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2 episodes with Release Me
2 episodes with Release Me
2 episodes with Release Me
3 episodes with Release Me
2 episodes with Release Me
2 episodes with Release Me
2 episodes with Release Me
2 episodes with Release Me
2 episodes with Release Me
On the 75th Episode of Dorm Damage With Tom & Zeus the guys review Pearl Jam at Fenway Park on September 15, 2024. Tom & Zeus are both long time fans of Pearl Jam, all the way back to their college days at Stonehill College in the 1990's. The boys got to see Pearl Jam at Fenway Park on their Dark Matter tour. The guys discuss the setlist and the performance and the overall concert experience. So get the marbles out of your mouth and shout, "RELEASE ME!" To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below: Raise Your Glasses Book For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Get all your Shout It Out Loudcast Merchandise by clicking below: Shout It Out Loudcast Merchandise at AMAZON Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
On the 75th Episode of Dorm Damage With Tom & Zeus the guys review Pearl Jam at Fenway Park on September 15, 2024. Tom & Zeus are both long time fans of Pearl Jam, all the way back to their college days at Stonehill College in the 1990's. The boys got to see Pearl Jam at Fenway Park on their Dark Matter tour. The guys discuss the setlist and the performance and the overall concert experience. So get the marbles out of your mouth and shout, "RELEASE ME!" To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below: Raise Your Glasses Book For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Get all your Shout It Out Loudcast Merchandise by clicking below: Shout It Out Loudcast Merchandise at AMAZON Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
If you've been listening to my show for awhile then you've likely heard me speak about my experience of being bullied as a teen and young adult. It's a matter which is near and dear to my heart and one that I try to bring awareness to any chance I get. Which is why I was so excited when my dear friend and previous guest on the show, Amy Adams, shared that her cousin literally wrote and created a play which addresses bullying head on. Mary Ann Mangini is a performer, writer, teacher, musician, and all around hugely talented Woman. She wrote the music and script for an original, anti-bullying musical called You Are Worth It which is the focus for our episode together.On this guest episode, Mary Ann joins me in a collaborative exploration of the nature of bullying; what it's like to experience bulling, how to understand bullying, and ways to overcome bullying. Mary Ann shares about the path that led her to creating this incredible gift of a musical which addresses the growing bullying epidemic, provides solutions for working to eradicate bullying, takes a serious topic and infuses some humor to lighten the mood, and is performed by the very youth and teens who often endure this abuse. Working with young actors on this show allows for a lot of open discussion regarding the topic. Mary Ann explains how everyone can identify with bullying because It's everywhere, and not just among our young population. She wrote the show because she was bullied as an adult at her first job. After earning her Bachelor's degree in music education at Grove City College, Mary Ann pursued her passion for teaching choir, music, drama,and private vocal lessons at Shenango High School in New Castle. She also taught high school choir and elementary music in the Riverview School District in Oakmont. In April 2013, Mary Ann released her debut jazz album, Release Me, comprised of popular jazz standards and several original works. She currently tours the Pittsburgh area as lead vocalist for the high-energy disco band, Dancing Queen. She has performed at venues all over the Pittsburgh region, including Jergel's Rhythm Grille, multiple Atria's locations, the Rivers Casino, the Meadows Casino, the Rivers Club, Eddie V's, Cioppino, Fresco's, the Oaks Theater, the Parlay Lounge, the New Hazlett Theater, and Kennywood. Dancing Queen has won Pittsbugh City Paper's Best Cover Band in Best of PGH for the past three years in a row! Mary Ann teaches voice/piano lessons at her home studio in Cranberry Township, and also serves as the creator/director of the Fantastix youth show choir. In 2017, Mary Ann wrote the music and script for an original, anti-bullying musical called You Are Worth It. The Fantastix has performed this original musical in local Pittsburgh schools in order to raise awareness for the persisting bullying epidemic, as well as to provide solutions to combat this issue.
I avsnitt 22 av Livcykeln möter vi Caroline Bårman Björck som arbetar som terapeut med både enskilda individer och i par. Hon arbetar även som ACT-terapeut, (accceptance, comittment therapy) Idag pratar vi om relationer. Relationen till oss själva, kärleksrelationer och relationer i stort. Vad är viktigt att tänka på när vi ska vårda en relation? Hur skapar vi en bra relation till oss själva och när är det dags att säga hejdå i en relation? Att "vifta på svansen" verkar vara ett gott tecken -häng med oss i samtalet så får du reda på varför.Här kan du ta kontakt med Caroline och hennes företag Release me: Release Me (release-me.se) Hosted on Acast. See acast.com/privacy for more information.
