain (10)“Maria Maria,” Santana featuring The Product G&B  (10)“Dilemma,” Nelly featuring Kelly Rowland (10)“Foolish,” Ashanti (10)“Gold Digger,” Kanye West featuring Jamie Fox (10) 1990’s – “Songs,” and artists (by total weeks at number one) “One Sweet Day,” Mariah Carey and Boyz II Men (16)“I Will Always Love You,” Whitney Houston (14)“I’ll Make Love to You,” Boyz II Men (14)“Candle in the Wind ‘97/Something About the Way You Look Tonight,” Elton John (14)“Macarena,” Los Del Rio (14)“End of the Road,” Boyz II Men (13)“The Boy is Mine,” Brandy and Monica (13)“Smooth,” Santana featuring Rob Thomas (12)“Un-Break My Heart,” Toni Braxton (11)“I Swear,” All-4-One (11)“I’ll Be Missing You,” Puff Daddy and Faith Evans featuring 112 (11) 1980’s – “Songs,” and artists (by total weeks at number one) “Physical,” Olivia Newton-John (10)****I never realized how gay this video is, literally and in 80’s vernacular.“Bette Davis Eyes,” Kim Carnes (9)“Endless Love,” Diana Ross and Lionel Richie (9)“Every Breath You Take,” The Poice (8)“I Love Rock ‘n’ Roll,”** Joan Jett and the Blackhearts (7)**I also love Rocky Road“Ebony and Ivory,”** Paul McCartney and Stevie Wonder (7)**this“Billie Jean,” Michael Jackson (7)“Call Me,” Blondie (6)“Lady,” Kenny Rogers (6)“Centerfold,” The J. Geils Band (6)“Eye of the Tiger,” Survivor (6)“Flashdance…What a Feeling,” Irene Cara (6)“Say, Say, Say,” Paul McCartney and Michael Jackson (6)“Like a Virgin,” Madonna (6) 1970’s – “Songs,” and artists (by total weeks at number one) “You Light Up My Life,” Debby Boone (10)“Night Fever,” Bee Gees (8)“Tonight’s the Night (Gonna Be Alright),” Rod Stewart (8)“Shadow Dancing,” Andy Gibb (7)“Bridge over Troubled Water,” Simon & Garfunkle (6)“Joy to the World,” Three Dog Night (6)“The First Time Ever I saw Your Face,” Roberta Flack (6)“Alone Again (Naturally),” Gilbert O’Sullivan (6)“Le Freak,”Chic (6)“My Sharona,” The Knack (6) (NOTE: For as much shit as the 70’s get, I’m actually quite impressed with these 10 tunes.  Also, I kind of like the unlikely and glorious collision of punk, soul, kink, and the gay community called Disco.) 1958 – 1969 – “Songs,” and artists (by total weeks at number one) “Mack the Knife,” Bobby Darin (9)“Theme from a Summer Place,” Percy Faith (9)“Hey Jude,” The Beatles (9)“Tossin’ and Turnin’,” Bobby Lewis (7)“I want to Hold Your Hand,” The Beatles (7)“I’m a Believer,” The Monkees (7)“I Heard It Through the Grapevine,” Marvin Gaye (7)“It’s All in the Game,” Tommy Edwards (6)“The Battle of New Orleans,” Johnny Horton (6)“Are You Lonesome Tonight?” Elvis Presley (6)“Aquarius/Let the Sunshine In,” The 5th Dimension (6)“In the Year 2525,” Zager and Evans (6) So…maybe I’ve convinced you, or maybe you’re now doubling down on the assertion that today’s popular music is considerably worse than yesterday’s.  In either case, we present to you, “Now That’s What I Call Poop Music!” Oh…and at the end?  “Paid In Full (7 Minutes of Madness Remix).”  Pump up the volume, pump up the volume, chkuh-chk-chk-chk Pump that bass!  

