Podcasts about play that song

This week's Mixtape Rewind takes us back to our new music mix from October 2022Taylor Swift dominated charts by claiming all top ten Billboard spots with her "Midnights" album – we explore "Mastermind," highlighting how her songwriting prowess continues to evolve while maintaining that distinctive Taylor sound.The musical whiplash continues as we bounce between genres. Flatland Cavalry's folksy "Mountain Song" transports listeners to peaceful natural landscapes, while Sam Smith and Kim Petras deliver the imposing, menacing "Unholy" that marks a dramatic departure from Smith's typical style. Rock veterans make strong showings with Smashing Pumpkins returning to their hard-edged roots on "Beguiled" and Red Hot Chili Peppers honoring guitar legend Eddie Van Halen with their extended six-minute tribute "Eddie."Our exploration reveals fascinating discoveries – from The 1975's "I'm In Love With You" (prompting us to admit we've overlooked their 20-year catalog) to emerging artist Jake Swamp and the Pine's nostalgic "Empty Stomachs and Bloodshot Eyes." We even find Bruce Springsteen covering Ben E. King on his upcoming Motown and soul covers album.https://music.apple.com/us/playlist/new-music-october-2022/pl.u-mJy81vBINE8XR1q https://open.spotify.com/playlist/0BzHINFCB80bJQZAlwEiWu?si=18378ffac35a4bd5Mastermind by Taylor SwiftMountain Song by Flatland CavalryUnholy by Sam Smith & Kim PetrasFrancesca by WeezerLift Off by LabrinthI'm In Love With You by The 1975Beguiled by The Smashing PumpkinsEmpty Stomachs and Bloodshot Eyes by Jake Swamp and the PineEddie by Red Hot Chili PeppersStfu (feat Rick Nielsen) by Todd RundgrenElectricfy My Love by Mondo CozmoDon't Play That Song by Bruce SpringsteenSupport the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Mayor Que Yo 2 Wisin & Yandel Baila Morena (with Luny Tunes, Noriega)(Remix) Hector & Tito,Luny Tunes,Noriega Ven Bailalo Angel Y Khriz Punto Y Aparte Tego Calderón Burn It Up (feat. Wysin & Yandell) R. Kelly,Wisin,Yandel Gata Fiera (feat. Joan) Trebol Clan,Joan Yo Voy Zion & Lennox,Daddy Yankee Al Natural Tego Calderón Machucando Daddy Yankee Oye Mi Canto (with Tego Calderon, Nina Sky, Gemstar, Big Mato) N.O.R.E., Tego Calderon, Nina Sky, Gemstar, Big Mato Cuéntale Don Omar Ella Y Yo (Featuring Don Omar) Don Omar,Aventura Donde Estan las Gatas Alex Gargolas,Daddy Yankee,Nicky Jam Rompe Daddy Yankee Pa' Que Retozen Tego Calderón Play That Song (with Nina Sky, Cypress Hill) Tony Touch,Nina Sky,Cypress Hill Pa' Que Tu Lo Sepa Tony Touch Rakata Wisin & Yandel Gasolina (with Pitbull, Lil Jon, Noriega, Dj Buddha)(Dj Buddha Remix) Daddy Yankee,Pitbull,Lil Jon,Noriega,DJ Buddha Mayor que yo feat Baby Ranks Luny Tunes Noche De Sexo Wisin & Yandel,Anthony Santos

Pat Monahan from Train wrote these lyrics to the tune of Heart and Soul: Hey, Mr. DJ, when you gonna spin it?My baby's favorite record, she's been waiting for a minute. She's invited all her friends and I'm buying all the roundsAnd they're all dolled up, DJ, please don't let me down. The witches talk about DJs this week - their history, evolution, and true crime stories of DJs and radio hosts. And now, Shelley, Lysa and Darryl!

Fosforo 1703: I brani della striscia numero 3 della settimana: Tandem Playlist; Mar Vista - Her Eyes Are Closed; Pat Metheny - MoonDial (epilogue); Mk.gee - New Low; Aretha Franklin - Don`t Play That Song; Marc Ribot`s Shrek - Somebody in My Home; Van Morrison - Domino; Jaco Pastorius - Liberty City; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Hosts Jim DeRogatis and Greg Kot talk with Karla and Jack of SPRINTS, the Irish post-punk band who recently released their debut album titled Letter to Self. The hosts also review new music from Charli XCX and Goat Girl, and Jim speaks with music critic Niko Stratis.--Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops--Featured Songs:Sprints, "Heavy," Letter To Self, City Slang, 2024The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club, Parlophone, 1967Charli XCX, "Von Dutch," Brat, Atlantic, 2024Charli XCX, "Sympathy Is A Knife," Brat, Atlantic, 2024Charli XCX, "Girl, So Confusing," Brat, Atlantic, 2024Charli XCX, "So I," Brat, Atlantic, 2024Goat Girl, "TCNC," Below The Waste, Rough Trade, 2024Goat Girl, "Tonight," Below The Waste, Rough Trade, 2024Goat Girl, "Motorway," Below The Waste, Rough Trade, 2024Sprints, "Cathedral," Letter To Self, City Slang, 2024Sprints, "Kissing Practice," The Cheek (Single), Nice Swan, 2020Sprints, "Up And Comer," Letter To Self, City Slang, 2024Sprints, "Ticking," Letter To Self, City Slang, 2024Sprints, "Letter To Self," Letter To Self, City Slang, 2024Sprints, "Literary Mind," Letter To Self, City Slang, 2024Sprints, "Shaking Their Hands," Letter To Self, City Slang, 2024Talking Heads, "This Must Be The Place (Naive Melody)," Speaking in Tongues, Sire, 1983Ben E King, "Stand By Me," Don't Play That Song! , Atco, 1962The Kinks, "Lola," Lola Versus Powerman and the Moneygoround, Part One, Pye, 1970Little Richard, "Tutti Frutti," Here's Little Richard, Specialty, 1957See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

FRIDAY HR 1 Ryan and Angel In The Morning!! Puerto Rican Day parade. A little bit of history ORLANDO MAGIC WIN