ENGELBERT HUMPERDINK 'THE LOST INTERVIEWS' WITH RAY SHASHO EPISODE 11 British entertainer Arnold George Dorsey (stage name Gerry Dorsey) had limited success as a singer, but in 1967 Engelbert Humperdinck became an overnight sensation and a household name worldwide. Humperdinck recorded one of the best-selling singles of all-time; a number-one hit song entitled “Release Me,” which thwarted The Beatles efforts of reaching the top of the charts with their double A-sided record, “Strawberry Fields Forever /Penny Lane.” “Release Me” held the number-one slot on the UK Pop charts for six weeks and remained on the charts for a record fifty-six consecutive weeks, selling 80,000 copies a day. Humperdinck superseded the success of “Release Me” with “There Goes My Everything” and “The Last Waltz, “sweeping the Top 40 Pop charts that same year. Engelbert's charisma, good looks and magnificent vocals mirrored performers such as Elvis Presley and Tom Jones, and it quickly became evident that a new singing sensation had conquered and charmed the music world. Humperdinck's sex appeal captivated a huge female fanbase which became known as the Humperdinckers, and throughout the 70's, Humperdinck sustained the hits on the Top 40 airwaves …“Am I That Easy to Forget,” “A Man Without Love (Quando M'Innamoro),” “Les Bicyclettes de Belsize,” “The Way It Used To Be,” “I'm A Better Man (For Having Loved You),” “Winter World of Love,” “Sweetheart,” ”When There's No You,” and “Another Time, Another Place.” Engelbert Humperdinck's albums released throughout the 60's and 70's … Humperdinck relentlessly toured the world in front of adoring sold-out audiences and became a hot commodity and mainstay attraction on the Las Vegas and Atlantic City Strips. When he wasn't on the road, he'd be in the recording studio generating the hits. His last major Pop hit on the Top 40 charts came in 1976 with the brilliant and graceful “After The Lovin'” composed by Ritchie Adams and written by Alan Bernstein. In 1979, Humperdinck spawned his fourth number-one hit on the Easy Listening charts in the U.S. with, yet another Adams/ Bernstein composition entitled “This Moment In Time.” In 1983, Engelbert released his last charted single “Til You and Your Lover Are Lovers Again.” In 1999, Humperdinck released The Dance Album which featured newly recorded dance versions of six of Engelbert's greatest hits, along with five original songs. The album landed in the Top Ten on the Billboard Dance charts. Most Recently: Engelbert Humperdinck released his highly anticipated and critically acclaimed double-CD entitled… “Engelbert Calling” which features incredible duets with some of the world's most recognized names in music … including Elton John, Willie Nelson, Olivia Newton-John, Gene Simmons, and many-more. The album is released by OK! Good Records, and produced by Grammy Award-winner Martin Terefe, who is well-known for his work with Jason Mraz, James Morrison, KT Tunstall, and Mary J Blige. … I gave “Engelbert Calling” by Engelbert Humperdinck (5) Stars! Engelbert Humperdinck's career spanned nearly five decades. He's sold more than 150- million albums world-wide, including 24 certified with platinum status and 63 with gold, four Grammy nominations, a Golden Globe for “Entertainer of the Year” (1988), and earned a star on the Hollywood Walk of Fame. Engelbert has solidified his name as an international Pop legend and has established himself as one of the world's most influential artists. At 78, Humperdinck continues to tour the world and record in the studio, and like a fine wine, he just keeps getting better. Engelbert is happily married to Patricia, his wife of 50 years. The couple has 4 children and 9 grandchildren. He's managed by his son Scott Dorsey/Dorsey Productions. I had the wonderful pleasure of chatting with one of my favorite singers about his critically acclaimed release … ‘Engelbert Calling' …Engelbert's follow-up releases upcoming ... The current world tour …The early days… ‘The Humperdinckers' … Befriending ‘Elvis' …And Much-Much More! Here's my interview with an internationally renowned singer, songwriter, entertainer, a true gentleman and a really nice guy... Support us on PayPal!
Today's guest is the super talented Carnie Wilson! Daughter of famed "Beach Boy" Brian Wilson, Carnie took the music industry by storm as a founding member of the iconic pop group Wilson Phillips with her sister Wendy and childhood friend Chynna Phillips. Their chart-topping hits "Hold On" and "Release Me" have captivated audiences of all ages, and with their appearance in the mega movie hit "Bridesmaids" their fandom just continues to grow. Over the years, Carnie has shared her struggles with weight and addiction, and helped inspire others with her openness and candor. In her new show, "Sounds Delicious," Carnie, along with her celebrity guests (John Stamos, Lisa Loeb, Mark McGrath, etc), showcase their culinary talents. Don't miss Rachel and Carnie's conversation filled with lots of laughs and tons of great stories! --- --- --- VISIT OUR AMAZING SPONSORS! --- --- --- LOLAVIE Get 15% off LolaVie with the code RACHEL at https://www.lolavie.com/RACHEL #lolaviepod --- --- --- HOLISTIC GODDESS Holistic Goddess is a sanctuary for those seeking holistic health solutions. Visit HolisticGoddess.com and use the code Understood for 10% off the first purchase storewide. --- --- --- Follow Rachel on Instagram! @RachelUchitelNYC Executive Producer: Alison Goodman @aliggnyc Please like, share, subscribe, and give us a 5-star review! Do you have show ideas, media requests or sponsorship opportunities? Email the show at: infomissunderstoodpodcast@gmail.com Listen on Apple, Spotify or wherever you get your podcasts. Watch every episode on YouTube Misunderstood Podcast or Rumble Miss Understood Podcast on Rumble Check out Rachel's Patreon: Miss Understood with Rachel Uchitel Patreon
Nashville based rock band BLACKWOOD shares the drive behind their new 7 song EP called RELEASE ME.
How did Engelbert Humperdinck get his name?
