Podcasts about Phil Phillips

In which Jorge and JT recall the trials and tribulations of living through The Satanic Panic of the 80s and 90s: D&D, Heavy Metal, Turmoil In The Toybox, and of course, Michelle Remembers.DOCUMENTARIES, ETC. (that I could link to or find streaming)Eagle's Nest: Deception Of A Generation Part 1, Part 2 (Greenwald talking to Phil Phillips about satanic toys, TV, cereal--yeah, cereal. Not kidding. If you find this entertaining, there is a ton more Eagle's Nest hilarity all over the YouTubes) Frontline: The Search For SatanHail Satan? (Tubi)Hell's Bells: The Dangers Of Rock And Roll Part 1, Part 2 (another one of those idiotic religious "rock is satanic" things in the same vein as Eagle's Nest...a fine illustration of the dumb shit these fuckwits believe)Satan Wants You (Tubi)The Satanic Panic And The Religious Battle Of  For The Imagination (Tubi)Speak Of The Devil: The Canon Of Anton LaVeyBOOKSIn Pursuit Of Satan: The Police And The Occult (Hicks)Satanic Panic: Pop-cultural Paranoia In The 1980s (Janisse, Corupe)Turmoil In The Toy Box (Phillips- more satan paranoia)LINKSFind us on Letterboxd!Skull logo by Erik Leach @erikleach_art (Instagram)Theme:  Netherworld Shanty, Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 LicenseWe'd love to hear from you!

This week, we dive into another Phil Phillips book called Saturday Morning Mind Control

Phil Phillips - Attention Deficit Disorder.MP3 by Bill and Sandi Griffin

Inside prison, as well as out, some of us cling to stuff and some of us let go. In this episode: two cell-block neighbors engage in a gentle dispute, Tony attempts to Marie Kondo his future from inside prison, and Mesro won't have his keepsakes disrespected.Thanks to our colleagues and collaborators inside San Quentin — Carrington, Mesro, Sadiq, and Tony — for talking to us about their stuff, and to Tony's Uncle Eric for welcoming us into his home.  This episode was scored with music by David Jassy, Antwan Williams, E. Phil Phillips, Rhashiyd Zinnamon, Gregory Dixon, and Earlonne Woods.Big thanks to Acting Warden Andes and Lt. Berry at San Quentin State Prison, and Acting Warden Parker, Associate Warden Lewis, and Lt. Newborg at the California Institution for Women for their support of the show.Support our team and get even more Ear Hustle by subscribing to Ear Hustle Plus today. Sign up at earhustlesq.com/plus or directly in Apple Podcasts. (And while you're there, leave us a review!)Ear Hustle is a proud member of Radiotopia, from PRX. 

In this podventure, we discuss the episode “By Any Other Name,” in which Kurt Stevens, with the help of Lucy's campaign management skills, runs for class rep so he can get a passing grade in social studies. Meanwhile, the town of Odyssey comes face-to-face with Phil Phillips, who is here to help those struggling small businesses rebrand—for a nominal fee, of course. Also, the Raw Metal Power Push Starcade, Lucy's weakness to compliments, and the introduction of a very fun main cast member.

George talks to Malcolm Jensen and his sister Clair about who might have had it in for J.J., and he talks to Phil Phillips about the whereabouts of Josie Penelope. https://mfgcast.com/wp-content/uploads/2023/12/Episode_457_Final.mp3

An enduring pop hit, Sea of Love has been revived by great covers multiple times since Phil Phillips sang it originally. We listen to those and more! Join us! --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanketingcovers/message

This week we conclude our series on Phil Phillips book of the same name. We also take some time to discuss what's going on in Palestine. 

This week we go further into the book "Halloween & Satanism" by Phil Phillips. We learn more about the origins of Halloween traditions and how Witches used to be "dealt with".

This week, we begin our look into the book "Halloween and Satanism" by Phil Phillips. Be prepared to learn all about The Devil's Birthday.

We watch the Duggars get down on the farm! Watch Jinn-ifer tell a Pony "Ooh, gurl, bye." Watch the Tractor Train of Duggars head to the petting zoo. Watch some epic, pony side-eye. In one of my favorite Digs, we explore all of the turmoil in the toybox, and how Phil Phillips works through his hatred of He-man and his unresolved feelings about Smurfette. Feel free to buy us a pickle, (maybe even monthly) at https://www.buymeacoffee.com/diggingupthedug    Send us a message at digginguptheduggars@gmail.com Enjoy our episode visuals and maybe some Mildred content on insta @digginguptheduggarspod  Want to send us regular mail?  Send it on over to P.O. Box 5973 Glendale. Az 85312

You're going to be so disgusted with tales from the grocery store that you may never eat again! Afterwards, the boys review the Mad Skills album FROM WHERE??? (1996) and talk about battle rapping, as well as go through three oldies: Guided Missiles by The Cuff Links, Sea of Love by Phil Phillips and the Twilights, and Kidnapper by Jewell and the Rubies, along with a eulogy for Jerry Blavat, the Geator with the Heater, the Boss with the Hot Sauce. www.whatupbrotha.com and @whatupbrotha everywhere!

Satanic Panic Xmas Special. The 1980's were rife with people freaking out and claiming that Satan was trying to steal everyone's soul. This was mostly aimed at Rock Music and Horror films but in 1986 Phil Phillips tried to ruin it for the kids by going after toys! Intro/Outro music courtesy of Alexander Nuttall @WeAreDinoPig Animation courtesy of @VERTIGOJAXX Outro music courtesy of Dave Mustardface

Honeydrippers, Phil Phillips, George Khoury, and me.

Dallin Applebaum is an alternative songwriter with a knack for melodic piano-driven songs with a dark-humored spirit. Originally based in New York City, she moved to Nashville in early 2022. Dallin has always been drawn to music- she began playing classical piano at a young age and started singing and writing songs as a teenager.  After attending college in New York, Dallin began touring with major pop artists among the likes of Ryan Star & Rachel Platten, in addition to working with recording artists such as Passion Pit, Phil Phillips, Matchbox 20 and many more. Among this success, she also won runner up for Best Folk Song in the John Lennon Songwriting Contest in 2009. . In 2013, Dallin started an electronic rock band called SKYES, who made their way through the Brooklyn indie music scene before she chose to move into writing music on her own. During this time Dallin also wrote and produced pop songs under the alias Alise Indall. Many of Indall's songs can be heard on TV and film, and “I'm That Girl” was featured in the promotion for the  2018 USA Women's Olympic teams.   In the process of building her new album, Grey Matters, Dallin began a songwriting club in New York as a place to get together with other songwriters and share ideas. It was through the club that she was able to create a space where she could work through and finish writing all of the songs for her album.  Grey Matters, due out in January 2023, explores extremes as a means to understanding and appreciating what's between them. Dallin produced and arranged most of the record herself with the help of her husband & a few extremely talented friends.  www.dallinapplebaum.com

It's our first book review. And it had to be about Power Rangers. In this case, an evangelical telling how bad the rangers and karate are for kids. Come listen to us talk about how so much bullshit can fit inside such a tiny book. Follow us on Facebook, Twitter, and Instagram @thesharkpod Donate at patreon.com/sharksacrosshollywood Music by The Drag  

Phil Phillips - Attention Deficit Disorder by Bill and Sandi Griffin

GET TICKETS TO THE LIVE SHOW! SEPT 16In this episode, Christian and Joe go LIVE and watch the first few episodes of Turmoil in the Toybox, the documentary series that sparked Christian outrage over Satanic symbolism in Saturday Morning Cartoons. Which toys, cartoons, and appliances (yes, really) were banned from Christian homes? Which toy was so evil that Lianne's family burned it outside instead of in the fireplace (where other occultic materials were regularly burned) Listen to find out!Hear two silly jackasses talk about 80's toys like He Man and the Masters of the Universe (and the guys in the documentary are also pretty shitty).Also in this Episode:An update on the Superbook Bible AppAnd how to argue with Christians going forwardSHOW NOTES FOR THIS EPISODELINKTREEChat with Christian on INSTAGRAMTweet it up with Lianne on TWITTEREmail us your thoughts, ideas, and condemnations at hereticparty@gmail.comRemember, Happy Lost Souls, your stories deserve to be heard, you deserve friends and community who listen to you and support you. If you are struggling, recoveringfromreligion.org is a great, nonprofit, resource for individuals who have questions about changing or leaving their faith? They have a support hotline you can call anytime.Support Reproductive Rights Heretic Party is a member of Rad Pantheon, a collective of podcasters, artists, musicians, and other creative types who do our best to connect you with rad stuff you'll enjoy. If you like what we do, check out radpantheon.com or look for @radpantheon on Instagram or Twitter.

The story goes that young evangelist Phil Phillips embarked on a 14 day “Jewish fast” and then wandered into a toy store. He saw a figure of Skeletor and it disturbed him so much that it changed the entire course of his ministry. He then made many works intending to warn kids and parents of the “occultic” influence of children's media. The most infamous of these works is TURMOIL IN THE TOY BOX, a book by Phillips that was adapted into a documentary called DECEPTION OF A GENERATION. On this VHS co-hosted by Gary Greenwald of Eagle's Nest Ministries, the two men dig through popular 1980s children's' toy and television franchises to hunt for insidious imagery within. They don't have to look far! Scooby-Doo glorifies witches and spell books, He-Man is more powerful than God, and the Smurfs are a living representation of the death of the human body. Who better to pore over this loaded evidence with us than filmmaker, DJ, and Smurf historian Michael Bilandic? We discuss how an infantilized pop culture has essentially turned everyone into a Christian toy freak. Michael's fantastic new film PROJECT SPACE 13 (2021) is out now for streaming on Mubi and on Blu-ray via Vinegar Syndrome.   Buy PROJECT SPACE 13 on Blu-ray: https://vinegarsyndrome.com/products/project-space-13-circle-collective Follow Michael on Twitter: https://twitter.com/_RareArt View our full episode list and subscribe to any of our public feeds: http://boysbiblestudy.com Unlock 2+ bonus episodes per month: http://patreon.com/boysbiblestudy Subscribe to our Twitch for monthly streams: http://twitch.tv/boysbiblestudy Follow us on Instagram: http://instagram.com/boysbiblestudy Follow us on Twitter: http://twitter.com/boysbiblestudy

Roger Ashby goes behind the hits of your favourite songs from the 50s, 60s and 70s. Listen to The Roger Ashby Oldies Show anytime on the iHeartRadio app.