1) Rihanna - If It's Lovin' That You Want2) Ace Of Base - Life Is A Flower (Extended Version)3) Milli Vanilli - Baby Don't Forget My Number4) N-Tyce - Hey DJ! (Play That Song)5) Mark Morrison - Return Of The Mack6) Al B Sure - Nite And Day7) Dr. Dre Ft Snoop Dogg - Nuthin' But A 'G' Thang (Dirty Ultimix by Doc Roc)8) B.V.S.M.P. - Anytime9) BVMSP - I Need You10) Gwen Stefani Ft Eve - Rich Girl11) Lil Kim Ft 50 Cent - Magic Stick12) Warren G Ft Nate Dogg - Regulators13) Candyman - Knockin Boots14) Wreckx-N-Effect - Rump Shaker15) John Mellencamp - Jack & Diane16) Hot Chocolate - You Sexy Thing17) The Bee Gees - More Than A Woman (Ultimix Remix DJ 2nd Nature)18) Blondie - Rapture 19) Wild Cherry - Play That Funky Music20) Zedd & Liam Payne - Get Low21) Daryl Hall & John Oates - I Can't Go For That22) Kool & The Gang - Ladies Night23) Lisa Lisa & Cult Jam - I Wonder If I Take You Home24) Maroon 5 Ft Future - Cold (Ultimix)25) Kygo Ft Paul McCartney & Michael Jackson - Say Say Say (Ultimix)16) Christina Aguilera - Not Myself Tonight (Explicit)

On this episode of Music to Go to the Dump By, Greg Hooker and Farmer Dave talk to you about upcoming events, play you some music, and try to fix mic issues!

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

Episode 164: In this episode, Mark is joined by returning guest- Hip Hop artist Piff Penny. Here, we talk about his new EP with Skinny Bonez Tha Godfatha "Penny For Your Thoughts". We also discuss, Piff's past projects and future projects, performing live and his first memories of Hip Hop music and culture as we celebrate 50 years of Hip Hop.Check out Piff Penny here- https://linktr.ee/piffpennyMark also rants about wedding music and how he makes sure certain songs don't get played at his upcoming wedding.

BRUCE SPRINGSTEEN - Don't Play That Song ALABAMA SHAKES - Always Alright (Live At KCRW) PATTI SMITH – Rock’Roll Nigger KING GIZZARD AND THE LIZARD WIZARD – Gondii DAN MILLSON – Choke IGGY POP - Frenzy RAZORLIGHT – You Are Entering The Human Heart LEAH KATE - Alive and Unwell MELIFLUO – Historias de Hace Tiempo DEATH CAB FOR CUTIE – Pepper L.A. – Breath & Relax NXWORRIES (ANDERSON .PAAK & KNXWLEDGE) ft. H.E.R. - Where I Go TAKEN BY TREES - Say You Don't Mind SUNNY WAR - No Reason RUFUS T. FIREFLY & CLUB DEL RÍO - El Filo NOEL GALLAGHER'S HIGH FLYING BIRDS - Pretty Boy COLECTIVO DA SILVA - Quién pudiera ZUARAZ – Frijol Escuchar audio

Do play this episode of Cover me if you want to hear more bout the Ben E. King classic "Don't Play That Song (You Lied)"! Covers by: Peppino Di Capri, Aretha Franklin, Datuk Sharifah Aini, Mariah Carey, Johnny Dũng, Beverley Knight, Bruce Springsteen Spotify playlist here

Bob Dylan s'est excusé auprès de ses fans suite à la polémique autour de son livre "The Philosophy of Modern Song" et des éditions deluxe faussement signées. Axl Rose s'est exprimé récemment sur Twitter au sujet de "drones pirates" qui ont survolé le concert que Guns N' Roses donnaient en Australie. Ozzy Osbourne a fait une apparition surprise dans une nouvelle vidéo qui a fait l'ouverture des War Games de catch, on le retrouve chantant " War Pigs " de Black Sabbath, avec d'autres images des concurrents, thème principal de ces ‘'Survivor Series'', et " Parasite " de ‘'Patient Number 9'', accompagné de Zakk Wylde. Un nouvel événement gratuit indépendant autour d'AC/DC sera lancé par le gouvernement McGowan à Perth, en Australie, l'année prochaine,"High Voltage" dans les rues de Fremantle en hommage à Bon Scott, l'ancien chanteur, le dimanche 7 mai suite à l'énorme succès de l'édition 2020 de "Highway To Hell", à Canning Highway. Bruce Springsteen est revenu sur le plateau de Jimmy Fallon pour interpréter "Don't Play That Song", sa reprise d'Aretha Franklin qui figure sur son dernier album soul ‘'Only The Strong Survive'', accompagné d'un petit orchestre, classique de 1970 pour célébrer Thanksgiving. Dans une nouvelle interview avec le media espagnol RockFM, le chanteur de Deep Purple, Ian Gillan, a reconfirmé sa décision de ne plus chanter "Child in Time" en public. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

Noel Gallagher avanza su nuevo disco con 'Prettry Boy', según él, entre The Cure, David Bowie y The Rolling Stones. Escuchamos una inédita de Razorlight, que formará parte de un próximo disco recopilatorio, a Iggy Pop con la incendiaria 'Frenzy' y a Anderson.Paak junto a Knxwledge en Nxworries y un nuevo pasaje, 'Where I Go', con la colaboración de H.E.R. RAZORLIGHT – You Are Entering The Human Heart LEAH KATE - Alive and Unwell MELIFLUO – Historias de Hace Tiempo NXWORRIES (ANDERSON .PAAK & KNXWLEDGE) ft. H.E.R. - Where I Go TAKEN BY TREES - Say You Don't Mind SUNNY WAR - No Reason KING GIZZARD AND THE LIZARD WIZARD – Gondii DAN MILLSON – Choke IGGY POP - Frenzy DEATH CAB FOR CUTIE – Pepper L.A. – Crystal Clear BRUCE SPRINGSTEEN - Don't Play That Song ALABAMA SHAKES - Always Alright (Live At KCRW) PATTI SMITH – Rock’Roll Nigger RUFUS T. FIREFLY & CLUB DEL RÍO - El Filo NOEL GALLAGHER'S HIGH FLYING BIRDS - Pretty Boy COLECTIVO DA SILVA - Quién pudiera ZUARAZ – Frijol Escuchar audio

L'ospite di questa puntata di #stayhuman è Gp Init Felici (Giampaolo Felici), il frontman degli Ardecore, che ci parla del loro ultimo lavoro dove hanno musicato le poesie di G. G. Belli. Sull'onda dell'euforia per la cover di "Don't Play That Song", regalataci in questi giorni da #brucespringsteen, facciamo un viaggio tra le rare cover targate #tracychapman. Ma quelle poche... Chiusura con #vinile, la rubrica curata dal bookjockey Basilio Santoro