Gaea Star Crystal Radio Hour #551 is an hour of visionary acoustic improvised music played by The Gaea Star Band with Mariam Massaro on vocals, Native flute, acoustic guitar, harmonica and ukulele, Bob Sherwood on piano and Craig Harris on Native drum and congas. Recorded live at Singing Brook Studio in Worthington, Massachusetts in early November of 2023, today's show begins with the drifting, searching ballad “Serenity”, a mystical piece distinguished by a lovely and inspiring vocal from Mariam and Bob's busy baroque-blues twists on the piano. “Rays Of Light” is a classic song from Mariam, a languid waltz characterized by beautiful images of dancing light and dancing people with a fine vocal from Mariam and swinging waltz-time congas from Craig. For the striking, dramatic “Mandalas” Bob deploys a powerful, repetitive piano motif that evokes open spaces and adventure as he and Craig's powerful, fundamental Native drum and Mariam's chiming, dead-on ukulele set deep roots for Mariam's beautiful, subtle vocal. A gorgeous, filigreed coda that we will call “Perhaps” adds yet another dimension to this standout track with Mariam's energized Native flute, profound poetry and an innovative, space-jazz piano motif from Bob surfing Craig's earthen Native drum groove. A standout. “Star Ray” is a shuffling, up-town blues with fine harmonica work from Mariam over a somewhat Ray Charles-influenced series of piano figurations from Bob and the band moves east for the elegant raga “Release Me” as Mariam concurrently strums her sitar and plays the shruti box as she weaves tales through the haze of the evocative, psychedelic rhythm section. Another unusually compelling track during this charmed session, Mariam's vocal work is particularly assured. Continuing in an incense haze of droning sitar and steady congas embracing compelling modal piano excursions, “Mighty Are The Wings Of Love” explores a stately tempo to support Mariam's powerful vocal and the wide, spacious soundstage provides room for Bob's bittersweet piano journey, a gorgeous, yearning, beautifully doomed attempt at reaching Heaven. Learn more about Mariam here: http://www.mariammassaro.com
California Preachin' captures her daily honest Walk of Faith. During the pandemic, the channel started to grow more and more in subscribers. Her videos often feature her husband of 25 years, actor Billy Baldwin, in a segment, they refer to as “Chilly: Chynna & Billy.” In 2019, Chynna fulfilled her dream of starting her own Christian YouTube channel, entitled “California Preachin'” In 2022 Chynna began California Healin', a weekly live meeting that offers a support system for women on their faith journey and includes ongoing group chats, and reading The Word together. California Healin' continues to grow, as more and more women are finding healing and community. Singer/songwriter, and actress, Chynna Phillips-Baldwin was born to musicians John and Michelle Phillips of famed 60's group The Mamas and The Papas. She is one part of the iconic pop trio Wilson Phillips with number-one hits in the 90's such as “Hold On” and “Release Me”. . #wilsonphillips #holdon #releaseme #music #californiapreachin #califormiahealin #ministry #womensministry #singersongwriter #faith #inspiration #motivation #encouragement #billybaldwin
California Preachin' captures her daily honest Walk of Faith. During the pandemic, the channel started to grow more and more in subscribers. Her videos often feature her husband of 25 years, actor Billy Baldwin, in a segment, they refer to as “Chilly: Chynna & Billy.” In 2019, Chynna fulfilled her dream of starting her own Christian YouTube channel, entitled “California Preachin'” In 2022 Chynna began California Healin', a weekly live meeting that offers a support system for women on their faith journey and includes ongoing group chats, and reading The Word together. California Healin' continues to grow, as more and more women are finding healing and community. Singer/songwriter, and actress, Chynna Phillips-Baldwin was born to musicians John and Michelle Phillips of famed 60's group The Mamas and The Papas. She is one part of the iconic pop trio Wilson Phillips with number-one hits in the 90's such as “Hold On” and “Release Me”. . #wilsonphillips #holdon #releaseme #music #californiapreachin #califormiahealin #ministry #womensministry #singersongwriter #faith #inspiration #motivation #encouragement #billybaldwin
My guest this week is Tamara Seeley a singer and songwriter from Mount Gambier, South Australia and a mum of 2.Tamara has been a singer since the age of 15, crediting her Scottish heritage as what brought her to singing as well as The Bodyguard movie. After leaving school she went to Melbourne to start her training, from then she has spent time living and performing in London, Doha and South Korea, being flown to from London to New Zealand to act in a commercial and performing on the Disney Cruise Ship in the Carribean Islands. Oh and she sang back up vocals for Right Said Fred of 90s "I'm too Sexy' fame and was an extra in a Bollywood music video too! Her philosophy at that time was to try anything she had the opportunity to.Tamara has 4 releases under her belt, her 2015 EP Gold Armour, singles Eileen and Old Skool Love, and her latest release of a 10 year special remix of her track Release Me which is out now.Even though she has seen some amazing places and travelled so widely, amongst her proudest career achievements is recording and producing her music video for her latest single in home town of Mount Gambier, a regional town of but 28000 people.Tamara - facebook / instagram /music / Release Me music videoPodcast - instagram / websiteYallum Park MansionIf today's episode is triggering for you in any way I encourage you to seek help from those around you, medical professionals or from resources on line. I have compiled a list of great international resources hereMusic used with permission from Tamara.When chatting to my guests I greatly appreciate their openness and honestly in sharing their stories. If at any stage their information is found to be incorrect, the podcast bears no responsibility for guests' inaccuracies.
On February 25, 1963, Columbia Records released The Barbra Streisand Album. The first song was “Cry Me a River,” and with that a star was born. Barbra Joan Streisand had a zany personality backed by a talent that Stephen Sondheim once described as “one of the two or three best voices in the world of singing songs,” adding “It's not just her voice but her intensity, her passion and control.” Harold Arlen, another of her favorite composers, commented, ”This young lady . . . has a stunning future.” With all-male rock groups like the Beatles, the Beach Boys, and the Four Seasons ruling the charts, no one expected a twenty-year-old female singer from Brooklyn to not just hit No. 1, but repeat that accomplishment every decade that followed all the way to the next millennium and become the best-selling female recording artist of all time. Now, for the first time ever, comes the definitive book on the extensive recording career of this towering cultural icon, the Funny Girl considered by many to be the most talented singer of her generation. Barbra Streisand: The Music | The Albums | The Singles takes readers on a journey through every album, soundtrack, and single Streisand has released over the past sixty years. Our guide on this musical tour is Matt Howe, who has run Barbra Archives, the definitive Streisand-themed website, since 2003. He also has assisted Team Streisand on her Release Me album series. Besides analysis of every studio, live concert, and official compilation release, the book contains over three hundred FULL-COLOR photos from the albums, press kits, and Streisand herself.