Urodzeni: Quincy Jones, Walter Parazaider (Chicago), Wojciech Bellon (Wolna Grupa Bukowina), Złota Płyta.Zmarli: Anna Jantar (foto), Jerome “Doc” Pomus, Ronnie Hammond (Atlanta Rhythm Section), Phil Phillips,.Nagranie z roku 2021. 

Écoutez sa playlist : Spotify | YouTube Thomas Jean est un photographe-vidéaste animalier. Il est le créateur de La Minute Sauvage, un projet qu’il consacre à l’observation de la diversité de la faune et la flore en milieu urbain. Depuis peu, sa passion est devenue son métier : en effet, il travaille pour la Ligue Royale Belge pour la Protection des Oiseaux et si vous écoutez la radio de la RTBF La Première, il est possible que vous l’ayez déjà entendu parler de vie sauvage dans une de ses chroniques. Pour moi, le contenu de Thomas a capté mon attention parce que c’est la première fois que je voyais une personne parler de faune et flore avec des Air Max 90 aux pieds. Il m’en faut peu pour éveiller ma curiosité. Du coup, je lui ai lancé une invitation. Et il a accepté. Nous nous sommes rencontrés chez Transforma à Evere (dans le respect des règles sanitaires) et il m’a raconté les histoires qui se cachaient derrière les cinq morceaux qu’il a choisis, à savoir ceux de Sade, des Dead Kennedys, de Barrington Levy, Phil Phillips et Heuss L’enfoiré. Liens : site web de La Minute Sauvage | La Minute Sauvage sur YouTube | La Minute Sauvage sur Facebook | La Minute Sauvage sur Instagram | Bande-annonce Sea Of Love

The gang dives into the life and work of Phil Phillips, celebrating Halloween by taking a look at the Satanic Panic!

The Danny Lane Music Museum is for listening and remembering the great rock & roll music of the past. This museum is a global effort. We are available around the world and at any time you want. Ordinary museums have varying aims, ranging from serving researchers and specialists to serving the general public. We serve the world of Oldies But Goodies. Enjoy ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com - - - - In this episode you’ll hear: 1) Memory Lane by The Hippies 2) (Just Like) Romeo And Juliet by The Reflections 3) Bread And Butter by The Newbeats 4) I've Got A Woman by Ray Charles 5) Stop! In The Name Of Love by The Supremes 6) It's All Over Now by The Rolling Stones 7) The Wah-Watusi by The Orlons 8) Hey, Little Cobra by The Rip Chords 9) Cinnamon Cinder by The Pastel Six 10) I Can't Help Myself (Sugar Pie Honey Bunch) by The Four Tops 11) Old Shep by Elvis Presley 12) 442 Glenwood Avenue by The Pixies Three 13) Lucille by The Everly Brothers 14) Since I Lost My Baby by The Temptations 15) If I Had A Hammer by Peter, Paul And Mary 16) Chug-A-Lug by Roger Miller 17) She Can't Find Her Keys by Paul Petersen 18) To Be Loved (Forever) by The Pentagons 19) Mixed-Up, Shook-Up Girl by Patty And The Emblems 20) Nobody I Know by Peter & Gordon 21) The Love of a Boy by Timi Yuro 22) P.S. I Love You by The Beatles 23) Sea of Love by Phil Phillips & The Twilights 24) Every Beat of My Heart by Gladys Knight & The Pips 25) When A Man Loves A Woman by Percy Sledge 26) I Wish That We Were Married by Ronnie And The Hi-Lites 27) Penetration by The Pyramids 28) California Sun by The Rivieras 29) Tie Me Kangaroo Down Sport by Rolf Harris 30) El Watusi by Ray Barretto 31) Smoke Gets in Your Eyes by The Platters 32) Born Too Late by The Poni-Tails 33) A Teenage Idol by Rick Nelson 34) The Bird's The Word by The Rivingtons 35) Sad Mood by Sam Cooke 36) Lookin' For Boys by The Pinups 37) Mr. Pitiful by Otis Redding 38) Ala Men Sy by The Quotations 39) The Big Hurt by Miss Toni Fisher 40) Killer Joe by The Rocky Fellers 41) Teasin' by The Quaker City Boys 42) Colinda by Rod Bernard 43) The White Cliffs Of Dover by The Robins 44) The Under Assistant West Coast Promotion Man by The Rolling Stones 45) Hey Boy, Hey Girl by Oscar McLollie & Jeanette Baker 46) Wine, Wine, Wine by The Night Caps 47) One Night by Smiley Lewis 48) And The Heavens Cried by Ronnie Savoy 49) One Mint Julep by Ray Charles

This episode features a discussion with Phil Phillips. Phil is Managing Partner of Foley's Detroit office and a member of the Labor & Employment group. Phil shares about life growing-up as the youngest of nine kids in Saginaw, Michigan, and the incredible role models he had in his older, very high achieving, siblings. Phil also shares about his labor & employment practice and how, as a former prosecutor, it's the only practice that captured his interest. Phil also provides insight in to his experience as a Black man in Big Law and how large law firms can work to promote attorneys of color.