Igual te vas de puente, igual no pero, como es viernes, hemos pensado que podíamos abrir una de nuestras sesiones de viaje. Para arrancar el coche e irte al fin del mundo. Esta es la banda sonora que te proponemos en este podcast. RAY LAMONTAGNE – You Are The Best Thing BRUCE SPRINGSTEEN - Don't Play That Song VINTAGE TROUBLE – Run Like The River THE HEAVY – What Happened To The Love THE BLACK KEYS – Everlasting Light HARRY STYLES - Music For a Sushi Restaurant BRUNO MARS – Runaway Baby ED SHEERAN ft CHRIS STAPLETON & BRUNO MARS - Blow JUNGLE – Talk About It GRISES - Cactus REPTILE YOUTH - Speed Dance IZAL – El Pozo (Elyella & Wisemen Project Remix) VIVA SUECIA – El Bien L.A. - Hands DAN MILLSON – Choke DAN MILLSON – Doctor JET – Are You Gonna Be My Girl COLECTIVO DA SILVA - Quién Pudiera Escuchar audio

Terzo singolo tratto da Only The Strong Surive, il nuovo album di Bruce Springsteen in uscita venerdì 11 novembre 2022. Come suona? Scoprilo in questo episodio di Fuori Orario: Not Another Podcast. A questo link http://tiny.cc/fuori-orario-shop trovi la musica, i film e i libri dei quali si parla in questo podcast.

LADIES&GENTS have you ever had a guy or girl play a song. Now it's stuck in your brain, now they on yo mind 247. Protect yourself from being infatuated with the individual who has no good intentions. --- Send in a voice message: https://anchor.fm/virtuous-diva--company/message

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Jody Mosser @jodymossermusicBen E King “Stand By Me” from the 1961 album "Don't Play That Song!" released on Atco. Written by  Benjamin King, Jerome Leiber, and Michael Stoller and produced by Jerry Leiber and Michael Stoller.Personel:Ben E King - vocalRomeo Penque - saxErnie Hayes - pianoAl Caiola and Charles McCracken - guitarsLloyd Trotman - bassPhil Kraus - percussionStanley Applebaum - string arrangementGary Chester– drumsCover:Performed by Josh Bond, Neal Marsh, and Jody MosserIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Jody Mosser @jodymossermusicBen E King “Stand By Me” from the 1961 album "Don't Play That Song" released on Atco. Written by  Benjamin King, Jerome Leiber, and Michael Stoller and produced by Jerry Leiber and Michael Stoller.Personel:Ben E King - vocalRomeo Penque - saxErnie Hayes - pianoAl Caiola and Charles McCracken - guitarsLloyd Trotman - bassPhil Kraus - percussionStanley Applebaum - string arrangementGary Chester– drumsCover:Performed by Josh Bond, Neal Marsh, and Jody MosserIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Van Morrison “Into the Mystic”MotownThe DriftersFrankie ValliThe Temptations “My Girl”Elvis “Jailhouse Rock”Elvis “King Creole”Elvis “Lovin You”Elvis “Hound Dogs”The Coasters “Yakety Yak”The Drifters “On Broadway”Fats Domino  “Kansas City”Phil SpectorNat King ColeOtis ReddingThe Zombies “This Will Be Our Year”SantigoldJessie Ed DavisJohn LennonThe KingsmanSam CookeJW AlexanderThe Soul Stirrers “Stand By Me, Father”Johnnie TaylorStephen KingThe Drifters “This Magic Moment”The Drifters “There Goes My Baby”Ben E King “Spanish Harlem”George GershwinOscar Hammerstein Cassius ClayRev Charles Alan Tinsley “Stand By Me”The Staples SingersLed Zeppelin “Thank You”Tammy Wynette “Stand By Your Man”Steve CropperThe Old Grey Whistle TestMuhammed AliThe YardbirdsThe Rolling StonesThe AnimalsIke and Tina TurnerMeatloafU2Bruce SpringsteenVersaceTom Ford

In the SEASON FINALE of the seventh season of the show (the seventh episode of this season and the 43rd overall) Kevin welcomes O.G. palington Eric Buegler AKA Buegs onto the show. Buegs is the co-host of the movie podcast "The Avid Indoorsmen," and the two catch up over their love of girl pop, Buegs' time on a cruise ship, his love of romantic comedies, and his complicated relationship with music. For more information about the "award winning" music criticism site, Anhedonic Headphones, click here! To learn more about "The Avid Indoorsmen," head to their website.   Episode Musical Credits Intro Music: "Brooklyn Zoo (instrumental)," written by Russell Jones, Dennis Coles, and Robert Diggs; originally performed by Ol' Dirty Bastard. Taken from the Get On Down reissue of Return to The 36 Chambers: The Dirty Version, 2011.  Outro Music: "What Does Your Soul Looks Like (Part 4)," performed by DJ Shadow. Endtroducing..., Mo Wax, 1996. Incidental Music: "It Never Entered My Mind," written by Lorenz Hart and Richard Rogers; performed by Miles Davis. Workin', Prestige, 1954. "Home," written by Marc Broussard, Shannon Sanders, Marshall Altan, Ted Broussard, and Andrew Ramsey; performed by Marc Broussard. Carencro, Island, 2004. "Stand by Me," written by Ben E. King, Jerry Leiber, and Mike stoller; performed by Ben E. King. Don't Play That Song!, ATCO, 1961. "Respect" written by Otis Redding; performed by Aretha Franklin. I Never Loved A Man The Way I Love You, Atlantic, 1967. "Superstition," written and performed by Stevie Wonder. Talking Book, Motown/Tamla, 1972. "Adagio for Strings, Op. 11," written by Samuel Barber; conducted by Leonard Bernstein and performed by the New York Philharmonic. Barber: Adagio for Strings & Violin Concerto - Schuman: In Praise of Shahn & To Thee Old Cause, Sony, 1971. "Stop This Train," written and performed by John Mayer. Continuum, Aware/Columbia, 2006. "Fields of Gold," written by Gordon Sumner; performed by Eva Cassidy. Songbird, Blix Street, 1998. "Somewhere Over The Rainbow/What A Wonderful World," written by Harold Arlen, Yip Harburg, Bob Thiele, and George David Weiss; performed by Israel Kamakawiwo'ole. Facing Future, Big Boy, 1993. "Goodbye Until Tomorrow/I Could Never Save You," written by Jason Robert Brown; performed by Sherie Rene Scott and Norbert Leo Butz. The Last Five Years, Sh-K Boom, 2002. "Cut to The Feeling," written by Carly Rae Jepsen, Simon Wilcox, and Nolan Lambroza; performed by Carly Rae Jepsen. School Boy/Interscope, 2017.