SAMPLER & SANS REPROCHES (Radio Transmission)Playlist N° 1279 - Lundi 13 Mars 2023 - Horaire : 20:00 - 22:00EBM - SYNTHWAVE - INDUSTRIAL & RELATED MUSIC GALAXIE RADIO 95.3FM - www.galaxieradio.fr [ S&SR Selection de la semaine... OBJECT "Epilogue Of Fear" (object1.bandcamp.com) ] ++ Guest "Rédacteur Pour Sampler" : François L. (DIES IRAE) OBJECT "Hidden Perceptions" DIG LP: Epilogue Of Fear (Autoproduction) LIEBKNECHT "Voula" DIG LP: Fabrikat (Ant-Zen) SANITY CHECKS "Sanity Checks (Gambrel Dance Jam)" DIG EP: Sainty Checks (Tigersquawk Records) NORONSOFF INTESTATE "Haarp" DIG EP: Archeofuturism (Hammerstein & Waldteufel) VENIN CARMIN "Sidekick Punchlines" DIG LP: Constant Depression (Seja Records) DARK MINIMAL PROJECT "Black Light (Single Edit)" DIG EP: Black Light (Autoproduction) DEPECHE MODE "Ghosts Again (Enjoy Mix)" DIG SGL: Ghosts Again - RMX by COMMUTER (Autoproduction) NNHMN "Der Umweise" DIG EP: Shadow In The Dark (Autoproduction) FRACTAL "Release Me" DIG EP: At The End Of Humanity (Aliens Productions) ADAM X "88Tram" DIG LP: Rüdersdorf Acid Tracks (Sonic Groove) OBJECT "The Torrmented Mind" DIG LP: Epilogue Of Fear (Autoproduction) MINUIT MACHINE "Prey/Hunter" DIG LP: Infrarouge (Synth Religion) PINK TURNS BLUE "There Must Be So Much More" CD: Tainted (ORDEN Records) SONSOMBRE "Black Lotus" DIG EP: Anthems For The Broken (Autoproduction) THE FORCE DIMENSION "Velvet" DIG LP: Mortal Cable (Sonic Groove Experiments) IRON COURT "Extinct Wrench" DIG EP: Etched Foresights (Detriti Records) DAVANTAGE "Cold Border" DIG EP: Cold Border (Autoproduction) SONOTIK "Endless" DIG EP: Technology (Qubiq Records) PROMO THANKS TO : OBJECT (Andreas Malik), ANT-ZEN (Stefan Alt), SANITY CHECKS (Brian Graupner), HAMMERSTEIN & WALDTEUFEL (Sheitan Shadowban), DARK MINIMAL PROJECT (Guillaume Van De Rosieren), COMMUTER (Laurent), QUBIQ RECORDS (Fabrice Torricella) ...PODCAST:YOUTUBE https://www.youtube.com/@SamplerEtSansReprochesYOUTUBE CHANNEL – NON STOP MUSIC -MIX ONLY ! ITUNES :https://podcasts.apple.com/fr/podcast/sampler-sans-reproches/id1511413205 MIXCLOUD : https://www.mixcloud.com/SetSRradio/PODCLOUD :https://podcloud.fr/studio/podcasts/sampler-et-sans-reproches DEEZER :https://www.deezer.com/fr/show/1181282 GALAXIE RADIO http://galaxieradio.fr/ go to replay Sampler & Sans ReprochesAMAZON MUSIC https://music.amazon.fr/podcasts/9718c2fe-d841-4339-a3e5-82c31d018ed7/SAMPLER-SANS-REPROCHESHEARTHIS https://hearthis.at/sampler-sans-reproches/ ARCHIVE.ORG https://archive.org/download/s-sr-1279-013.03.2023/S%26SR_1279_013.03.2023.mp3
Our 2nd episode in our Release Me 2023 SeriesLetting go of OUR AGENDAS and assumptions to make room for God. After all, when we assume...Maybe it's time to plan life like we do our vacations - slow down, a balance of some structure and some free time And we identify 3 places agendas really get in the way: Daily life, Life on mission/calling, Relationships
We're kicking off our new series "Release Me 2023" 3 Types of Guilt - Tangible, Emotional, Transcendental MARK 3:28-29“I tell you the truth, all sin . . . can be forgiven.”PSALM 103:3, 10He forgives all my sins and heals all my diseases. . . . He does not punish us for all our sins; he does not deal harshly with us, as we deserve.
"God doesn't seek the palaces of the privileged but God seeks to be in the dust and the dirt, the muck and the mire, the realness of humanity. God is not found in the holy and the sacred places but among the ordinary people and the ordinary moments of our lives."Where have you found God lately?//Luke 1:26-38In the sixth month the angel Gabriel was sent by God to a town in Galilee called Nazareth, to a virgin engaged to a man whose name was Joseph, of the house of David. The virgin's name was Mary. And he came to her and said, “Greetings, favored one! The Lord is with you.” But she was much perplexed by his words and pondered what sort of greeting this might be. The angel said to her, “Do not be afraid, Mary, for you have found favor with God. And now, you will conceive in your womb and bear a son, and you will name him Jesus. He will be great and will be called the Son of the Most High, and the Lord God will give to him the throne of his ancestor David. He will reign over the house of Jacob forever, and of his kingdom there will be no end.” Mary said to the angel, “How can this be, since I am a virgin?” The angel said to her, “The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be holy; he will be called Son of God. And now, your relative Elizabeth in her old age has also conceived a son, and this is the sixth month for her who was said to be barren. For nothing will be impossible with God.” Then Mary said, “Here am I, the servant of the Lord; let it be with me according to your word.” Then the angel departed from her.//This episode was written and recorded by Rev. Brandan Robertson. It was produced by Rev. Jim Keat. Background tracks include Relinquish by Podington Bear and Release Me by Corrina Repp.• Visit www.brandanrobertson.com to learn more about Rev. Brandan Robertson.• Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all eight seasons of Be Still and Go. • Visit www.trcnyc.org/Donate to support this podcast and other digital ministry resources from The Riverside Church that integrate spirituality and social justice. • Visit www.trcnyc.org/BeStillAndGo/#sign-up to receive new episodes by email. • Visit www.trcnyc.org/app to download the Riverside app.
The truth will set you free. This week, Deborah and Kristin discuss “Release Me,” written by Raelle Tucker and directed by Michael Ruscio, delving into how our characters are trapped, both emotionally and physically. Also, Mariana Klaveno sits down to spill all the stories behind playing the infamous Lorena. See omnystudio.com/listener for privacy information. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Old 97's "I Don't Wanna Die In This Town"Valerie June "Workin' Woman Blues"Mary Wells "The One Who Really Loves You"The Replacements "Alex Chilton"The Hold Steady "Entitlement Crew"Joe Tex "Hold What You Got"Fiona Apple "Sleep to Dream"Mavis Staples "If All I Was Was Black"Esther Phillips "Release Me"Lucero "That Much Further West"Shaver "Live Forever"Gillian Welch "Caleb Meyer"Ray Charles "I've Got A Woman"Nicole Atkins "Brokedown Luck"James Brown "Please Please Please"Will Johnson "A Solitary Slip"Slobberbone "Pinball Song"Will Johnson "Cornelius"The O "Candy"Eilen Jewell "I'm Gonna Dress In Black"Willie Nelson/Waylon Jennings "Good Hearted Woman"Charlie Parr "Empty Out Your Pockets"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"Mississippi John Hurt "Monday Morning Blues"JD McPherson "Bridgebuilder"Little Richard "The Girl Can't Help It"Johnny Cash "Sea of Heartbreak"Etta James "At Last"R.E.M. "So. Central Rain"Tom Petty and the Heartbreakers "Learning To Fly"Tom Petty & The Heartbreakers "Room At The Top"Bobby Bland "I Pity The Fool"Ruth Brown "Mama He Treats Your Daughter Mean"Two Cow Garage "My Concern"Patterson Hood "Better Off Without"Ramones "Do You Remember Rock And Roll Radio"Ike & Tina Turner "Proud Mary"Sierra Ferrell "Jeremiah"James Carr "The Dark End of the Street"New Moon Jelly Roll Freedom Rockers feat. Alvin Youngblood Hart "She's About a Mover"Wilson Pickett "634-5789"Willie Mae 'Big Mama' Thornton "Hound Dog"Jason Isbell and the 400 Unit "The Blue"Magnolia Electric Co. "Northstar Blues"Brook Benton "Rainy Night in Georgia"The Devil Makes Three "Car Wreck"
Author and playwright Tomson Highway talks about his new memoir, Permanent Astonishment, and shares how his childhood was "uniquely Canadian." Writer Saeed Teebi discusses his debut story collection, Her First Palestinian, which shines a light on the varied experiences of Palestinian Canadian characters navigating their way through life in their new home country. Music journalist Sharine Taylor and entertainment editor Morgan Mullen react to the pending sale of Toronto's Now magazine, plus the larger repercussions the changing media landscape is having on arts and entertainment coverage in Canada. Show business legend Barbra Streisand explains why after nearly 60 years in music, she decided to revisit her personal archives and share unreleased songs on a new compilation album, Release Me 2.