Episode ninety of A History of Rock Music in Five Hundred Songs looks at "Runaway" by Del Shannon, and at the early use of synthesised sound in rock music. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Blue Moon" by the Marcels. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- A note Almost every version of “Runaway” currently available is in stereo, and the stereo version of the song has a slightly different vocal take to the original mono version. Unfortunately, there appear to be multiple “original mono versions” too. To check that what I'm using here, a mono track available as a bonus on a reissue of the album Runaway With Del Shannon, is actually the hit single version, I downloaded two vinyl rips of the single and one vinyl rip of a mono hits compilation from the sixties that had been uploaded to YouTube. Unfortunately no two copies of the song I could find online would play in synch – they all appear to be mastered at slightly different speeds, possibly due to the varispeeding I talk about in the episode. I've gone with the version I did because it's a clean-sounding mono version, but it may not be exactly what people heard in 1961. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one is in two parts because of the number of songs by Del Shannon in the mix. Part one, part two. Only one biography of Del Shannon has ever been written, and that's out of print and (to judge from the Amazon reviews) not very well written, so I've relied again on other sources. Those include the liner notes to this CD, a good selection of Shannon's work (with the proviso that "Runaway" is in stereo -- see above; the articles on Shannon and Max Crook on This Is My Story, the official Del Shannon website,  and the Internet Archive's cached copy of Max Crook's old website. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript Today's episode is an odd one to write, as just as I put the finishing touches to the script I discovered that Max Crook, the keyboard player at the centre of this story, died less than two weeks ago. The news wasn't widely reported, and I only discovered this by double-checking a detail and discovering an obituary of him. Crook was one of the great early pioneers of electronic music, and a massive talent, and he's a big part of the story I'm telling today, so before we go into the story proper I just wanted to take a moment to acknowledge his passing, and to regret that it hasn't been more widely noted. One of the things we've not talked about much in this podcast so far is the technology of music. We've discussed it a bit -- we've looked at how things like the change from 78s to 45s affected the music industry, at the transition from recording on discs to recording on tape, at the electrification of the guitar, and at Les Paul's inventions. But in general, the music we've looked at has been made in a fairly straightforward manner -- some people with some combination of guitars, bass, piano, drums, and saxophone, and maybe a few string players on the most recent recordings, get together in front of a microphone and sing and play those instruments. But today, we're going to look at the start of synthesisers being used in rock and roll music. Today we're going to look at "Runaway" by Del Shannon: [Excerpt: Del Shannon, "Runaway"] Synthesised sound has a far longer pedigree than you might expect. The use of electronics to create music goes back to the invention of the theremin and the ondes martenot in the 1920s, and by the 1930s, people had already started using polyphonic keyboard-based electronic instruments. The Novachord was produced by the Hammond organ company between 1938 and 1942, and was introduced at the World's Fair in 1939, where Ferdinand Grofe, who we talked about a little in the episode on "Cathy's Clown", led a group consisting only of Novachord players in a public performance. The Novachord never achieved mass popularity because of World War II halting its production, but it was still used in a few recordings. One that's of particular interest to those of us interested in early rock and roll is Slim Gaillard's "Novachord Boogie": [Excerpt: Slim Gaillard, "Novachord Boogie"] But also it was used on one of the most famous records of the late thirties. These days, when you hear "We'll Meet Again" by Vera Lynn on documentaries about the second world war, this is the version you hear: [Excerpt: Vera Lynn, "We'll Meet Again"] But the record that people actually listened to in World War II didn't have any of that orchestration. It was Lynn accompanied by a single instrument, a Novachord played by Arthur Young, and is notably more interesting and less syrupy: [Excerpt: Vera Lynn with Arthur Young on Novachord, "We'll Meet Again"] So even in the late thirties, synthesised sounds were making their way on to extremely popular recordings, but it wasn't until after the war that electronic instruments started getting used in a major way. And the most popular of those instruments was a monophonic keyboard instrument called the clavioline, which was first produced in 1947. The clavioline was mostly used as a novelty element, but it appeared on several hit records. We're going to devote a whole episode in a few months' time to a record with the clavioline as lead instrument, but you can hear it on several fifties novelty records, like "Little Red Monkey" by Frank Chacksfield's Tunesmiths, a UK top ten hit from 1953: [Excerpt: Frank Chacksfield's Tunesmiths, "Little Red Monkey"] But while the clavioline itself was in use quite widely in the fifties, the first big rock and roll hit with an electronic synthesiser actually used a modified clavioline called a musitron, which was put together by an electronics amateur and keyboard player named Max Crook, from Ann Arbor, Michigan. Crook had built his musitron using a clavioline as a base, but adding parts from TVs, reel-to-reel recorders, and bits of whatever electronic junk he could salvage parts from. He'd started playing electronic instruments in his teens, and had built his own recording studio. Sadly, the early records Crook made are not easily available. The only place I've been able to track down copies of his early singles in a digital format is one grey-market CD, which I wasn't able to obtain in time to include the tracks here and which only seems to be available from one shop in Cornwall. His first band, the White Bucks, released a single, "Get That Fly" backed with "Orny", on Dot Records, but I can tell you from experience that if you search anywhere online for "White Bucks Orny" you will find... well, not that record, anyway. Even more interestingly, he apparently recorded a version of "Bumble Boogie", the novelty instrumental that would later become a hit for B. Bumble and the Stingers, with Berry Gordy at some point in the late fifties. Sadly, that too is not generally available. But it wasn't until he auditioned for Charlie Johnson and the Big Little Show Band that Max Crook met the people who were going to become his most important collaborators. The Big Little Show Band had started as Doug DeMott and The Moonlight Ramblers, a honky-tonk band that played at the Hi-Lo Club in Battle Creek, Michigan. Battle Creek is a company town, midway between Chicago and Detroit, which is most famous as being the headquarters of the Kellogg company, the cereal manufacturer and largest employer there. It's not somewhere you'd expect great rock and roll to come from, being as it is a dull medium-sized town with little in the way of culture or nightlife. The Hi-Lo Club was a rough place, frequented by hard-working, hard-drinking people, and Doug DeMott had been a hard drinker himself -- so hard a drinker, in fact, that he was soon sacked. The group's rhythm guitarist, Charles Westover, had changed his name to Charlie Johnson and put together a new lineup of the group based around himself and the bass player, Loren Dugger. They got in a new drummer, Dick Parker, and then went through a couple of guitarists before deciding to hire a keyboard player instead. Once they auditioned Crook, with his musitron, which he could clip to the piano and thus provide chordal piano accompaniment while playing a lead melody on his musitron, they knew they had the right player for them. Crook had a friend, a black DJ named Ollie McLaughlin, who had music industry connections, and had been involved in the White Bucks recordings. Crook and Johnson started writing songs and recording demos for McLaughlin, who got Johnson a session with Irving Micahnik and Harry Balk, two record producers who were working with Johnny and the Hurricanes, an instrumental group who'd had a big hit with "Red River Rock" a year or so previously: [Excerpt: Johnny and the Hurricanes, "Red River Rock"] Johnson recorded two songs in New York, without his normal musicians backing him. However, Micahnik and Balk thought that the tracks were too dirgey, and Johnson was singing flat -- and listening to them it's not hard to see why they thought that: [Excerpt: Del Shannon, "The Search"] They told him to go back and come up with some more material that was less dirgey. Two things did come out of the association straight away, though. The first was that Charles Johnson changed his name again, combining a forename he chose to be reminiscent of the Cadillac Coup deVille with a surname he took from an aspiring wrestler he knew, Mark Shannon, to become Del Shannon. The second was that Johnny and the Hurricanes recorded one of Max Crook's instrumentals, "Mr Lonely", as a B-side, and you can hear in the Hammond organ part the kind of part that Crook would have been playing on his Musitron: [Excerpt: Johnny and the Hurricanes, "Mr Lonely"] Shannon and Crook recorded a tape of many other songs they were working on for McLaughlin to play to Micahnik and Balk, but they weren't interested -- until they heard a fragment of a song that Shannon and Crook had recorded, and which they'd then mostly taped over. That song, "Runaway", was the one they wanted. "Runaway" had been an idea that had happened almost by accident. The band had been jamming on stage, and Crook had hit a chord change that Shannon thought sounded interesting -- in later tellings of the story, this is always the Am-G chord change that opens the song, but I suspect the actual chord change that caught his ear was the one where they go to an E major chord rather than the expected G or E minor on the line “As our hearts were young”. That's the only truly unusual chord change in the song. But whatever it was, Shannon liked the changes that Crook was playing -- he and Crook would both later talk about how bored he was with the standard doo-wop progression that made up the majority of the songs they were playing at the time -- and the band ended up jamming on the new chord sequence for fifteen or twenty minutes before the club owner told them to play something else. The next day, Shannon took his guitar to the carpet shop where he worked, and when there were no customers in, he would play the song to himself and write lyrics. He initially wrote two verses, but decided to scrap one. They performed the song, then titled "My Little Runaway", that night, and it became a regular part of their set. The crucial element in the song, though, came during that first performance. Shannon said, just before they started, "Max, when I point to you, play something". And so when Shannon got to the end of the chorus, he pointed, and Crook played this: [Excerpt: Del Shannon, "Runaway"] When they were told that Micahnik and Balk liked the fragment of song that they'd heard, Shannon and Crook recorded a full demo of the song and sent it on to them. The producers weren't hugely impressed with the finished song, saying they thought it sounded like three songs trying to coexist, and they also didn't like Shannon's voice, but they *did* like Crook and the Musitron, and so they invited Crook and Shannon to come to New York to record. The two men drove seven hundred miles in a broken-down car, with their wives, to get from Michigan to New York. It was the middle of winter, the car had no heating, and Shannon smoked while Crook was allergic to tobacco smoke, so they had to keep the windows open. The session they were going to do was a split session -- they were going to record two Del Shannon vocal tracks, and two instrumentals by Crook, who was recording under the name "Maximilian" without a surname (though the "Max" in his name was actually short for Maxfield). Crook was definitely the one they were interested in -- he rearranged the way the microphones were arranged in the studio, to get the sound he wanted rather than the standard studio sound, and he also had a bag full of gadgets that the studio engineers were fascinated by, for altering the Musitron's sound. The first single released as by "Maximilian" was "The Snake", which featured Crook and Shannon's wives on handclaps, along with an additional clapper who was found on the street and paid forty dollars to come in and clap along: [Excerpt: Maximilian, "The Snake"] After that, the two women got bored and wandered off down Broadway. They eventually found themselves in the audience for a TV game show, Beat the Clock, and Joann Crook ended up a contestant on the show -- their husbands didn't believe them, when they explained later where they'd been, until acquaintances mentioned having seen Joann on TV. Meanwhile, the two men were working on another Maximillian track, and on two Del Shannon tracks, one of which was "Runaway". They couldn't afford to stay overnight in New York, so they drove back to Michigan, but when the record company listened to "Runaway", they discovered that Shannon had been singing flat due to nerves. Shannon had to go back to New York, this time by plane, to rerecord his vocals. According to Crook, even this wasn't enough, and the engineers eventually had to varispeed his vocals to get them in key with the backing track. I'm not at all sure how this would have worked, as speeding up his vocals would have also meant that he was singing at a different tempo, but that's what Crook said, and the vocal does have a slightly different quality to it. And Harry Balk backed Crook up, saying "We finally got Del on key, and it sounded great, but it didn't sound like Del. We mixed it anyhow, and it came out wonderful. When I brought Ollie and Del into my office to hear it, Del had a bit of a fit. He said, 'Harry, that doesn't even sound like me!' I just remember saying, 'Yeah but Del, nobody knows what the hell you sound like!" Like most great records, "Runaway" was the sum of many parts. Shannon later broke down all the elements that went into the song, saying: "I learned falsetto from The Ink Spots' 'We Three,'": [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] "I eventually got hooked on Jimmy Jones' 'Handy Man' in '59 and would sing that at the Hi-Lo Club.": [Excerpt: Jimmy Jones, "Handy Man"] "I always had the idea of 'running away' somewhere in the back of my mind. 'I wa-wa-wa-wa-wonder, why...' I borrowed from Dion & The Belmonts' 'I Wonder Why.'" [Excerpt: Dion and the Belmonts, "I Wonder Why"] "The beats you hear in there, '...I wonder, bam-bam-bam, I wa-wa...' I stole from Bobby Darin's 'Dream Lover.'" [Excerpt: Bobby Darin, "Dream Lover"] Listening to the song, you can definitely hear all those elements that Shannon identifies in there, but what emerges is something fresh and original, unlike anything else out at the time: [Excerpt: Del Shannon, "Runaway"] "Runaway" went to number one in almost every country that had a chart at the time, and top five in most of the rest. In America, the song it knocked off the top was "Blue Moon" by the Marcels, one of those songs with the doo-wop progression that Shannon had been so bored with. At its peak, it was selling eighty thousand copies a day, and Billboard put it at number three hundred and sixty four on the all-time charts in 2018. It was a massive success, and a game-changer in the music industry. Maximilian's single, on the other hand, only made the top forty in Argentina. Clearly, Del Shannon was the artist who was going to be worth following, but they did release a few more singles by Maximilian, things like "The Twisting Ghost": [Excerpt: Maximilian, "The Twisting Ghost"] That made the Canadian top forty, but Maximilian never became a star in his own right. Shannon, on the other hand, recorded a string of hits, though none were as successful as "Runaway". The most successful was the follow-up, "Hats off to Larry", which was very much "Runaway part 2": [Excerpt: Del Shannon, "Hats off to Larry"] But every single he released after that was slightly less successful than the one before. He soon stopped working with Crook, who remained at the Hi-Lo Club with the rest of the band while Shannon toured the country, and without Crook's Musitron playing his records were far less interesting than his earliest singles, though he did have the distinction of being one of the few singers of this era to write the bulk of his own material. He managed to further sabotage his career by suing Micahnik and Balk, and by 1963 he was largely washed up, though he did do one more thing that would make him at least a footnote in music history for something other than "Runaway". He was more popular in the UK than in the US, and he even appeared in the film "It's Trad Dad!", a cheap cash-in on the trad jazz craze, starring Helen Shapiro and Craig Douglas as teenagers who try to persuade the stuffy adults who hate the young people's music that the Dukes of Dixieland, Mr. Acker Bilk and the Temperance Seven are not dangerous obscene noises threatening the morals of the nation's youth. That film also featured Gene Vincent and Chubby Checker along with a lot of British trumpet players, and was the first feature film made by Richard Lester, who we'll be hearing more about in this story. So Shannon spent a fair amount of time in the UK, and in 1963 he noticed a song by a new British group that was rising up the UK charts and covered it. His version of "From Me to You" only made number seventy-seven on the US charts, but it was still the first version of a Lennon/McCartney song to make the Hot One Hundred: [Excerpt: Del Shannon, "From Me to You"] He made some interesting records in the rest of the sixties, and had the occasional fluke hit, but the music he was making, a unique blend of hard garage rock and soft white doo-wop, was increasingly out of step with the rest of the industry. In the mid and late sixties, his biggest successes came with songwriting and productions for other artists. He wrote "I Go to Pieces" which became a hit for Peter & Gordon: [Excerpt: Peter and Gordon, "I Go to Pieces"] Produced the band Smith in their cover version of "Baby It's You", which made the top five: [Excerpt: Smith, "Baby It's You"] And produced Brian Hyland's million-selling version of a Curtis Mayfield song that I'm not going to play, because its title used a racial slur against Romani people which most non-Romani people didn't then regard as a slur, but which is a great record if you can get past that. That Hyland record featured Crook, reunited briefly with Shannon. But over the seventies Shannon seemed increasingly lost, and while he continued to make records, including some good ones made in the UK with production by Dave Edmunds and Jeff Lynne, he was increasingly unwell with alcoholism. He finally got sober in 1978, and managed to have a fluke hit in 1981 with a cover version of Phil Phillips' "Sea of Love", produced by Tom Petty and with Petty's band the Heartbreakers backing him: [Excerpt: Del Shannon, "Sea of Love"] He also came to people's attention when a rerecorded version of "Runaway" with new lyrics was used as the theme for the TV show Crime Story. In 1989, Del Shannon was working on a comeback album, with Jeff Lynne producing and members of Tom Petty and the Heartbreakers as backing musicians. The same people had previously worked on Roy Orbison's last album, which had been his biggest success in decades, and Lynne was gaining a reputation for resuscitating the careers of older musicians. Both Lynne and Petty were fans of Shannon and had worked with him previously, and it seemed likely that he might be able to have a hit with some of the material he was working on. Certainly "Walk Away", which Shannon co-wrote with Lynne and Petty, sounds like the kind of thing that was getting radio play around that time: [Excerpt: Del Shannon, "Walk Away"] There were even rumours that Lynne and Petty were thinking of inviting Shannon to join the Travelling Wilburys to replace Roy Orbison, though that seems unlikely to me. Unfortunately, by the time the album came out, Shannon was dead. He'd been suffering from depression for decades, and he died of suicide in early 1990, aged fifty-five. His widow later sued the manufacturers of the new wonder drug, Prozac, which he'd been prescribed a couple of weeks earlier, claiming that it caused his death. Max Crook, meanwhile, had become a firefighter and burglar alarm installer, while also pursuing a low-key career in music, mostly making religious music. When Shannon was posthumously inducted into the Rock and Roll Hall of Fame, Crook volunteered to perform at the ceremony, playing his original Musitron, but his offer was ignored. In later years he would regularly show up at annual celebrations of Shannon, and talk about the music they made together, and play for their fans. He died on July the first this year, aged eighty-three.