1 Hold It Willie Mitchell 02:25 Sunrise Serenade/Hold It!!! Here's Willie Mitchell2 Believe Ruthie Foster 04:57 Promise Of A Brand New Day3 Jesus Rhapsody Part I Preacher & The Saints 03:20 Good God! A Gospel Funk Hymnal4 Bring a Little Water Sylvie The Impressions 03:41 ABC Rarities5 (You Keep Me) Hangin' On (Live in Memphis) Ann Peebles 04:30 Live in Memphis6 Baby We've Got A Date (Rock It Baby) Bob Marley & The Wailers 04:06 Catch A Fire (Deluxe Edition) Disc 17 Destination: Anywhere The Marvelettes 02:41 The Complete Motown Singles, Vol. 8: 19688 Sweet Bird of Success Charlie Whitehead 02:28 Songs To Sing - Charlie Whitehead Anthology, 1970-769 Don't Play That Song for Me Beverley Knight 04:52 Soulsville10 Cleopatra Jones Bobby Harrison 03:38 Funkist11 Smoldering Fire Ural Thomas & The Pain 03:45 The Right Time (2018)12 Trading Bullets Chicken Grass 03:58 Tramp 45 RPM Single Collection, Vol. 1413 Smokey Places copy The Diplomats Of Solid Sound 03:19 14 Last Two Dollars Sweet Pea Atkinson 04:48 Get What You Deserve15 Cash In Your Face Stevie Wonder 04:00 Hotter Than July16 Saagama Noori & His Dorpa Band 03:58 Beja Power! Electric Soul & Brass from Sudan's Red Sea Coast17 C'est Cette Comète Brian Jackson 04:57 This is Brian Jackson18 The Human Chain Mista Savona 04:28 Havana Meets Kingston Part 219 Cosmic Slop Axiom Funk 05:17 Funkcronomicon [Disc 1]20 Malunguinho Abayomy Afrobeat Orquestra 07:39 Abayomy21 Is That A Riot Youngblood Brass Band 05:24 Is That A Riot22 Plastic Situation Ron And Candy 03:07 Inner City Sounds23 When I See You Macy Gray 03:44 The Trouble With Being Myself24 Stanga Little Sister 03:35 Funk Drops 225 Insta-Classic Lettuce 06:36 Unify26 Wake On Up DeRobert & The Half Truths 03:13 (G.E.D. Soul 003)27 Look What You Can Get Funky Nassau 02:18 Let's Boogaloo! Vol.328 Ain't It Funky Now James Brown 05:37 Love Power Peace - Live At The Olympia, Paris, 197129 Call Me A Fool (feat. Carla Thomas) Valerie June 03:44 The Moon and Stars: Prescriptions for Dreamers

Aretha Franklin "Don't Play That Song"Sonny Terry & Brownie McGhee (with Lightin' Hopkins) "Everybody's Blues"Sonny Terry & Brownie McGhee "Trouble In Mind"Cat Power "Do the Romp"Paul Westerberg "Knockin on Mine"Justin Townes Earle "Far From Me"Nina Simone "Revolution (Pts. 1 and 2)"Cory Branan "You Make Me"The Handsome Family "The Bottomless Hole"Songs: Ohia "Farewell Transmission"Bob Dylan "Meet Me In the Morning"Bob Dylan "Gotta Serve Somebody"George Jones & Ernest Tubb "Half a Mind"Woody Guthrie "Going Down the Road"Etta James "Almost Persuaded"Margo Price "Twinkle Twinkle"Millie Jackson "If Loving You Is Wrong I Don't Want to Be Right"Arthur Conley "Shake, Rattle & Roll"Wilson Pickett "Mini-Skirt Minnie"Gladys Knight & The Pips "Midnight Train to Georgia"Bonnie Raitt "I Thank You"Ted Hawkins "There Stands The Glass"Vic Chesnutt "Guilty By Association"Candi Staton "I'm Just a Prisoner (Of Your Good Lovin')"Solomon Burke "Proud Mary"Patterson Hood "Heat Lighting Rumbles In the Distance"Centro-matic "Iso-Residue"Counting Crows "Omaha"Pedro The Lion "First Drum Set"Mos Def "Close Edge"M. Ward "Never Had Nobody Like You"Bettye Swann "Stand By Your Man"Craig Finn "This is What It Looks Like"Widespread Panic "Contentment Blues"Buddy Guy "She's Got The Devil In Her"Waylon Jennings "Midnight Rider"Mildred Anderson "Cool Kind of Poppa (Good Kind Daddy)"Lucinda Williams "It's Nobody's Fault But Mine"Grateful Dead "Cold Rain and Snow"Little Milton "That's What Love Will Make You Do"Steve Earle "Feel Alright"Naomi Shelton & the Gospel Queens "What Have You Done?"Jason Isbell "Hurricanes and Hand Grenades"David Ramirez "That Ain't Love"

Synopsis The fairy-tale opera “Sadko” by the Russian composer Nicolai Rimsky-Korsakov had its first performance in Moscow on today's date in 1898. This opera is still staged in Russia, but rarely anywhere else – even though some of its wonderful melodies have proven extremely popular. One of the opera's arias had a tune so catchy that it was set to English words as “Play That Song of India Again” and became a best-selling Paul Whiteman recording in the 1920s. In the big-band era, Rimsky-Korsakov's “Song of India” even made the American “Hit Parade.” The line between popular culture and classical music has often been blurred – and seldom so wickedly as in the works of the American composer Michael Daugherty. Take his “Le Tombeau de Liberace,” for example. Now, in classical music terminology, a “tombeau” is a memorial tribute to an eminent musician or composer – in this case, it's Wladziu Valentino Liberace, the flamboyant, rhinestone-encrusted pianist and showman who died in 1993. Many of Michael Daugherty's other concert pieces have also been inspired by pop icons, real and imaginary, ranging from Desi Arnaz to Superman. Music Played in Today's Program Nikolai Rimsky-Korsakov (1844-1908) — Song of India, from Sadko (arr Kreisler) (Gil Shaham, vn; Akira Eguchi, p.) DG 447 640 Michael Daugherty (b. 1954) — Candelabra Rhumba, from Le tombeau de Liberace (Paul Crossley, piano; London Sinfonietta; Markus Stenz, cond.) Argo 458 145