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --
Episode 71 Contemporary Electronic Dance Music After doing my previous podcast about the vintage roots of electronic dance music, I said to myself, why not an episode featuring some examples of EDM as it stands today? Collected here are sixteen examples from fourteen artists of what I call more extreme electronic dance music sounds. These tracks all share a few characteristics, as outlined in the last episode. These characteristics are the use of electronic sound sources, especially types that are easily programmed and operated in a live situation; music that is beat-driven and generally sparse on lyrics; a heavy reliance on repetition patterns and textures while preserving a spot for the artist to display some solo musicianship. The soloing may in fact come from manipulating various controls and buttons, or it may come from a more overtly inserted musical passage played on a keyboard, all to inject a touch of personal expression to the automation. Here is a selection of tracks from around the globe, showing how EDM has become somewhat culturally agnostic. Playlist Chris & Cosey, “Fantastique” from Muzik Fantastique! (1992 Play It Again Sam Records). Written-By, Performer, Chris Carter And Cosey Fanni Tutti. UK duo. Timmy Trumpet Feat. Mariana Bo, “Vivaldi (Extended Mix)” from Vivaldi (2022 Tomorrowland Music). From Mariana Bo, violinist, DJ and producer from Culiacán, Sinaloa, Mexico. Sam Divine & CASSIMM, “What God Has Chosen” from What God Has Chosen (2017 DFTD). Producer, CASSIMM, Sam Divine; Written by Mary J. Blige. Sam Divine and CASSIMM are DJs and producers based in London, UK. Deborah De Luca, “Anho” from Ten (2018 Sola_mente Records). Italian DJ and producer. Charlotte De Witte, “Kali” from Universal Consciousness EP (2022 KNTXT). Belgian DJ and record producer. Sam Divine & CASSIMM, “Can't Stop the House” from In Da Nation EP (201 DFTD). Divine and CASSIMM are DJs and producers based in London, UK. Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Swiss/South African DJ and producer. Peggy Gou, “Maktoop” from Seek For Maktoop (2016 Technicolour). Berlin-based South Korean DJ and producer. Grimes, “Symphonia IX (My Wait Is U)” from Visions (2011 Arbutus Records). Grimes is the Canadian artist Claire Boucher best known for her work as a producer, singer, and songwriter. Nina Kraviz, “Love or Go” from Nina Kraviz (2012 Rekids). Nina Kraviz (Нина Кравиц) is a Russian singer, producer, dentist, and DJ. Monika Kruse Meets Pig&Dan, “Boogie Man” from Oblivion EP (2016 Terminal). Kruse is a German DJ and producer and founder of Terminal M; Pig&Dan are a DJ and producer duo based in Spain. Monika Kruse, “Summer Drops (original)” from Summer Drops (2014 Terminal M). German DJ and producer and founder of Terminal M. Amelie Lens, “Drift” from Contradiction (2017 Second State). Techno DJ and producer from Antwerp, Belgium. Anne Savage Vs. Lisa Lashes, “Release Me” from Release Me (2010 Siren Tracks). Anne Savage is a UK hard-dance DJ & Producer. Lisa Lashes is a British trance/hard-house DJ and music producer. East Coast Boogiemen and DJ Heather, “Picture of You (Natural Rhythm Remix)” from Picture Of You Pt. 1 (2005 Blackcherry Recordings). East Coast Boogiemen was the DJ group consisting of Ken Christensen and Juan Zapata. DJ Heather is a DJ and producer from Chicago. TOKiMONSTA, “Let Me Trick You” from Cosmic Intoxication EP (2010 Ramp Recordings). Jennifer Lee is a producer from Los Angeles, California, USA. Nicole Moudaber & Skin, “Someone Like You” from Breed EP (2015 Mood Records). Nicole Moudaber is a DJ and producer born and raised in Nigeria and Lebanon, and who is now based in London, UK. Skin (Deborah Anne Dyer) is a British singer, songwriter, electronic music DJ. Opening background music: Thom Holmes, “To the Automation” (2022). Instrumentation, Spark, ARP Odyssey, and Buchla Easel plug-ins, Thom Holmes. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.
For Video Edition, Please Click and Subscribe Here: https://youtu.be/R7R7AXXaZsc Richard Skipper Celebrates Barbra Streisand on Her Birthday | To Benefit Ukraine Jewish community Barbara Joan Streisand, known professionally as Barbra Streisand, is an American singer, actress, and filmmaker. With a career spanning over six decades, she has achieved success in multiple fields of entertainment, and is among the few performers awarded an Emmy, Grammy, Oscar, and Tony. I am putting together a celebration for her FANS! So I'm seeking out YOUR suggestions. Please send your questions/comments/suggestions to Richard@RichardSkipper.com and join in the celebration. Please pay it forward. I will be joined by Matt Howe. Matt Howe created Barbra Archives, an unofficial website he maintains that is all about Barbra Streisand's decades-long career, in 2003. Barbra Archives has become the go-to site for the Streisand fan community wishing to learn more about her albums, movies, and concerts. Matt's encyclopedic knowledge of Miss Streisand's accomplishments even prompted her to joke that he knows more about her career than she does! Since 2006, Matt has assisted her team with photo research and fact-checking for concerts and appearances. His name is listed in the credits of the fiftieth anniversary edition of the Funny Girl cast recording, on Streisand's two Release Me compilation albums, and on her 2016 CD, Encore: Movie Partners Sing Broadway. Matt recently moved to Western North Carolina with his cats Zach and Jasmin after living for over twenty years in Washington, DC, Please Contribute to https://fjc-fsu.org/ukraine-jewish-relief-fund/ Matt Howe on Social Media: Matt's Twitter and Instagram is — babsdude
Svenske superstjernen Agnes tok verden med storm med "Release Me" og er nå tilbake med ny muskk. Vi prater oss gjennom hele karrieren hennes, fra Idol-seieren frem til idag. Hosted on Acast. See acast.com/privacy for more information.