Episode ninety of A History of Rock Music in Five Hundred Songs looks at “Runaway” by Del Shannon, and at the early use of synthesised sound in rock music. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Blue Moon” by the Marcels. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- A note Almost every version of “Runaway” currently available is in stereo, and the stereo version of the song has a slightly different vocal take to the original mono version. Unfortunately, there appear to be multiple “original mono versions” too. To check that what I’m using here, a mono track available as a bonus on a reissue of the album Runaway With Del Shannon, is actually the hit single version, I downloaded two vinyl rips of the single and one vinyl rip of a mono hits compilation from the sixties that had been uploaded to YouTube. Unfortunately no two copies of the song I could find online would play in synch – they all appear to be mastered at slightly different speeds, possibly due to the varispeeding I talk about in the episode. I’ve gone with the version I did because it’s a clean-sounding mono version, but it may not be exactly what people heard in 1961. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one is in two parts because of the number of songs by Del Shannon in the mix. Part one, part two. Only one biography of Del Shannon has ever been written, and that’s out of print and (to judge from the Amazon reviews) not very well written, so I’ve relied again on other sources. Those include the liner notes to this CD, a good selection of Shannon’s work (with the proviso that “Runaway” is in stereo — see above; the articles on Shannon and Max Crook on This Is My Story, the official Del Shannon website,  and the Internet Archive’s cached copy of Max Crook’s old website. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript Today’s episode is an odd one to write, as just as I put the finishing touches to the script I discovered that Max Crook, the keyboard player at the centre of this story, died less than two weeks ago. The news wasn’t widely reported, and I only discovered this by double-checking a detail and discovering an obituary of him. Crook was one of the great early pioneers of electronic music, and a massive talent, and he’s a big part of the story I’m telling today, so before we go into the story proper I just wanted to take a moment to acknowledge his passing, and to regret that it hasn’t been more widely noted. One of the things we’ve not talked about much in this podcast so far is the technology of music. We’ve discussed it a bit — we’ve looked at how things like the change from 78s to 45s affected the music industry, at the transition from recording on discs to recording on tape, at the electrification of the guitar, and at Les Paul’s inventions. But in general, the music we’ve looked at has been made in a fairly straightforward manner — some people with some combination of guitars, bass, piano, drums, and saxophone, and maybe a few string players on the most recent recordings, get together in front of a microphone and sing and play those instruments. But today, we’re going to look at the start of synthesisers being used in rock and roll music. Today we’re going to look at “Runaway” by Del Shannon: [Excerpt: Del Shannon, “Runaway”] Synthesised sound has a far longer pedigree than you might expect. The use of electronics to create music goes back to the invention of the theremin and the ondes martenot in the 1920s, and by the 1930s, people had already started using polyphonic keyboard-based electronic instruments. The Novachord was produced by the Hammond organ company between 1938 and 1942, and was introduced at the World’s Fair in 1939, where Ferdinand Grofe, who we talked about a little in the episode on “Cathy’s Clown”, led a group consisting only of Novachord players in a public performance. The Novachord never achieved mass popularity because of World War II halting its production, but it was still used in a few recordings. One that’s of particular interest to those of us interested in early rock and roll is Slim Gaillard’s “Novachord Boogie”: [Excerpt: Slim Gaillard, “Novachord Boogie”] But also it was used on one of the most famous records of the late thirties. These days, when you hear “We’ll Meet Again” by Vera Lynn on documentaries about the second world war, this is the version you hear: [Excerpt: Vera Lynn, “We’ll Meet Again”] But the record that people actually listened to in World War II didn’t have any of that orchestration. It was Lynn accompanied by a single instrument, a Novachord played by Arthur Young, and is notably more interesting and less syrupy: [Excerpt: Vera Lynn with Arthur Young on Novachord, “We’ll Meet Again”] So even in the late thirties, synthesised sounds were making their way on to extremely popular recordings, but it wasn’t until after the war that electronic instruments started getting used in a major way. And the most popular of those instruments was a monophonic keyboard instrument called the clavioline, which was first produced in 1947. The clavioline was mostly used as a novelty element, but it appeared on several hit records. We’re going to devote a whole episode in a few months’ time to a record with the clavioline as lead instrument, but you can hear it on several fifties novelty records, like “Little Red Monkey” by Frank Chacksfield’s Tunesmiths, a UK top ten hit from 1953: [Excerpt: Frank Chacksfield’s Tunesmiths, “Little Red Monkey”] But while the clavioline itself was in use quite widely in the fifties, the first big rock and roll hit with an electronic synthesiser actually used a modified clavioline called a musitron, which was put together by an electronics amateur and keyboard player named Max Crook, from Ann Arbor, Michigan. Crook had built his musitron using a clavioline as a base, but adding parts from TVs, reel-to-reel recorders, and bits of whatever electronic junk he could salvage parts from. He’d started playing electronic instruments in his teens, and had built his own recording studio. Sadly, the early records Crook made are not easily available. The only place I’ve been able to track down copies of his early singles in a digital format is one grey-market CD, which I wasn’t able to obtain in time to include the tracks here and which only seems to be available from one shop in Cornwall. His first band, the White Bucks, released a single, “Get That Fly” backed with “Orny”, on Dot Records, but I can tell you from experience that if you search anywhere online for “White Bucks Orny” you will find… well, not that record, anyway. Even more interestingly, he apparently recorded a version of “Bumble Boogie”, the novelty instrumental that would later become a hit for B. Bumble and the Stingers, with Berry Gordy at some point in the late fifties. Sadly, that too is not generally available. But it wasn’t until he auditioned for Charlie Johnson and the Big Little Show Band that Max Crook met the people who were going to become his most important collaborators. The Big Little Show Band had started as Doug DeMott and The Moonlight Ramblers, a honky-tonk band that played at the Hi-Lo Club in Battle Creek, Michigan. Battle Creek is a company town, midway between Chicago and Detroit, which is most famous as being the headquarters of the Kellogg company, the cereal manufacturer and largest employer there. It’s not somewhere you’d expect great rock and roll to come from, being as it is a dull medium-sized town with little in the way of culture or nightlife. The Hi-Lo Club was a rough place, frequented by hard-working, hard-drinking people, and Doug DeMott had been a hard drinker himself — so hard a drinker, in fact, that he was soon sacked. The group’s rhythm guitarist, Charles Westover, had changed his name to Charlie Johnson and put together a new lineup of the group based around himself and the bass player, Loren Dugger. They got in a new drummer, Dick Parker, and then went through a couple of guitarists before deciding to hire a keyboard player instead. Once they auditioned Crook, with his musitron, which he could clip to the piano and thus provide chordal piano accompaniment while playing a lead melody on his musitron, they knew they had the right player for them. Crook had a friend, a black DJ named Ollie McLaughlin, who had music industry connections, and had been involved in the White Bucks recordings. Crook and Johnson started writing songs and recording demos for McLaughlin, who got Johnson a session with Irving Micahnik and Harry Balk, two record producers who were working with Johnny and the Hurricanes, an instrumental group who’d had a big hit with “Red River Rock” a year or so previously: [Excerpt: Johnny and the Hurricanes, “Red River Rock”] Johnson recorded two songs in New York, without his normal musicians backing him. However, Micahnik and Balk thought that the tracks were too dirgey, and Johnson was singing flat — and listening to them it’s not hard to see why they thought that: [Excerpt: Del Shannon, “The Search”] They told him to go back and come up with some more material that was less dirgey. Two things did come out of the association straight away, though. The first was that Charles Johnson changed his name again, combining a forename he chose to be reminiscent of the Cadillac Coup deVille with a surname he took from an aspiring wrestler he knew, Mark Shannon, to become Del Shannon. The second was that Johnny and the Hurricanes recorded one of Max Crook’s instrumentals, “Mr Lonely”, as a B-side, and you can hear in the Hammond organ part the kind of part that Crook would have been playing on his Musitron: [Excerpt: Johnny and the Hurricanes, “Mr Lonely”] Shannon and Crook recorded a tape of many other songs they were working on for McLaughlin to play to Micahnik and Balk, but they weren’t interested — until they heard a fragment of a song that Shannon and Crook had recorded, and which they’d then mostly taped over. That song, “Runaway”, was the one they wanted. “Runaway” had been an idea that had happened almost by accident. The band had been jamming on stage, and Crook had hit a chord change that Shannon thought sounded interesting — in later tellings of the story, this is always the Am-G chord change that opens the song, but I suspect the actual chord change that caught his ear was the one where they go to an E major chord rather than the expected G or E minor on the line “As our hearts were young”. That’s the only truly unusual chord change in the song. But whatever it was, Shannon liked the changes that Crook was playing — he and Crook would both later talk about how bored he was with the standard doo-wop progression that made up the majority of the songs they were playing at the time — and the band ended up