11 07 2021 - Don't Want To Play That Song No More by Snowmass Chapel

We talk about Clint Ramos' fabulous costume designs for ‘Respect', the film about Aretha Franklin – played by Jennifer Hudson – and directed by Liesl Tommy. See links below. And ... we are now on Patreon! Have a look at our page: https://www.patreon.com/bandeapartpodcast Thebe Magugu: https://www.instagram.com/thebemagugu/?hl=en and https://www.instagram.com/tv/CUaJESrgo9J/?utm_source=ig_web_copy_link Liesl Tommy (director), Clint Ramos (costume designer), ‘Respect' (2021): https://www.imdb.com/title/tt2452150/ ‘Respect' microsite: https://www.universalpictures.co.uk/micro/respect Erica Gonazles, ‘Aretha Franklin Used Clothing for Protection, to Take Up Space, and to Make Herself Heard', Harpers Bazaar (13 August 2021): https://www.harpersbazaar.com/culture/film-tv/a37280291/aretha-franklin-respect-costumes/ Liam Freeman, ‘Respect Costume Designer Clint Ramos on Aretha Franklin's soulful style', Vogue (11 August 2021): https://www.vogue.com/article/respect-costume-designer-clint-ramos-aretha-franklin-style Alan Elliott, Sydney Pollack (directors): ‘Amazing Grace' (1972): https://www.imdb.com/title/tt4935462/ ABC News Special, ‘Aretha Franklin Close Up' (1968): https://youtu.be/toUteDkwcb0 Aretha Franklin, ‘Don't Play That Song', Live on the Cliff Richard Show (1970): https://youtu.be/EtTn5aLXZZg Aretha Franklin at Julien's Auctions: https://www.julienslive.com/search?key=aretha%20franklin

1. BB King / See That My Grave is Kept Clean2. Irma Thomas & BB King / We're Gonna Make It3. Little Milton / Grits Ain't Groceries4. Bobby Blue Bland / Turn On Your Love Light5. Shaun Murphy / Man Sized Job6. Ruthie Foster / Runaway Soul 7. Blue House / 8. Roomful of Blues / What Can I Do?9.Robert Finley / Make Me Feel Alright10.Polly O'Keary / Too Much Like I care11.Christone Kingfish Ingram / 66212.Buddy Guy / Five Long Years13.Howling Wolf / Back Door Man14.John Lee Hooker / Crawling King Snake15.Los Lonely Boys / Roadhouse Blues16.Bo Diddley / Love Her Madly 17.The Doors / The Wasp (Texas Radio and the Big Beat) 18. Sugaray / Bluebird Blues19. Curtis Salgado / The Longer That I Live 20. Aretha Franklin / Don't Play That Song 21.Staple Singers / Heavy Makes You Happy22.Bob Malone / The River Gives  23.Bonnie Raitt / Ain't Gonna Let You 24.Rex Granite Band / Haunted 

#PeterBoykin #PeterBoykinSings #KaraokePeter Boykin sings Popular songsFollow https://T.Me/RealPeterBoykinSmule: https://www.smule.com/peterboykinYoutube: https://www.youtube.com/channel/UCfjAL7ElwO7gFB1uKNSW78wContact: peterboykin@gorightnews.comSupport:https://Patreon.com/PeterBoykinTip: https://paypal.me/magafirstnewsNote: Peter Boykin enjoys singing and has a range of vocals, this is pure fun and sometimes the songs come out Excellent and sometimes the songs come out bad... There is no tougher critic than Peter Boykin on his own self. He knows some of these you might just want to hit skip. :)Note: the lyrics and themes in these songs do not always reflect the views of Peter Boykin. Sometimes a cigar is just a cigar and a song is just a song.

Mod Marty has got his game up tight this week. 60 non-stop minutes across the tracks of your mind into the exciting world of Soul, R&B, Mod Beat, Garage Rock, Northern Soul, Ska and The Blues. ----------------------------------------------- The Playlist Is: "Sookie Sookie" Tina Britt - Veep "Stand By Me" Spyder Turner - MGM "Don't Play That Song" The Marvels Five - His Master's Voice "The Ringo Beat" Ella Fitzgerald - Verve "Murder In The First Degree" The Dynamics - Cotillion "See-Saw-Man" The Five Americans - Abnak "Try To Understand" The Seeds - GNP Crescendo "The Ice Cream Man" Jerry Palmer - Gaity "Boo-Ga-Loo Baby" Tommy & Cleve - Checker "Ain't No Soul Left In These Ole Shoes" Ronnie Milsap - Scepter "I Don't Want To Hurt Nobody" Ruby Winters - Diamond "Reaching For The Best" The Exciters - 20th Century "Help Wanted" The Volcanos - Arctic "Lover's Concerto" The Toys - Stateside "Good Times Roll" Ronnie Hawkins & The Hawks - Hawk "I'm A Lonely Boy" Country Boy - Blue Beat "Harris Wheel" Reggaeites & The Rudies - Crab "Ask Me No Questions" B.B. King - ABC "Flowers On The Hour" John Lee Hooker - Vee Jay "Put Me In Your Lay Away" Muddy Waters - Chess "Are You Nervous" The Instrumentals - Hanover

Patrick Train: "Hey Mr DJ, do you have any hits from 1939 you can spin to get this club pumping all night long? "DJ: "I learnt Heart & Soul on the piano when I was 5. Does that work?"Patrick Train: "Yes...yes it does!"Bio:"Play That Song" is a song by the American rock band Train. It was released on September 29, 2016, as the lead single from their tenth studio album A Girl, a Bottle, a Boat (2017).Click for the LyricsClick for the VideoSubscribe to us on Spotify, Apple Podcasts, Amazon Music, Google Podcasts, Deezer, Podchaser, iHeartRadio, TuneIn, Podcast Addict, Stitcher, Listen Notes, Vurbl or wherever you get your podcasts.Follow us on:Instagram @1001songsthatmakeyouwanttodieTikTok: @the1001crewFacebook: @1001songsthatmakeyouwanttodieTwitter: @the1001crewTumbler: @1001songsthatmakeyouwanttodieEmail us with any shit song suggestions at 1001songsthatmakeyouwanttodie@gmail.comWebsite: www.1001songsthatmakeyouwanttodie.comSupport the show (https://paypal.me/pools/c/8p4yD1sVwP)