En février 2020, Hooverphonic avait sorti " Release Me " pour représenter la Belgique à l’Eurovision. Mais le concours avait été annulé. Le groupe remet donc ça en 2021 avec sa chanteuse emblématique Geike Arnaert, qui revient aux affaires et remplace Luka Cruysberghs qui aura donc connu une très courte carrière au sein de la bande. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.
En février 2020, Hooverphonic avait sorti " Release Me " pour représenter la Belgique à l'Eurovision. Mais le concours avait été annulé. Le groupe remet donc ça en 2021 avec sa chanteuse emblématique Geike Arnaert, qui revient aux affaires et remplace Luka Cruysberghs qui aura donc connu une très courte carrière au sein de la bande. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.
Live set at Bar Nine Leuven (20211029) by Irvin Cee Release date: 2021/10/29 Subscribe now to my channels to get your weekly dose of dance vitamins. www.facebook.com/IrvinCee www.irvincee.com www.youtube.com/c/IrvinCeedj Video recording: TRACKLIST: Title - Artist Teardrop (Bowtie & Kaan Edit) - Massive Attack Jack Had The Groove (Original Mix) - La-African Musique Kalifornien Luv (Original Mix) - Till Von Sein Second Sun (Extended Mix) - Nils Hoffmann, Ben Bohmer, Nils Hoffmann & Ben Böhmer Black Jack (Original Mix) - Deep House Only Soul (Original Mix) - Deep House Hopeless (JT Donaldson Remix) - Dirtytwo All Night (Original Mix) - Art Of Tones Disco Biscuit (Original Mix) - Sartorial Be a Star Tonight (Extended Mix) feat. D-Train (Original Mix) - Cool Million, D-Train It's A Shame (Original Mix) - Block & Crown, Paul Parsons Every Breath You Take (Original Mix) - Luca Debonaire Hands Together (Jackin House Mix) - Discotron, HP Vince Love Enough (Original Mix) - Foo Funkers Symphonia (Original Mix) - Fellous, DCP My Feet Keep Dancin' (Original Mix) - Block & Crown, Paul Parsons Feel The Love (Original Mix) - Richard Grey, Lissat It's Like That (Alternative Mix) - 2Lovers The Funk Hustle (Original Mix) - Joey Chicago Play Da Funk (Original Mix) - KPD, Juarez Good Vibration (Original Mix) - Dompe Bouncin' (Extended Mix) - Dennis Quin, Mr. V Rhymes Against Humanity (Original Mix) - Hatiras Get More (Original Mix) - Nic Joseph Always (Extended) - Waze & Odyssey, Tommy Theo All Your Love (Mattei & Omich Remix) - Ridney, Laura Vane, Jayefel Keeping Me Up (Original Mix) - 9th House We Are On The Move (Shur-i-kan Dub Mix) - Erro, Phonte, Zo! Vei (Original Mix) - Travertia Burning Side (Original Mix) - Mendo Summertime Chi (Original Mix) - Lee Foss, Hayley May, John Summit The Mazzo (Extended Mix) - Qubiko, Angelo Ceci The Devil's Hand (Original Mix) - J Paul Getto Feeling Groovy (Extended Mix) - Matteo Dentone Never Good (Extended Mix) - DJ Dove Afrotech (Extended Mix) - Erick Morillo, Antranig Havana (Original Mix) - Adapter EL PARQUE (Original Mix) - Dario Nunez Cerda (Original Mix) - Iglesias, Ben Cheel Chants (Original Mix) - Rafa Barrios Move It (Extended Mix) - Junior Sanchez, DJ Boris Space Riot (Extended Mix) - Shadow Child That's My Things (Original Mix) - Gianfranco Troccoli, Rojabeat Paradiso (Original Mix) - Italobros Sometimes (Extended Mix) - Martin Ikin Funk (Niceteed 'Acid Gift' Remix) - Bastien Groove Tutti Frutti (Original Mix) - Lenner I C U (Original Mix) - Qubiko Rainbow feat. Xoli M (DJ Spen & Michele Chiavarini Remix) - Black Motion, Xoli M I Need A Painkiller (Armand Van Helden Vs. Butter Rush / MK Extended Mix) - Armand Van Helden, Butter Rush Body Roots (Extended Mix) - Marco Lys U Can't Hide (Original Mix) - The House Moguls Everybody Dance - Leisuregroove, Kevin Andrews Ain't No Mountain High Enough (WhiteNoize Remix) - Inner Life Bad Feelings (Original Mix) - Eyes Faces Burnin'side (Original Mix) - Sebb Junior Stronger (Extended Mix) - Amine Edge & DANCE Creeps So Deep (Original Mix) - Block & Crown, Maickel Telussa Piano Life (Original Mix) - Paul Bleasdale, Mr Jay Devotion (Block & Crown Club Mix) - Soulvation The Answer (feat. Arthur Baker, Victor Simonelli) (Extended Mix) - Armand Van Helden, Chris Lake Message (Original Mix) - Pinto (NYC) Don't You Want Me (Hannah Wants Extended Remix) - Felix Heater (Original Mix) - Hot Since 82 Where I Want 2 B (Extended Mix) - CID Someday (Roland Leesker Extended Liquid Harmony Remix) - CeCe Rogers Promises (Original Mix) - slickfader Release Me (feat. Rationale) (Extended Mix) - Billon, Rationale #irvincee #"irvin cee" #perfectbeat #"perfect beat" #djmix #clubbing #music #deephouse #"deep house" #house #techhouse #"tech house" #techno #djset #dj #nightlife #radio #tekkno #tekk #electronic #underground #festival #berlin #2021