jamming on the new chord sequence for fifteen or twenty minutes before the club owner told them to play something else. The next day, Shannon took his guitar to the carpet shop where he worked, and when there were no customers in, he would play the song to himself and write lyrics. He initially wrote two verses, but decided to scrap one. They performed the song, then titled “My Little Runaway”, that night, and it became a regular part of their set. The crucial element in the song, though, came during that first performance. Shannon said, just before they started, “Max, when I point to you, play something”. And so when Shannon got to the end of the chorus, he pointed, and Crook played this: [Excerpt: Del Shannon, “Runaway”] When they were told that Micahnik and Balk liked the fragment of song that they’d heard, Shannon and Crook recorded a full demo of the song and sent it on to them. The producers weren’t hugely impressed with the finished song, saying they thought it sounded like three songs trying to coexist, and they also didn’t like Shannon’s voice, but they *did* like Crook and the Musitron, and so they invited Crook and Shannon to come to New York to record. The two men drove seven hundred miles in a broken-down car, with their wives, to get from Michigan to New York. It was the middle of winter, the car had no heating, and Shannon smoked while Crook was allergic to tobacco smoke, so they had to keep the windows open. The session they were going to do was a split session — they were going to record two Del Shannon vocal tracks, and two instrumentals by Crook, who was recording under the name “Maximilian” without a surname (though the “Max” in his name was actually short for Maxfield). Crook was definitely the one they were interested in — he rearranged the way the microphones were arranged in the studio, to get the sound he wanted rather than the standard studio sound, and he also had a bag full of gadgets that the studio engineers were fascinated by, for altering the Musitron’s sound. The first single released as by “Maximilian” was “The Snake”, which featured Crook and Shannon’s wives on handclaps, along with an additional clapper who was found on the street and paid forty dollars to come in and clap along: [Excerpt: Maximilian, “The Snake”] After that, the two women got bored and wandered off down Broadway. They eventually found themselves in the audience for a TV game show, Beat the Clock, and Joann Crook ended up a contestant on the show — their husbands didn’t believe them, when they explained later where they’d been, until acquaintances mentioned having seen Joann on TV. Meanwhile, the two men were working on another Maximillian track, and on two Del Shannon tracks, one of which was “Runaway”. They couldn’t afford to stay overnight in New York, so they drove back to Michigan, but when the record company listened to “Runaway”, they discovered that Shannon had been singing flat due to nerves. Shannon had to go back to New York, this time by plane, to rerecord his vocals. According to Crook, even this wasn’t enough, and the engineers eventually had to varispeed his vocals to get them in key with the backing track. I’m not at all sure how this would have worked, as speeding up his vocals would have also meant that he was singing at a different tempo, but that’s what Crook said, and the vocal does have a slightly different quality to it. And Harry Balk backed Crook up, saying “We finally got Del on key, and it sounded great, but it didn’t sound like Del. We mixed it anyhow, and it came out wonderful. When I brought Ollie and Del into my office to hear it, Del had a bit of a fit. He said, ‘Harry, that doesn’t even sound like me!’ I just remember saying, ‘Yeah but Del, nobody knows what the hell you sound like!” Like most great records, “Runaway” was the sum of many parts. Shannon later broke down all the elements that went into the song, saying: “I learned falsetto from The Ink Spots’ ‘We Three,'”: [Excerpt: The Ink Spots, “We Three (My Echo, My Shadow, and Me)”] “I eventually got hooked on Jimmy Jones’ ‘Handy Man’ in ’59 and would sing that at the Hi-Lo Club.”: [Excerpt: Jimmy Jones, “Handy Man”] “I always had the idea of ‘running away’ somewhere in the back of my mind. ‘I wa-wa-wa-wa-wonder, why…’ I borrowed from Dion & The Belmonts’ ‘I Wonder Why.'” [Excerpt: Dion and the Belmonts, “I Wonder Why”] “The beats you hear in there, ‘…I wonder, bam-bam-bam, I wa-wa…’ I stole from Bobby Darin’s ‘Dream Lover.'” [Excerpt: Bobby Darin, “Dream Lover”] Listening to the song, you can definitely hear all those elements that Shannon identifies in there, but what emerges is something fresh and original, unlike anything else out at the time: [Excerpt: Del Shannon, “Runaway”] “Runaway” went to number one in almost every country that had a chart at the time, and top five in most of the rest. In America, the song it knocked off the top was “Blue Moon” by the Marcels, one of those songs with the doo-wop progression that Shannon had been so bored with. At its peak, it was selling eighty thousand copies a day, and Billboard put it at number three hundred and sixty four on the all-time charts in 2018. It was a massive success, and a game-changer in the music industry. Maximilian’s single, on the other hand, only made the top forty in Argentina. Clearly, Del Shannon was the artist who was going to be worth following, but they did release a few more singles by Maximilian, things like “The Twisting Ghost”: [Excerpt: Maximilian, “The Twisting Ghost”] That made the Canadian top forty, but Maximilian never became a star in his own right. Shannon, on the other hand, recorded a string of hits, though none were as successful as “Runaway”. The most successful was the follow-up, “Hats off to Larry”, which was very much “Runaway part 2”: [Excerpt: Del Shannon, “Hats off to Larry”] But every single he released after that was slightly less successful than the one before. He soon stopped working with Crook, who remained at the Hi-Lo Club with the rest of the band while Shannon toured the country, and without Crook’s Musitron playing his records were far less interesting than his earliest singles, though he did have the distinction of being one of the few singers of this era to write the bulk of his own material. He managed to further sabotage his career by suing Micahnik and Balk, and by 1963 he was largely washed up, though he did do one more thing that would make him at least a footnote in music history for something other than “Runaway”. He was more popular in the UK than in the US, and he even appeared in the film “It’s Trad Dad!”, a cheap cash-in on the trad jazz craze, starring Helen Shapiro and Craig Douglas as teenagers who try to persuade the stuffy adults who hate the young people’s music that the Dukes of Dixieland, Mr. Acker Bilk and the Temperance Seven are not dangerous obscene noises threatening the morals of the nation’s youth. That film also featured Gene Vincent and Chubby Checker along with a lot of British trumpet players, and was the first feature film made by Richard Lester, who we’ll be hearing more about in this story. So Shannon spent a fair amount of time in the UK, and in 1963 he noticed a song by a new British group that was rising up the UK charts and covered it. His version of “From Me to You” only made number seventy-seven on the US charts, but it was still the first version of a Lennon/McCartney song to make the Hot One Hundred: [Excerpt: Del Shannon, “From Me to You”] He made some interesting records in the rest of the sixties, and had the occasional fluke hit, but the music he was making, a unique blend of hard garage rock and soft white doo-wop, was increasingly out of step with the rest of the industry. In the mid and late sixties, his biggest successes came with songwriting and productions for other artists. He wrote “I Go to Pieces” which became a hit for Peter & Gordon: [Excerpt: Peter and Gordon, “I Go to Pieces”] Produced the band Smith in their cover version of “Baby It’s You”, which made the top five: [Excerpt: Smith, “Baby It’s You”] And produced Brian Hyland’s million-selling version of a Curtis Mayfield song that I’m not going to play, because its title used a racial slur against Romani people which most non-Romani people didn’t then regard as a slur, but which is a great record if you can get past that. That Hyland record featured Crook, reunited briefly with Shannon. But over the seventies Shannon seemed increasingly lost, and while he continued to make records, including some good ones made in the UK with production by Dave Edmunds and Jeff Lynne, he was increasingly unwell with alcoholism. He finally got sober in 1978, and managed to have a fluke hit in 1981 with a cover version of Phil Phillips’ “Sea of Love”, produced by Tom Petty and with Petty’s band the Heartbreakers backing him: [Excerpt: Del Shannon, “Sea of Love”] He also came to people’s attention when a rerecorded version of “Runaway” with new lyrics was used as the theme for the TV show Crime Story. In 1989, Del Shannon was working on a comeback album, with Jeff Lynne producing and members of Tom Petty and the Heartbreakers as backing musicians. The same people had previously worked on Roy Orbison’s last album, which had been his biggest success in decades, and Lynne was gaining a reputation for resuscitating the careers of older musicians. Both Lynne and Petty were fans of Shannon and had worked with him previously, and it seemed likely that he might be able to have a hit with some of the material he was working on. Certainly “Walk Away”, which Shannon co-wrote with Lynne and Petty, sounds like the kind of thing that was getting radio play around that time: [Excerpt: Del Shannon, “Walk Away”] There were even rumours that Lynne and Petty were thinking of inviting Shannon to join the Travelling Wilburys to replace Roy Orbison, though that seems unlikely to me. Unfortunately, by the time the album came out, Shannon was dead. He’d been suffering from depression for decades, and he died of suicide in early 1990, aged fifty-five. His widow later sued the manufacturers of the new wonder drug, Prozac, which he’d been prescribed a couple of weeks earlier, claiming that it caused his death. Max Crook, meanwhile, had become a firefighter and burglar alarm installer, while also pursuing a low-key career in music, mostly making religious music. When Shannon was posthumously inducted into the Rock and Roll Hall of Fame, Crook volunteered to perform at the ceremony, playing his original Musitron, but his offer was ignored. In later years he would regularly show up at annual celebrations of Shannon, and talk about the music they made together, and play for their fans. He died on July the first this year, aged eighty-three.