1 Fat Mama Herbie Hancock 03:50 Fat Albert Rotunda 2 Rich Man's House Resistance Revival Chorus 03:48 This Joy 3 You Must Believe in Yourself O.V. Wright 02:45 Memphis Unlimited 4 Black Superman (Muhammad Ali) Derrick Morgan 04:00 Sucker Punch Jamaican Boxing Tributes 5 FIRST ROUND KNOCK-OUT JOE FRAZIER 03:17 45 6 You Hear Me Knocking Lim Taylor 03:48 You Hear Me Knocking 7 A Man Size Job Denise LaSalle 02:51 On The Loose 8 Polly Wally Tony Borders 02:32 Cheaters Never Win 9 Good Hearted Women Tina Turner 03:18 Soul Deep 10 Look At My Soul (feat. Black Pumas/Kam Franklin) Adrian Quesada 03:29 Look At My Soul The Latin Shade Of Texas Soul 11 Hush Money Lake Street Dive 02:49 Obviously 12 Crying For Hope George Porter Jr. 03:29 13 The Duke Menahan Street Band 02:47 The Exciting Sounds of Menahan Street Band 14 01 King of the Mountain Gizelle Smith 05:32 15 Call Me A Fool (feat. Carla Thomas) Valerie June 03:44 The Moon and Stars: Prescriptions for Dreamers 16 The Solution Black Merda 04:18 Force Of Nature 17 Undefeated Infinity Song 01:44 18 Winter In America Freddie Gibbs 03:32 19 Feedy Feedy Sister Carol 03:27 Empressive 20 africa is my root osayomore joseph and the creative seven 06:49 edo funk explosion vol. 1 21 Slinger Anthony Joseph 04:29 Caribbean Roots 22 Erik Owen Youngblood Brass Band 05:32 Pax Volumi 23 If I Know (feat. K.O.G) Nubiyan Twist 06:10 Freedom Fables 24 Miss Cecilia Jones Judith Hill 03:59 Baby, I'm Hollywood! 25 Papa Jumps Deep Street Soul 03:04 Deep Street Soul 26 Come On Home (feat. Rickey Calloway) Will Sessions 03:25 Deluxe 27 Wantme2stay (feat. Uche Ndubizu, Branford Marsalis & Larry Graham) Bootsy Collins 04:04 The Power of the One 28 What U Need ThunderSOUL Orchestra 03:34 528-0728 29 Play That Song (feat. The Pharcyde) Connie Price & The Keystones 03:15 Lucas High 30 There's A Price To Pay To Live In Paradise J.B.'s 04:00 Bring The Funk On Down 31 In Another Time Sade 04:35 Bring Me Home - Live 2011

Tonight, one of the best in Reggae Music, Singer, Songwriter, Musician, Duane Stephenson stops by for a candid conversation with G Cole. He drops off his latest Single "Caribbean Girl" Featuring Romain Virgo and performs two of his hits; "Cottage In Negril" and "Play That Song" live                                                                                                                                                       Watch live                                             https://youtu.be/PyQgvJkkSYg Please subscribe to our Youtube Channel https://www.youtube.com/c/GregoryColeHomegrownWithGCole   

Includes I Can’t Turn You Loose, Chain of Fools, Ain’t No Way, Think, Do Right Woman, How I Got Over (with choir), Day Dreaming, Rock Steady(alternate mix) I Never Loved A Man, I Say A Little Prayer, Since You’ve Been Gone, Natural Woman, Respect, and Don’t Play That Song.

La música negra en 1970: cara a cara con la verdad, como rezó el título del disco de The Undisputed Truth. La verdad indiscutible de la guerra de Vietnam. La lucha de los artistas afroamericanos por los Derechos Civiles… Curtis Mayfield, Stevie Wonder, Marvin Gaye, Aretha Franklin, The Staple Swingers ya estaban preguntando “Qué está pasando”… El género “jazz-fussion” ya es más una realidad gracias a músicas que están experimentando con los sintetizadores y el cruce de la herencia jazz con las nuevas corrientes del soul y del funk. Shuggie Otis, hijo de Johnny, Eugene McDaniels, Sun Ra, Pharaoh Sanders están adelantándose a su tiempo. DISCO 1 MIKE KNOCK UNDERGROUND Space Bugaloo (SPACED OUT JAZZ - 7) DISCO 2 STEVIE WONDER Signed, Sealed And Delivered (18) Signed, Sealed And Delivered DISCO 3 ARETHA FRANKLIN  Don’t Play That Song (1) Spirit In The Dark DISCO 4 DIANA ROSS Everything Is Everything (Cara 1 Corte 1) DISCO 5 MARVIN GAYE That’s The Way Love Is (18) That’s The Way Love Is DISCO 6 THE STAPLE SWINGERS This A Perfect World (1) The Staple Swingers DISCO 7 THE ISLEY BROTHERS Get Into Something (1) DISCO 8 THE IMPRESSIONS Ain't Got Time (THE CURTOM STORY Disc 2 - 3) DISCO 9 MOSES DILLARD & Tex-Town Display I've Got To Find A Way (Pt.1) (THE CURTOM STORY Disc 1 - 25) DISCO 10 MAJOR LANCE Must Be Love Coming Down (THE CURTOM STORY - Disc 2 - 2) DISCO 11 SHUGGIE OTIS Strawberry Letter 23 (12) Here Comes Shuggie Otis DISCO 12 THE ORIGINALS My way (MOTOWN SINATRA - 15) DISCO 13 EUGENE McDANIELS Headless Heroes (4) DISCO 14 GABOR SZABO Breezin’ (ALL DAY THUMBSUCKER - CD 2 - 10) DISCO 15 LAURA NYRO When I was a freeport…(GARDOT - 6) CHRISTMAS AND THE BEADS OF SWEAT Escuchar audio

Aretha Franklin, Don't Play That Song, and Gladys Knight, Licence to Kill.