Forming a natural accompaniment to last week’s show about biscuits, we present this week, dear listener, a selection of some of our favourite cheeses. For maximum enjoyment, we recommend preparing for the show by opening a box of crackers and … Continue reading →

This show is all about the Swords and also includes the Sorcery. That s what they used to call stuff with bearded men and dragons before Game of Thrones. Speaking of which, we have a chiptune rendering of the theme … Continue reading →

Or as we old birds call it: eBay Eve! paDOW! (I'm pretty sure I'm stealing that joke from someone, possibly even a music writer I've met. Lars? Christopher R.W.?) Grouse is low on planning time these days, so we get to hear that tried and true lazy DJ mainstay: the Let's Listen to Records I Just Bought But Haven't Listened To! show. It's a talky show: if you love the sound of Grouse's voice as much as he seems to himself, you're in for a treat! What is going on with all these shifting voice-POVs? I'm confused! Download | PodcastAlso, how about that beautiful Cal Tjader photo above? More from that stunning LIFE Magazine spread are available here. Bold text indicates relatively new releases (including reissues and comps). Debt Collectors calling READ-GROUSE (732-347-6873) Robert Wyatt - "Stalin Wasn't Stallin'" (from Nothing Can Stop Us) Stalling tape Grouse pours out his soul like silver. The Meters - "Funky Miracle" (from Funkify Your Life: The Meters Anthology) Dieuf-Dieul De Thiès - "Na Binta" (from Aw Sa Yone Vol. 1) Karthala 72 - "Marche De La Mort" (from Diable Du Feu) Fela And Afrika 70 - "Sorrow Tears And Blood (Original Extended Version) " (from Sorrow Tears And Blood) CSC Funk Band (featuring David Maraniss) - "Choom Gang" (from Funkincense) Shake Keane & His Highlifers - "Balonga" (from London Is The Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London) Joseph Jarman - "Little Fox Run" (from Song For) Tunji Oyelana - "Omonike" (from London Is The Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London) Lord Kitchener - "London Is The Place For Me" (from London Is The Place For Me: Trinidadian Calypso In London, 1950 - 1956) Wilmoth Houdini with Gerald Clark's Night Owls - "I Need a Man" (from Songs of Trinidad) Xavier Cugat and His Orchestra - "Begin the Beguine" (from Cugat's Favorite Rhumbas) The Cal Tjader Trio - "Ivy" (from The Cal Tjader Trio) Percy Faith & His Orchestra - "Tropical Merengue" (from Greatest Hits) Grouse sees his future, and gives a shout out to a Pulitzer Prize winner that he really does know. The Mar-Keys - "Bush Bash" (from The Complete Stax/Volt Singles: 1959-1968) Thee Oh Sees - "Toe Cutter / Thumb Buster" (from Floating Coffin) White Fence - "Pink Gorilla" (from Cyclops Reap) Apache Dropout - "I'm So Glad" (from Magnetic Heads) Apache Dropout - "I'm So Glad" (from Apache Dropout) Gram Parson [sic] and the International Submarine Band - "Folsom Prison Blues / And: That's All Right" (from The Devil And The Deep Blue Sea) The Scientists - "She Said She Loves Me" (from The Scientists) The Bats - "By Night" (from By Night) Orange Juice - "Felicity" (from You Can't Hide Your Love Forever) Orange Juice - "Love Sick" (from The Glasgow School) Lord Apologizer sends a message to Edwyn Collins. Stereolab - "Three Women" (from Chemical Chords) The Troggs - "With A Girl Like You / I Can't Control Myself" (from The Best Of The Troggs) Simon Turner - "(Baby) I Gotta Go" (from Velvet Tinmine) The Easybeats - "Friday On My Mind" (from The Definitive Anthology)

We play a lot of Mexican music on the show but we’ve been thinking for a while that it was about time we tried to sort out the fake (mainly German) Mexicans from the real thing. So on this week’s … Continue reading →