Thomas Bernal and Randy Redberg sit down with AWS expert and former EE employee, Phil Phillips. As the Director of Dev Ops at EE, Phil led the company in migrating to AWS cloud. Randy and Phil discuss the whole migration process, from early decision making to implementation and maintenance.

On Tuesday, Pepperdine released that they would be suspending the Buenos Aires and London abroad programs due to Coronavirus. On Wednesday morning, the student body was notified that classes would be held remotely, and anyone who lived on campus must go home. In This Week's Episode: Ashley Mowreader and Rowan Toke report on the suspension of the B.A. and London programs. Kayiu Wong and Austin Hall report on student's reactions immediately following President Gash's email. Emily Shaw reports on SGA's reactions to the email in their weekly meeting. Kyle McCabe talks with Phil Phillips, Pepperdine's senior VP of Administration. Listen in, and tell us what you think. Email us at peppgraphic@gmail.com. Follow James Moore on Twitter: @james25moore. If you're interested in advertising with “The Graph,” write to us at PeppGraphicAdvertising@gmail.com. “The Graph” is made by Kaelin Mendez, Camryn Gordon, Channa Steinmetz, Robbie McMurray Madeline Carr, Jeremy Zerbe, Natalie Rulon, Elizabeth Smith, and Courtenay Stallings. This episode was recorded in the KWVS podcast studio studio. “The Graph” is a Pepperdine Graphic Media production.

Heather, Alistair, Matt, Brady, and Ryan take some listener submissions! Thank you to everyone that contributed! You can send us submissions at songsontrialpod@gmail.com too. The Defendants: Old Skull - Homeless (1993) Magdalena Nordin feat. Sara-Vide - Who I Am (2011) The Evil Dope by Phil Phillips (1968) Johnny Price - Marijuana, the Devil flower (1971) Anna Ferraro - Theme song to the Film Cards Of Death (1986) SpikeBronco - Bang The Drum (2010) Perhaps call us on our hotline? (724) 246-4669! Check out the other Compañeros Radio Network shows: •Movie Melt •Get Soft with Dr Snuggles •Songs On Trial Join the Companeros Cutie Club on Facebook! https://bit.ly/2Kp4RdA ALSO follow us on IG for painful bullshit

His fourth studio album would move Bryan Adams from a successful singer-songwriter to super-stardom. The multi-platinum album, “Reckless” is packed with hits, as six of the ten tracks would hit the charts including the evergreen hit “Summer of 69.” Adams took some time off following his multi-year tour "Cuts Like a Knife," and that brief retreat would result in a burst of creativity that would result in many of this album's hits. Friend of the show Vann Mathis joins us for this podcast. “One Night Love Affair” This track was the fifth single to hit the charts, and the title is pretty self-explanatory. “Run to You” This debut single from the album starts with a great guitar riff, and describes an ongoing affair, unlike the first track we profiled. “Somebody” This track was the second single off the album with a straightforward rock sound and a catchy chorus. “Kids Wanna Rock” We pick up the pace, leaving the love songs behind with this strong rock track. Even though not released as a single, it still made it to number 42 on the charts. ENTERTAINMENT TRACK: Theme from “A Nightmare on Elm Street” The horror movie that would become a classic was released in November 1984. STAFF PICKS: “I Can't Drive 55” by Sammy Hagar Hagar's protest song against the National Maximum Speed Law is enough to get your foot pressing a little heavier on the gas. Bruce explains it was inspired by a late night ticket for driving 62 in a 55 that Sammy Hagar received. “Girls with Guns” by Tommy Shaw Vann Mathis' staff pick is a fast paced throwback to the 80's from Styx alumnus Tommy Shaw. Styx band mate Dennis DeYoung was also doing solo work at the time. The video was filmed from one camera in a continuous take. “Hello Again” by The Cars Rob presents this fourth single from the album "Heartbeat City." The Cars were a huge hit on MTV, with well produced, awared winning videos. They balanced well between pop hooks and experimental new wave music. “Turn Up The Radio” by Autograph Wayne's staff pick is a mid-80's rock anthem. This is the lead single off the album "Sign in Please," and was their only top 40 hit. "Day in, day out, all week long, things go better with rock!" “Sea of Love” by The Honeydrippers Brian goes in a sentimental direction with Robert Plant's cover of Phil Phillips from Lake Charles, Louisiana. Phillips original version was a one-hit wonder in 1959. Paul Shaffer was on keyboards in The Honeydrippers. LAUGH TRACK: Ray Stevens - “The Mississippi Squirrel Revival” Ray Stevens takes us out this week with his memories of what happened when a squirrel got loose in the church.

With Nina Simone, Nelson Riddle, Phil Phillips, Glen Campbell, Connie Francis, Pat Boone... Our twin spin is Junior Walker & The All-Stars "Shot Gun" and its b-side "Hot Cha". Back to originals this week in "Time Is On My Side" by Kai Winding, yes later covered by the Rolling Stones.

Puppet Tears, ep 023 — Bill Barretta talks Happytime Murders, Muppets, + more! #BillBarretta #HappytimeMurders #Muppets What do Pepe the King Prawn, Rowlf the Dog, Bobo the Bear, Phil Phillips, and Earl Sinclair all have in common...? Mr. Bill Barretta! Bill has been with the Muppets and Jim Henson Company for nearly 30 years as a principal performer, director, and producer - even inheriting many characters originated by Jim Henson himself. Listen in to this conversation about Bill's journey through "Dream Land," beginning as a suit performer on Dinosaurs up to more recent performances in The Happytime Murders, Unbreakable Kimmy Schmidt, and The Muppet Show Live. You won't want to miss his stories about show-biz legends like Tony Bennet and Jerry Nelson (just to name a few!). For show notes and mentions, visit PuppetTears.com/BillBarretta. Release date: May 22, 2019 Hosted by Adam Kreutinger & Cameron Garrity

Hooooooo Unbelievers! In 1986, Phil Phillips published a book called "Turmoil in the Toybox" in which he analyzed children's toys & entertainment properties and highlighted elements that he insisted had "Satanic" influences. In this episode we'll be listening to Mr. Phillips speak about some of the most devilish properties that have infiltrated our households disguised as Collectible Toys & Saturday Morning Cartoons.Is She Ra more evil than He Man?! Was Yoda a Satan worshipper? Find out now on the program where you CONTINUE to LEARN to UNLEARN, EVERYTHING YOU KNOW!Host: Rus RyanCo-Hosts: Drea Mora, Jude Prestia, Brendan Shay, & Rob OkeyProduced by: Rob OkeyFOR BONUS CONTENT & TO SUPPORT THE SHOW, JOIN OUR PATREON AT:www.patreon.com/unbelieverspodcastDONATE TO HELP JASON SAENZ HERE:https://www.gofundme.com/jason-saenz-recovery-fund-aka-saenz-spinezwww.unbelieverspodcast.com@UnbelieversPodcast on Instagram@The Unbelievers Podcast on Facebook@UnbelieversPod on TwitterUnbelieversPodcast@gmail.com

In prison, life’s major milestones usually pass at a distance. In our season three finale, Earlonne gets up close to a big one, while his brother’s family struggles with having missed out on too many. A heads-up: This episode contains discussion of suicidal thoughts. Listener discretion is advised. You can reach out to the National Suicide Prevention Lifeline at 1-800-273-8255. Thanks to Trevor Woods, Tyra Woodson and Lee Jaspar (aka Matthew Lee Jasper) for sharing their stories with us. Ear Hustle is produced by Nigel Poor and Earlonne Woods with help from outside producer Pat Mesiti-Miller, who also comes in to lead the sound design team. This episode includes music by David Jassy, Antwan Williams, E. Phil Phillips, Gregg Sayers, Eric “Maserati E” Abercrombie and Lee Jaspar. And a big end-of-season thanks to Lt. Sam Robinson and Warden Ron Davis for their support of the show. Thanks to Nectar for supporting this episode. And lastly — a standing ovation for you, our amazing listeners around the world who have shown so much support for Ear Hustle since day one. We’ll be taking some time to work out what comes next for the show, but rest assured we’ll be back in 2019 and can’t wait to share S4 and beyond with you! Find out more about the show at earhustlesq.com, and get an Ear Hustle mug to go with your T-shirt. Ear Hustle is a proud member of Radiotopia, from PRX.

Despite the additional hurdles involved, daters in prison fall into the same categories as daters on the outside: romantics, hopefuls and players. Thanks to Charlie Srey, Sincere Carter, Kevin Turner, Mo, Allyson West and Jessie Ayers for talking to us for this story. Ear Hustle is produced by Nigel Poor and Earlonne Woods with help from outside producer Pat Mesiti-Miller, who also comes in to lead the sound design team. This episode was scored with music by David Jassy, Antwan Williams, E. Phil Phillips, Eric “Maserati E” Abercrombie and Lee Jaspar (aka Matthew Lee Jasper). Eternal thanks to Lt. Sam Robinson and Warden Ron Davis for their support of the show. Thanks to Nectar and Bombas for supporting this episode. Find out more about the show at earhustlesq.com, where you can also buy an Ear Hustle mug to go with your T-shirt! Ear Hustle is a proud member of Radiotopia, from PRX.

When you’re incarcerated, falling in love with prison staff or volunteers is prohibited. But… it happens. And it happened to Erin and Lisa, who then had to negotiate the joys and pitfalls of romance inside San Quentin. A heads-up: this episode contains discussion of domestic violence — listener discretion is advised. Thanks to Allyson West for talking with us, and to Erin for talking twice. Ear Hustle is produced by Nigel Poor and Earlonne Woods with help from outside producer Pat Mesiti-Miller, who also comes in to lead the sound design team. This episode was scored with music by David Jassy, Antwan Williams, Lee Jaspar (aka Matthew Lee Jasper), E. Phil Phillips, Dwight Krizman and Gregg Sayers. Eternal thanks to Lt. Sam Robinson and Warden Ron Davis for their support of the show. You can reach the National Domestic Violence Hotline at 1-800-799-SAFE. Thanks to Nectar and Bombas for supporting this episode. Find out more about the show at earhustlesq.com, where you can also buy an Ear Hustle mug to go with your T-shirt! Ear Hustle is a proud member of Radiotopia, from PRX.