Se me ponen los pelos de picos pardos al ver las portadas de esta selección de discos anglosajones que este año cumplen medio siglo. A estas alturas esta música popular es clásica en sí misma. Los protagonistas de este programa crearon escuela y tendencias más allá de la cultura rock. Y eso que estaba naciendo el hard-rock, el rock sureño, el rock sinfónico o la generación bittersweet de cantantes-compositores. Sus nombres se manifiestan por sí mismos: Jimi Hendrix, Aretha Franklin, Stevie Wonder, Simon & Garfunkel, James Taylor, Carole King, David Bowie, The Kinks, The Allman Brothers, Led Zeppelin, Joni Mitchell, Cat Stevens, Crosby, Stills, Nash & Young, Randy Newman, Dusty Springfield, Pink Floyd, Santana, The Doors, Jethro Tull, Poco, Genesis, Ry Cooder, Traffic, Carpenters… Aquí va el capítulo de artistas norteamericanos. DISCO 1 SANTANA Samba Pa Ti (Cd 2 - 13) Abraxas DISCO 2 JIMI HENDRIX Changes (3) Band Of Gypsys DISCO 3 THE DOORS Roadhouse Blues (4) Morrison Hotel DISCO 4 JONI MITCHELL Big Yellow Taxi (3) Ladies From The Canyon DISCO 5 JAMES TAYLOR Steamroller (4) Sweet Baby James DISCO 6 CAROLE KING Up On The Roof (3) Writer DISCO 7 RANDY NEWMAN Mama Told Me Not To Come (Cd 1 - 9) 12 Songs DISCO 8 SIMON & GARFUNKEL Cecilia (3) Bridge Over Trouble Waters DISCO 9 CROSBY STILLS NASH & YOUNG Teach Your Children (4) Déjà Vû DISCO 10 NEIL YOUNG Don't Let It Bring You Down (7) DISCO 11 POCOYou Better Think Twice (Cara 1 Corte 2) DISCO 12 LINDA RONSTADT Long Long Time (Ordenador) Silk Purse DISCO 13 RY COODER How Can a Poor Man Stand Such And Live (CD 1- 5) Ry Cooder DISCO 11 STEVIE WONDER Signed, Sealed And Delivered (18) Signed, Sealed And Delivered DISCO 12 ARETHA FRANKLIN  Don’t Play That Song (1) Spirit In The Dark DISCO 13 CARPENTERS They Long To Be (Close To You) (12) Close To You DISCO 14 THE ALLMAN BROS BAND Midnight Rider (3) Idlewild South Escuchar audio

We use the superpowers of our imagination to bring resonance and music into the body.

2/17/2020We discuss a new guitar Jon wants, one he sold, golf, food and everything else.Support the show (https://www.patreon.com/davesguitarchannel)

Tonight on Proper Propaganda: new tracks from Kembe X, Nicole Bus & Ghostface Killah, and the Bryant C. Project. But first, new from Benny the Butcher featuring Black Thought, “Crowns for Kings.” “Crowns for Kings” Benny the Butcher feat. Black Thought “Raised a Fool” Kembe X feat. Jay Rock, Ab-Soul & Zacari “Play That Song” Connie Price & The Keystones feat. Pharcyde Interlude: Stephen Colbert BG Music: “Hope the World Don’t Stop (Before I Get Mines)” by Pete Rock “The System” Senica Da Misfit “Down Bad” JID, J. Cole, EARTHGANG, Young Nudy “My Life Story” The Bryant C. Project “You” Nicole Bus feat. Ghostface Killah “From the 718” Pete Miser “Welcome to the Terrordome” Public Enemy “Invasion” Jeru the Damaja Interlude: “Coming to America” “The Victory” KRS-ONE & Marley Marl feat. Blaq Poet “We the People” Apollo Brown & OC “Give the People What They Want” The Ojays “Keep it Locked” Pete Miser “Apathy…Superstar?!?” P.M. Dawn

GLORIA

PLAYLIST LA VILLA TROPEZIENNE SPRING 2019 1/ EMILY LOIZEAU « Gigi L’Amoroso » 2/ ARMANDO TROVAJOLI feat Marcello Mastroianni, Monica Vitti « Se Tu Mi Lasceresti » 3/ KORA JAZZ TRIO « Via Con Me » 4/ RINO GAETANO « Sfiorivano Le Viole » (DJ Snatch Rework » 5/ CESARIA EVARA « Sodade » (Synapson remix) 6/ JKRIV « Nada De Sol » 7/ LUZ CASAL « La Historia De Un Amor » (Goji Berry Sax edit) 8/ TONY RENIS « Quando, Quando, Quando » 9/ BUFFALO SPRINGFIELD « For What It’s Worth » 10/ BETTY SWANN « Suspicious Minds » 11/ LOU REED « Walk on The Wild Side » (John Monkman, Tribute edit) 12/ YANN MULLER « The Dock Of The Bay » 13/ THE PIROUETTES « Comment Lui Dire «  14/ VERONIQUE SAMSON « On m’attend là-bas » (Funky French League Remix) 15/ WEEK END AFFAIR « J’ai Chaud » 16/ BAGUETTE BARDOT « La Madrague » 17/ YANN MULLER « Elisa » 18/ ADRIANO CELENTANO « Don’t Play That Song » (DJ Pantelis Edit) 19/ VICKY LEANDROS « Mamy Blue » (Goji Berry Vanilla Edit) 20/ LUCIO BATTISTI « Ancora Tu » (Julian Mc Cain Bootleg Remix) 21/ ARETHA FRANKLIN « Say A Little Player » (The Owl Nu-Town Rework) 22/ THE O’JAYS « Love Train »

The momentum of the show going off the rails picked up some steam at the end of the last hour, but the start of hour two is where we really get out of control. The show struggles with the question as to whether or not we should keep playing Garry Glitter and Michael Jackson music beds on our show. We put the question to a poll because this is above our heads. Oh we do some Steelers and Penguins talk too cause we're a sports show and oh ya and then it's time for The Great Unsponsored Football Segment filled with knowledge and fun brought to you by to be determined: Burning Questions Edition.

The momentum of the show going off the rails picked up some steam at the end of the last hour, but the start of hour two is where we really get out of control. The show struggles with the question as to whether or not we should keep playing Garry Glitter and Michael Jackson music beds on our show. We put the question to a poll because this is above our heads. Oh we do some Steelers and Penguins talk too cause we're a sports show and oh ya and then it's time for The Great Unsponsored Football Segment filled with knowledge and fun brought to you by to be determined: Burning Questions Edition.

Jump To It 06:41Get It Right 06:19Every Girl (Wants My Guy) 06:33What You See Is What You Sweat 04:25A Rose Is Still A Rose 04:27Love Me Right 04:08Integrity 05:34When You Love Me Like That 03:49Take Me With You 04:05It Only Happens (When I Look At You) 04:26Wonderful 04:04Rock With Me 03:12I Needed You Baby 04:45I'm In Love 02:50(It's Just) Your Love 04:50Sunshine Will Never Be The Same 03:37No One Could Ever Love You More 03:41I Got Your Love 05:31If She Don't Want Your Lovin' 05:38Until You Come Back To Me (That's What I'm Gonna Do) 03:25Day Dreaming 03:58U Can't See Me 05:05One Step Ahead 02:34Don't Play That Song 03:01Don't Let Me Lose This Dream 02:24You Send Me 02:28You'll Never Get To Heaven 05:43This Is For Real 04:48Better Friends Than Lovers 04:11I Never Loved A Man (The Way I Love You) 02:49United Together 05:04Ain't No Way 04:14That's The Way I Feel About Cha 07:08I Was Made For You 04:06Call Me 03:55The Woman 07:42Bridge Over Troubled Water 05:34I Can't See Myself Leaving You 03:02Angel 04:28

West Side Radio: Play that song by The West Side Story

In 1984 I cried after the Cubs lost to San Diego Padres in the playoffs When I returned to school the following Monday all the White Sox fans mocked me. Don't Play the Song For Me!  Even when bad things are happening good is found nearby.