Disclaimer:   Thank you Capital One for sponsoring this episode! This is a paid endorsement. All opinions are my own and were not directed by Capital One. To learn more about Capital One, visit www.capitalone.com About our Guests:   Megan Lathrop is Co-Creator of the Money Coaching Program at Capital One and a Certified Money Coach. Her long-term partnerships with Senior VPs at major banks had her managing millions in client assets, but she also found herself managing her client’s fears, greed and negative beliefs around money. This realization led Megan to develop a more holistic practice to help people connect to their money. Phillip LaDon Phillips Jr. is an American singer and songwriter who won the eleventh season of American Idol on May 23, 2012. His coronation song, "Home," became the all time best selling song from American Idol.   Episode Summary: Megan Lathrop and Phil Phillips drive home the importance and power of active listening while relating it to achieving dreams and wealth outside of money. As Patrice puts it, you have to be willing to listen to that still inside voice as your compass and your path to overall life abundance. CLIFF NOTES According to the Capital One Listen In Survey, 1 in 5 americans can't remember the last time someone was completely focused on listening to them personally or professionally. More than half (51%) feel they don’t often experience active listening from their friends, family members or colleagues. There is a difference between hearing and listening. True power comes from active listening. Listening to your still small voice is a super power Everyone is on a financial journey and, in return, everyone’s story deserves to be listened to. Whether it’s about how you felt like you weren’t being heard, how you needed to listen to yourself or a time when you needed to listen to others, that experience likely impacted your purpose, your passions or your financial journey. Quotes from the show: “Look at your beliefs, look at your emotions now, to have the relationship you want with money going forward” - Megan Lathrop PatriceWashington.com/63   “I’ve learned to listen to that still small voice that is always there to guide”  - Patrice Washington PatriceWashington.com/63   “I believe that the more work I do in the areas of my life, I show up as my best self and therefore I attract more opportunities”   - Patrice Washington PatriceWashington.com/63   “ You have to be willing to go after things with all your heart and chase whatever your dreams are so that you can live with no regrets” - Phil Phillips PatriceWashington.com/63 “Everytime I step on the stage I treat it like its the last time” - Phil Phillips PatriceWashington.com/63 “Hearing is what happens but listening is something you consciously choose to do” - Patrice Washington PatriceWashington.com/63 Megan’s Redefining Wealth Rapid Wisdom Questions   Define Success: “Feeling abundant in each moment” - Megan Lathrop   Define Wealth in 3 Words or Less: “Access to resources” - Megan Lathrop One Book that Has Redefined How You See Wealth: Money Magic  by Debra Price   Fill-in the Blanks... “My name is ___ and the truth about wealth is ___”: “My name is Megan Lathrop and the truth about wealth is we all are wealthy” Phil’s Definition of Success: “Being with my wife, family and doing what I love” - Phil Phillips Links:   Become an Official Purpose Chaser: http://www.iamapurposechaser.com   Join Patrice’s Pod Club: http://www.patricespodclub.com   To check out ALL of our past guests + episodes: www.patricewashington.com/Listen   If you have questions about booking Patrice or sponsoring the podcast, email us at info@seekwisdomfindwealth.com.   Find me in Social Media: Our podcast hashtag is #RedefiningWealth Instagram: @SeekWisdomPCW Twitter: @SeekWisdomPCW Facebook: @SeekWisdomPCW YouTube: @SeekWisdomPCW

A “kite” is prison slang for a written note, and since Ear Hustle launched we’ve encouraged listeners to send in their questions about daily life inside San Quentin, via postcards, or kites. In this episode, we answer a handful of kites received via voice messages from listeners, touching on spectacle, humor, mental health, laundry and more. A heads-up: this episode contains graphic descriptions of violence — listener discretion is advised. Thanks to Rahsaan “New York” Thomas for helping out with this episode, and check out earhustlesq.com for a full list of the guys who helped answer questions. Ear Hustle is produced by Nigel Poor and Earlonne Woods with help from outside producer Pat Mesiti-Miller, who also comes in to lead the sound design team. This episode was scored with music by Antwan Williams, David Jassy and E. Phil Phillips. Our story editor is Curtis Fox, digital producer is Erin Wade and our executive producer for Radiotopia is Julie Shapiro. We’re grateful to Lt. Sam Robinson and Warden Ron Davis for their support of the show. And thanks to Nectar for supporting this episode. Find out more about the show at earhustlesq.com, including how to buy a handsome Ear Hustle mug to go with your T-shirt. And, check out the San Quentin News, who work in the media lab with us. Ear Hustle is a proud member of Radiotopia, from PRX.

On this episode, Justin, Scott, and Jeff sit down with Joshua W. Turner, local indie singer/songwriter and producer based out of Tacoma. His music, in his words, is a solid mix between Ed Sheeran, Phil Phillips and Benjamin Francis Leftwich. People wanting to check him out can find him on Soundcloud under joshuawt and Facebook @joshuawturnermusic. Stay tuned to the end of the podcast to hear one of his songs! 1:20 – The show kicks off talking about Brogan being on a cruise, where fans can find GCP online, and Joshua talks about his new album coming out featuring songs he's written over the course of the last 10 years. He discusses his overall goal of getting his work placed in television, film, or commercials, him attending Berkley College of Music and Hollywood's Musician Institute, and starting a family. 10:28 – Scott talks about the impact Pantera video's had on him at an early age, Justin talks about being a fan of Korn, Joshua tells the guys about first writing songs in high school, and the culture shock he experienced when he first attended Berkley. Joshua discusses how people built each other up at the college level vs competing against each other, and what made him decide to leave Berkley when he did. 20:24 – Joshua talks about his experience in Hollyweird, attending the Red Carpet shows, and the famous actors he ran into while there. He talks about playing at the Viper Room in Los Angeles, attending the South by Southwest festival, the importance for him to tell his children about his path in hopes to help them with choosing the paths they take as they age. He talks of his love for Tacoma, being hit by a car as a cyclist, and the benefits of doing music licensing. 32:06 – Joshua chats about making a children's album, the different strings of income he has that revolve around music, where people can find him online, and his appreciation for the GCP. Justin sends props out to Joshua for joining the podcast and they end this episode with Joshua's song, Spotlights. Thanks Joshua for joining the guys for a great conversation and sharing you music! Special Guest: Joshua W. Turner.

During a San Quentin lockdown, the prison grinds to a halt, and men are confined to their cells 24 hours a day. On the heels of a summer lockdown, we’re kicking off season three by looking into what causes one, and how guys survive the wait when boredom, uncertainty, hunger and isolation can push them over the edge. A heads-up: this episode contains discussion of suicide and self-harm — listener discretion is advised. You can reach out to the National Suicide Prevention Lifeline at 1-800-273-8255. Thanks to Michael Williams, Jason Perry, Aaron Taylor, Jessie Vasquez and Lee Jaspar (aka Matthew Lee Jasper) for sharing their stories with us. Thanks also to Gregg Sayers for performing his song “Lost in Time,” with additional vocals by Eric Abercrombie, aka Maserati E. Ear Hustle is produced by Nigel Poor and Earlonne Woods with help from outside producer Pat Mesiti-Miller, who also comes in to lead the sound design team. This episode was scored with music by David Jassy, Antwan Williams, Lee Jaspar, E. Phil Phillips and Earlonne Woods. Our story editor is Curtis Fox, Erin Wade is our digital producer and our executive producer for Radiotopia is Julie Shapiro. We also want to thank Lt. Sam Robinson and Warden Ron Davis for their continued support of the show. Find out more about the show at earhustlesq.com, where you can now buy an Ear Hustle mug to go with your t-shirt! Ear Hustle is a proud member of Radiotopia, from PRX.

In this puppet/human effort directed by Brian Henson, son of Muppets creator Jim Henson, Bill Barretta voices the top puppet character known as disgraced burnout Los Angeles-based private investigator Phil Phillips, who has to get to the bottom of a series of murders among the stars of a decades-old television show with a puppet cast of actors called, “The Happytime Gang”.  Melissa McCarthy gets the top human role, playing police detective Connie Edwards, Phil's former, now estranged, partner in crime-fighting from his days on the force, who joins in to reluctantly assist.  Even if the characters look like Muppets, it's a very raunchy, ultra-violent effort not meant for children.

Denk je eens in, een wereld waarin poppen en mensen naast elkaar leven. Poppen houden van zingen, dansen en plezier (in alle betekenissen van dat woord). Daardoor worden poppen als minderwaardig gezien door de mens. Maar niet alle poppen zijn zo. De pop Phil Phillips is een privé detective die door samenloop van omstandigheden gedwongen wordt om samen te werken met zijn menselijke oude LAPD-partner Connie Edwards. Samen moeten ze een poppen-seriemoordenaar proberen te stoppen…  In deze aflevering geeft Narana haar spoilervrije review over The Happytime Murders.  Vergeet je niet te abonneren op ons kanaal, laat een review achter via iTunes of Apple Podcasts en volg ons op Facebook: www.facebook.com/filmfanspodcast en Instagram: www.instagram.com/filmfanspodcast. Voor meer reviews, filmnieuws en afleveringen ga je naar www.filmfanspodcast.nl.

This week Hanna and Jamie get to grips with one absolute shocker of a movie - one pretty good movie - and one surprisingly very good movie - we'll just leave it as a surprise which one is which. Jamie also sits down with detective Phil Phillips from The Happytime Murders, who is quite partial to Farah Fawcett. As ever, we'd really love to know what you think of the podcast - contact us on twitter - @talkradio with the hashtag #talkfilm or speak to Jamie and Hanna directly on @jamieeast and @hannaflint. We live or die based on your ratings, so please review and recommend wherever you get your podcast from! KISSES ON THE BUM IF YOU'RE LUCKY.Ps. There is swearing in this podcast, so don't play to children or boring people.Jamie is on TalkRADIO every weekday from 1-4pm and it's really quite good. See acast.com/privacy for privacy and opt-out information.

Our President, Phil Phillips on God being a perfect father. This is the first of a series. Hope you enjoy! --- Support this podcast: https://anchor.fm/glktv-news/support

There are only a few ways to leave prison: serve your time, get out early on parole... or escape. Steve, Danny, Phillip and Ron are all trying to make their way out of prison. In our final episode of the season, these men share their stories of going through the parole hearing process, and contemplate life on the outside after being incarcerated for decades. Big thanks to Steve Wilson for telling his story, and to  Danny Plunket, Phillip Melendez and Ron Self for sharing their parole board experiences. Ear Hustle is produced by Nigel Poor, Antwan Williams and Earlonne Woods with consulting editor Curtis Fox, outside production advisor Pat Mesiti-Miller and executive producer Julie Shapiro. Music used in this episode was contributed by Antwan Williams, David Jassy, E. “Phil” Phillips and Earlonne Woods. Find out more about the show at earhustlesq.com, including how to send us a question (by postcard) that might get answered in a future episode. Ear Hustle is a proud member of Radiotopia, from PRX. Yet more thanks to our this season’s sponsors: Mail Chimp, Squarespace, Texture, Casper and Bombas, for supporting the show. p.s. It’s hard to believe this is our final episode of Season One! Thanks tons to our amazing listeners all over the place, who have sent thousands of postcards and photos of where they listen.Your support and responsiveness has meant the world to us. Stay tuned for Season Two coming up in March, 2018! And in the meantime we’ll drop a few surprises in this feed, so stay with us.

“Kite” is a common term in prison for a written note. Over the course of the season, listeners have been encouraged to send in their questions about Ear Hustle via postcards, or “kites.” In this episode, Earlonne and Nigel dig into the pile of postcards that have arrived from all corners of the world, with some help from guys in the yard. You’ll also hear from a familiar Ear Hustle voice — the man who approves all stories for publication, Lt. Sam Robinson. Thanks to the following San Quentin inmates for helping catch these kites: Curtis “Wall Street” Carroll, Miguel Fuentes, E. Phil Phillips, Joshua Burton, Luke Colondres, Michael Mackey, Louis A Scott, Tommy Shakur Ross, Eddie Herena, Sha Wallace-Stepter, Rahsaan Thomas. And to San Quentin staff: Officer Reyes and Lt. Sam Robinson And to music contributors: Jovan Mills (“Worth It”) and Lee Jaspar (aka Matthew Lee Jasper) (“Darn that Dream”) Thanks also to listeners who have sent postcards. We can't answer them all, but please know each is read, archived and deeply appreciated. In this episode we tackled questions from: Lucy from New Jersey, Dan from Canada, Adam from the United Kingdom, and one listener who wishes to remain anonymous. Ear Hustle is produced by Nigel Poor, Antwan Williams and Earlonne Woods with consulting editor Curtis Fox, outside production advisor Pat Mesiti-Miller and executive producer Julie Shapiro. Find out more about the show at earhustlesq.com, including how to send us a question (by postcard) that might get answered in a future episode. Ear Hustle is a proud member of Radiotopia, from PRX. Big thanks to Mail Chimp and Texture for supporting the show.

The need to nurture and show love for another living being (or, in San Quentin parlance, “looking out”) is an essential human impulse. Away from your family and friends in prison this can be difficult, if not impossible. Sure, guys create strong bonds among themselves that help to alleviate the pain of missing family. But like on the outside, some people inside just relate better to animals than people. Thanks to Rauch (aka Ronell Draper) for sharing his story, and to the guys who contributed to the Yard Talk segments in this episode: Jovon Mills, Kao Chung, Henry Charles, Rahsaan Thomas, Sha Wallace-Stepter, Arnulfo Garcia, Aly Tamboura, Emile DeWeaver, Antwan Williams, E. Phil Phillips, Curtis "WallStreet" Carroll, Donte Smith and Noah. The song "Worth It" was written and performed by Jovan Mills, and Sister Maria is played by Sandy Claire. Ear Hustle is produced by Nigel Poor, Antwan Williams and Earlonne Woods with consulting editor Curtis Fox, outside production advisor Pat Mesiti-Miller and executive producer Julie Shapiro. Find out more about the show at earhustlesq.com including how to send us a question (by postcard) that might get answered on a future episode. Ear Hustle is a proud member of Radiotopia, from PRX. Big thanks to Mail Chimp and Bombas for supporting the show.

Tropical Club plage #39Chers auditeurs, le Tropical Club Crew est revenu. Et il est en direct, ENFIN, pour votre plus grand plaisir : Andy, George, Xavier le plagiste et Etienne le barman. Et à une semaine de la quarantième, on va faire monter le son avec peut-être du Brian Wilson, du wall of sound composé par un meurtrier, Jean Kevin et ses pépites tropicales des croûtes oubliées de la musique française, du hip hop des palmiers californiens, une dédicace des auditeurs sacrément métal et bien d’autres sons qui vont, nous en sommes certains, enjouer votre samedi soir comme Pénélope qui recevrait son chèque. Sans chèque. Mais sur les ondes les plus chaudes de la radio.Playlist tropicale :1. Ronettes - Be My Baby ( dans les années 60, Phil Spector inventait "le mur du son" et produisait ce groupe vocal féminin. Sa femme est la chanteuse leader du groupe, et contrairement à certain, il l'a vraiment fait bossé ! ) 2. Mac Miller  - Dang! feat. Anderson Paak (c'est assez "dang" comme musique non ?) 3. Dany Danielle et Henri Piegay - Fait chaud (Jean-Kevin a croisé Thierry Dupin, programmateur musical de son état, qui lui a conseillé ce titre très hot) 4. Joe Simon - Drowning in the sea (of love) (et ça n'a rien avoir avec the Sea of love de Phil Phillips) 5. La "dédicasse des auditeurs" par notre plagiste Xavier Justice - One minute to midnight (parce que la fin du monde est proche) 6. ØCTAV - Love on the beach (avec beaucoup de Michel Berger dedans, surtout le pont musical)7. Brian Wilson - Mexican Girl (gros niveau d’anti-Trump en prime, parce que si Brian Wilson le dit, personne peut aller contre ça) 8. Bazz - Topaz (Le Crayon Remix)  (je cherche un truc à dire... je vous tiens au courant) 9  Yuiko Tsubokura  - Tsukanoma Yotogi Bito (Give Me Taboo) Ali Jamieson Edit (dispo en téléchargement gratuit ici) 10 Kim Weston - Eleanor Rigby (conseillée par Thierry Dupin (ENCORE!) excellent programmateur de France Inter qui va finir par prendre notre place au Tropical Club)

From our own personal experiences, we can tell ya: the fires can get hotter, the water can get deeper, and God is our only answer. Songs this week include: "Always on My Mind" by Willie Nelson, "Canticle of the Sun," "Count on Me" by Bruno Mars, "Every Praise" by Hezekiah Walker, "Home" by Phil Phillips and "Somewhere Over the Rainbow" by Israel "IZ" Kamakawiwoʻole. Get inspired!

Fictional stories with the author as the main character and songs about the songwriter's real life. "Walk on the Wild Side," Lou Reed "Coalman" by Tate Emerson "Don't Come Home A-Drinkin' (With Lovin' on Your Mind)," Loretta Lynn "Fear and Loathing in Astana" by Mike Northcott "Bad Reputation," Joan Jett "Late Local News with Skip" by Bret Emerson "Swimmingly Good" by Erin Gately "Fuck and Run," Liz Phair "What I Did Last Summer" by Jack Miller "Castles Made of Sand," The Jimi Hendrix Experience "Just Because" by Shanon Emerson "Sea of Love," Phil Phillips "Thief in the Night," The Rolling Stones

REGGAE MUSIC Celebrity Link-Celebrating  The Reggae Icons THE HEPTONES The Heptones are a Jamaican rocksteady and reggae vocal trio most active in the 1960s and early 1970s. They were one of the more significant trios of that era, and played a major role in the gradual transition between ska and rocksteady with their three-part harmonies. Leroy Sibbles, Earl Morgan and Barry Llewellyn first came together as "The Hep Ones" in 1965 in Kingston but they soon changed their name to "The Heptones". The name was chosen by Morgan after seeing a Heptones Tonic bottle lying in a pile of refuse. The Heptones recorded for major Jamaican record producers at the time. They began their career, after one unsuccessful single. for Ken Lack's "K Calnek" label, under the watchful eye of Coxsone Dodd of Studio One. The Heptones had a number of Jamaican hits for Studio One, beginning with "Fattie Fattie", their first Studio One single in 1966. This began a long run of success for Coxsone, including "Pretty Looks Isn't All", "Get In The Groove", "Be a Man", "Sea of Love" (a cover of the Phil Phillips and the Twilights doo-wop classic), "Ting a Ling", "Party Time" and "I Hold the Handle." They were the chief rivals to The Techniques, who recorded for Arthur "Duke" Reid, as the top vocal act of the rocksteady era.#reggae #reggaebillboardchart #nowplaying www.crsradio.com  www.caribbeanradioshow@gmail.com 661-467-2407  

The Philcast is named after the detestable little Tory weasel Phil Collins, as a result of this comment on this post by James who writes Appetite for Distraction.  So you can all blame him. In addition to Phil Collins, we have some Phil Spector, Phil Ochs, Phil & the Osophers and, somewhat more tenuously, Esther Phillips.  Also, for some utterly inexplicable reason, the Spider Man theme song came up when I searched my iTunes library for 'Phil'.  Any ideas?  Was it written by Phil Phillips from Philadelphia? Also, we have the first 'Fucking Preposterous Song of the Week', in the form of Phil Collins' Easy Lover.  For reasons of being a fuckwit, mostly, I suppose, I'd quite like to make this a regular feature.  Next week Turn Around Bright Eyes by Bonni Tyler or Hello by Lionel Richie - whaddaya reckon! 01. Billy Bragg - I Dreamed I Saw Phil Ochs Last Night (01.20) 02. Phil Ochs - Jim Dean of Indiana (08.20) 03. Pet - Black Arts (15.49) 04. Money - So Long (God is Dead) (20.10) 05. Phil Collins - Easy Lover (27.05) 06. James Yorkston - Catch (33.26) 07. Esther Phillips - Home is Where the Hatred Is (37.46) 08. Crystals - Then He Kissed Me (41.10) 09. The National - The Rains of Castamere (47.07) 10. Stagnant Pools - Dead Sailor (49.40) 11. Phil & the Osophers - Uses of a Man (56.01)