This week the duo shares a Valentine's Play list for all the lovers. From four categories: Sexual Songs, Heartbreak Songs, Love Songs, and Ratchet Songs. Email Us: nobuts.justcoconuts@gmail.com Insta: nobutsjustcoconuts Tweet us: nobutsjustcoco1

Entre las canciones consideradas como elegidas del siglo XX y más, entre las mejores de todos los tiempos según rankings de la industria, figura Stan by Me, clásico venerado por artistas diversos de todo el planeta, que alcanzó nuevos récords interpretado por John Lennon (1974) o siendo banda musical de la película Cuenta conmigo (1986) Para este segmento Iván Noble selecciona dos covers sobre la balada originalmente inspirada en salmos, en la espiritualidad del góspel, compuesta por Ben E. King (también su primer intérprete), Jerry Leiber y Mike Stoller, grabada en 1963 para el disco Don't Play That Song! Otis Redding cantó una de las primeras versiones en 1964 y Tracy Chapman una de las últimas, cuando en 2015 participó de un homenaje a King, invitada para el show televisivo de David Letterman.  

"Play That Song" by Train.

Maria Hernandez - Ensign Magazine - April 2017

Versacheek to Cheek, They Can't Take That Away From Gucci, Saks the Knife. On this episode of the Hungry Cliff podcast, the team discusses the lamentable state of Skype, family weddings, and proper methods of garbage disposal. We also sample a range of snacks within a range of freshness. Which Christmas shirt was purchased on impulse, and from which retailer? What is the best place to dispose of a banana peel? Who could identify that song? Find out the answers to all of these questions and several dozen more on this exciting, mid-tier premium episode of the Hungry Cliff podcast!   Links: Peppermint Creme Oreo White Fudge Covered Oreo Griswold shirts Play That Song by Train   Don't forget you can support Hungry Cliff by going to our Shop at the top of our page or by using our Amazon and iTunes Search Boxes on our site. Also, Like us on Facebook, follow us on Twitter and subscribe to the podcast in iTunes so you don't miss a thing! And if you want to help us out some more, please review us on iTunes 'cause every little bit counts.   Hosts: Tony Silanskas, Matthew Biggers, Andrew Silanskas Guest Hosts: David Houston, Jessica Houston, Pedro Mendoza   Intro and outro music: Pedro Mendoza   Email us: tony (at) hungrycliff (dot) com or matthew (at) hungrycliff (dot) com   © 2016 Hungry Cliff  

OUT NOW ON DS2B RECORDS WE HAVE THE FREAK EP FROM JEDI . AGAIN JEDI HAS DELIVERED 4 MONSTER TRACKS . WITH THE MASSIVE FREAK TO PLAY THAT SONG . THIS IS ONE EP ALL DJS NEED IN THEIR COLLECTIONS. IF YOUR FEELING THIS RELEASE THE FEEL FREE TO LIKE , SHARE, OR REPOST . RELEASED 15TH JULY IN ALL MAJOR DOWNLOAD STORES JUNO DOWNLOAD http://www.junodownload.com/products/jedi-freak/3142584-02/ TRACKITDOWN https://www.trackitdown.net/track/jedi/play-that-song/drum_and_bass/9941698.html ITUNES https://itunes.apple.com/gb/album/freak-ep/id1126941716 DIGITAL TUNES https://www.digital-tunes.net/labels/dubstomp_2_bass_records

봄비 같은 비가 오더니 월요일부터 춥습니다.
찬 바람 불지만 기분 좋게 시작해봐야겠죠. 
절망은 절망을 불러오고, 희망은 희망을 불러옵니다.
노력의 끝은 반드시 찾아오는 법입니다.
포기하지 않는 우리들에게 멋진 내일이 다가올 겁니다. 바닐라 어쿠스틱 - 너와 나의 시간은 No Doubt - Just A Girl (신청곡) 황신혜 밴드 - 짬뽕 (신청곡) 조권 - 횡단보도 규현 - 내 맘은 어디에 두죠 Ben E. King - Don't Play That Song (핫도그뮤직)

봄비 같은 비가 오더니 월요일부터 춥습니다.
찬 바람 불지만 기분 좋게 시작해봐야겠죠. 
절망은 절망을 불러오고, 희망은 희망을 불러옵니다.
노력의 끝은 반드시 찾아오는 법입니다.
포기하지 않는 우리들에게 멋진 내일이 다가올 겁니다. 바닐라 어쿠스틱 - 너와 나의 시간은 No Doubt - Just A Girl (신청곡) 황신혜 밴드 - 짬뽕 (신청곡) 조권 - 횡단보도 규현 - 내 맘은 어디에 두죠 Ben E. King - Don't Play That Song (핫도그뮤직)

Mr. Suave's Mod Mod World, modcast #156. In honor of Valentine's Day I've done nothing. Nothing for Valentine, but everything for you dear listener -- and it's a much better story. I've got a couple of brand new tracks from The Eddies and the Len Price 3. The Eddies are twins Dean and Dale Hoth backed up by legendary producer Earl Mankey on the drums. (If you don't know, Mankey was an original member of Sparks when they started out and later became a producer in the LA undergrounds for The Quick, The Last, Three O'Clock, Long Ryders, Leaving Trains and more.) Their new song shows off Mankey's producing with lots of cool sound affects throughout. The Len Price 3's latest album dropped last month to rave reviews, and you won't get any argument from me. They've outdone themselves again. In addition there are a few supercool, superhero number and some sixties stuff. Nothing not to like here.Be sure to head over to the modcast homepage at http://www.mistersuave.com/2010/02/modcast-156-play-that-song.html for a complete track list, links to bands, bonus videos and more. And keep up with me between modcasts:Twitter - https://twitter.com/mistersuaveFacebook - https://www.facebook.com/modmodworldInstagram - https://www.instagram.com/mrrobsuave/Spotify - https://open.spotify.com/show/7GRj5El2drXcG7sPay6BWv?si=Vq4MIa56Sm6MryFjStlMwwiHeart Radio - https://www.iheart.com/podcast/256-mr-suaves-mod-mod-world-31024876/Subscribe  with iTunes - https://itunes.apple.com/us/podcast/mr-suaves-mod-mod-world/id154325887Mr. Suave's Mod Mod World. Mod friendly music mixes since 2006.