Looking for the Perfect Beat 2021-39 by Irvin Cee Release date: 2021/09/24 Subscribe now to my channels to get your weekly dose of dance vitamins. www.facebook.com/IrvinCee www.irvincee.com www.youtube.com/c/IrvinCeedj Looking for the Perfect Beat is Irvin Cee's weekly radio show with the best and newest club music on the globe since 2014. A various mix of Deep House, House, Tech House, Techno, and Hard Techno is beat mixed in such a slick way it will take you to new heights of musical experience and you feel trapped to dance until the very end of the show. The full length and non-hosted versions are available on select platforms in video and audio format. Irvin Cee is available for International bookings at Clubs, Festivals en Quality bars. More info? booking@irvincee.com Video recording: TRACKLIST: Time +/- : Num. - Title - Release [Label] (*time is +/- mix in time) 00:00:00 - Not Possible (DJ Spen & Gary Hudgins Remix) - Cornell C.C. Carter Buy on Beatport: https://www.beatport.com/track/-/15580731 00:04:37 - Release Me (feat. Rationale) (Extended Mix) - Billon, Rationale Buy on Beatport: https://www.beatport.com/track/-/13062839 00:09:20 - Be There (You Got To) (Jo Paciello Remix) - The Space Knights Buy on Beatport: https://www.beatport.com/track/-/13473333 00:12:32 - Ask Me (Extended) (Original Mix) - Armand Van Helden, A-Trak, Duck Sauce Buy on Beatport: https://www.beatport.com/track/-/14890668 00:16:18 - Rhymes Against Humanity (Original Mix) - Hatiras Buy on Beatport: https://www.beatport.com/track/-/15278146 00:20:45 - Supercar (Original Mix) - Gary Caos Buy on Beatport: https://www.beatport.com/track/-/14663084 00:24:01 - Supersonic (Original Mix) - Sam Holland Buy on Beatport: https://www.beatport.com/track/-/14081640 00:27:40 - Underground (Original Mix) - Deedods Buy on Beatport: https://www.beatport.com/track/-/13190226 00:30:01 - Sundown (Original Mix) - Biscits Buy on Beatport: https://www.beatport.com/track/-/13319301 00:33:43 - Hey Ya (Extended Mix) - Andrea Oliva Buy on Beatport: https://www.beatport.com/track/-/13492476 00:36:50 - You Are My Life (Nightlapse Extended Remix) - Nightlapse, Mike Cervello, Chocolate Puma Buy on Beatport: https://www.beatport.com/track/-/14537431 00:40:37 - Snapshot (Avision Remix) - Wigbert Buy on Beatport: https://www.beatport.com/track/-/12987668 00:44:10 - Story (Original Mix) - Christian Nati Buy on Beatport: https://www.beatport.com/track/-/13174743 00:48:10 - #KICK (Koen Groeneveld Remix) - Bass, Koen Groeneveld Buy on Beatport: https://www.beatport.com/track/-/14824774 00:51:02 - My Turn (Original Mix) - Christian Nielsen Buy on Beatport: https://www.beatport.com/track/-/14412947 00:55:21 - Lethal Weapon (Original Mix) - Mac N Dan Buy on Beatport: https://www.beatport.com/track/-/14714190 #irvincee #"irvin cee" #perfectbeat #"perfect beat" #djmix #clubbing #music #deephouse #"deep house" #house #techhouse #"tech house" #techno #djset #dj #nightlife #radio #tekkno #tekk #electronic #underground #festival #berlin #2021
In our English-language interview with Luka Cruysberghs, the Belgian star talks about her new single "Not Too Late" and its stunning music video. She also discusses her win on The Voice Belgium, joining Hooverphonic (and later being kicked out), and her thoughts on both Eurovision 2020 and 2021. She also reveals what her performance of "Release Me" would have looked like in Rotterdam had the 2020 contest gone ahead. Interviewer: Deban: http://instagram.com/deban_deban
Live set at Bar Nine Leuven (20210910) by Irvin Cee TRACKLIST: Time - Title - Artist (*time is +/- mix in time) 00:00:00 - Be a Star Tonight (Extended Mix) feat. D-Train - Cool Million, D-Train 00:04:24 - It's A Shame - Block & Crown, Paul Parsons 00:05:45 - Hands Together (Jackin House Mix) - Discotron, HP Vince 00:10:46 - Money's Tight - Block & Crown, Paul Parsons 00:13:48 - Every Breath You Take - Luca Debonaire 00:16:51 - Gettin' It in the Street - Jazzamplers 00:19:40 - Take Me To Funkytown - Lissat, Paul Parsons, Block & Crown 00:22:32 - Your Love - Zoo Brazil 00:25:59 - Close To Me - Lucky Choice 00:30:39 - Chicken Dinner - Fouk 00:33:36 - Our Friends Think (Makito Remix) - Sugar Shake 00:36:25 - Soulmagic (Saison Extended Remix) - Soulmagic 00:41:14 - Burn It Down - Demarkus Lewis 00:44:37 - Optimistic Feat. Lucita Jules (Michael Gray Remix) - Brian Power 00:48:53 - Release Me (feat. Rationale) (Extended Mix) - Billon, Rationale 00:51:55 - Let's Play House - Crazibiza, House of Prayers 00:57:21 - Diss U - Reza, Tom Chubb 01:00:23 - Bring The Groove Back - Alex Peace, T.Markakis 01:03:53 - Feeling Kinda Saxy - Kevin Real 01:09:32 - Rude Boy - ATFC 01:12:51 - Supercar - Gary Caos 01:15:57 - Promises - slickfader 01:20:31 - It's Not Over - Lebedev (RU) 01:23:14 - All 4 Love (feat. Tasty Lopez) (Danny Howard Extended Mix) - Rene Amesz, Mark Knight, Tasty Lopez 01:28:28 - The Truth (Extended Mix) - George Mensah 01:32:29 - Feeling Groovy (Extended Mix) - Matteo Dentone 01:35:04 - Summertime - Lewis Boardman 01:39:14 - Big G - Chelina Manuhutu 01:43:42 - Fly - Salvatore Bruno, Chris Luno 01:47:25 - For Real - Lauhaus, Mario Franca 01:51:16 - Acid Worldwide (Extended Mix) - LO'99 01:53:30 - Never Good (Extended Mix) - DJ Dove 01:58:09 - Just Rock - Benjamin Barth 02:02:44 - Tabasco (David Tort & Markem HoTL Mix) - Michael Kohlbecker 02:05:08 - Dangerous (Extended Mix) - Vanilla Ace, Sonickraft 02:10:02 - Call Me (Extended Mix) - Greck B, Anko A 02:13:26 - You Know Me - Ian Sound 02:18:12 - My G - Jose M., TacoMan, Ciclo 02:21:38 - Forgotten One - John Summit 02:24:14 - One Day (Club Mix) - Jose M Duro 02:28:25 - Shakalaka (Beatport Exclusive mix) - LUCASMB, Jesse Bravo 02:30:28 - Take Me Up (Extended Mix) - Redux Saints 02:33:22 - open your mind - Tenacious 02:38:02 - Loco ft. Thando (Volkoder Remix) - Thando, Ben Read 02:41:36 - Boom (Jholeyson Remix) - Mihalis Safras 02:45:05 - Pop Ya Cork (Technasia Remix) - Stanton Warriors, Twista 02:49:01 - Trippin - Ammo Avenue 02:53:52 - Bodyrock - Mandraks, Kriptus 02:56:17 - Tutti Frutti - Lenner 02:59:36 - Cilene (Ruben Mandolini Remix) - Oscar L, Matt Sassari 03:03:56 - Beauty Sleep (Extended) - John Summit 03:06:36 - Last Dance Feat. Donny Fray - Lissat, Paul Parsons, Block & Crown 03:09:07 - So In Love - Richard Grey 03:13:13 - Boogie No More - Paul Parsons, Block & Crown 03:16:07 - Paradise (Dub Mix) - No Hopes 03:20:09 - Love Enough - Foo Funkers 03:22:46 - I'll Be There - Crackazat 03:26:56 - Deep Covered - Tommy Vicari Jnr 03:29:24 - Moment Of Truth - Jesusdapnk 03:32:38 - Change - Matthieu Faubourg 03:36:11 - Fade Away (Fouk Remix) - Smoove & Turrell 03:38:43 - Vei - Travertia 03:44:28 - In My Soul - Milos Pesovic 03:47:44 - Righteous - Inxec, Droog (LA) 03:49:52 - Feel the rush (Stefano Lotto Remix) - Thomas Rail 03:53:02 - Deep Inside (Andrea Oliva Remix) - Daniel Stefanik 03:57:13 - Second Sun (Extended Mix) - Nils Hoffmann, Ben Bohmer, Nils Hoffmann & Ben Böhmer
In this episode of World Cafe, Barbra Streisand discusses Release Me 2 — a compilation of unreleased and reworked songs — and the funny, surprising stories that surround it.
Release Me by J. Kenner https://amzn.to/3zDzH8NFor fans of Fifty Shades of Gray and Bared to You comes an erotic, emotionally charged romance between a powerful man who's never heard "no" and a fiery woman who says "yes" on her own terms.He was the one man I couldn't avoid. And the one man I couldn't resist.Damien Stark could have his way with any woman. He was sexy, confident, and commanding: Anything he wanted, he got. And what he wanted was me.Our attraction was unmistakable, almost beyond control, but as much as I ached to be his, I feared the pressures of his demands. Submitting to Damien meant I had to bare the darkest truth about my past - and risk breaking us apart.But Damien was haunted, too. And as our passion came to obsess us both, his secrets threatened to destroy him - and us - forever.Release Me is an erotic romance intended for mature audiences.https://amzn.to/3zDzH8N
Sondra and Phetote dig into the stacks and discuss songs that are considered oldies and definitely goodies. Grab a drink, maybe a snack or even an Afternoon delight and we ain't talking a lunchable. Check out the anthology Release Me at www.newgreenwoodllc.com
This week we welcome to the show.... Zoe Badwi!The Queen of dance music in Australia, Zoe Badwi fell in love with signing from a young age and would go on to start a professional singing career as part of the well known Australian girl group "Sirens".But it was when she launched her solo career that Zoe would truly shoot to superstardom, with her debut single “Release Me” going straight to the top of the Aria Charts. She would then follow up with mega hit and dance floor anthem “Freefallin” which truly cemented her spot as a dance music icon!She has performed on festival and club stages all around the world and you will not find a nicer, happier or more vibrant person to chat to.We had a blast with this one and can't wait for you to hear it!
Release Me by J. Kenner https://amzn.to/3zDzH8NFor fans of Fifty Shades of Gray and Bared to You comes an erotic, emotionally charged romance between a powerful man who's never heard "no" and a fiery woman who says "yes" on her own terms.He was the one man I couldn't avoid. And the one man I couldn't resist.Damien Stark could have his way with any woman. He was sexy, confident, and commanding: Anything he wanted, he got. And what he wanted was me.Our attraction was unmistakable, almost beyond control, but as much as I ached to be his, I feared the pressures of his demands. Submitting to Damien meant I had to bare the darkest truth about my past - and risk breaking us apart.But Damien was haunted, too. And as our passion came to obsess us both, his secrets threatened to destroy him - and us - forever.Release Me is an erotic romance intended for mature audiences.https://amzn.to/3zDzH8N
Swanner and Judd talk about Home Before Dark; RuPaul; Schmigadoon; American Horror Stories; Big Brother; Reservation Dogs; The Donut King; Aftermath; Release Me 2; and more! Left Click To Listen, Right Click Here To Download
Show business legend Barbra Streisand explains why after nearly 60 years in music, she decided to revisit her personal archives and share unreleased songs on a new compilation album, Release Me 2. Singer and writer John Orpheus shares how his childhood immigrant journey from Trinidad to Toronto inspired his new memoir, Saga Boy, and companion album, Saga King. Canadian filmmaker Emma Seligman discusses her feature directorial debut, Shiva Baby, about a young Jewish woman who bumps into her ex and her sugar daddy at a funeral.
In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Hicksville Harry", "Cannabis Carl", and "Paranoid Pete" showed up to sing "RELEASE ME". As Al often says, what could POSSIBLY go wrong??? Enjoy!
NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full radio show, or snippets contained within, from Wednesday, July 14, 2021, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 2:12 - Paul's Interview with Hurricane Expert, WILLIE DRYE 13:34 - "Arrogant Al" Entered the Fray! 13:54 - MLB All-Star Game 16:03 - Frank Sinatra Report from a 2-Book Series 18:01 - Musical Jingle for "We are a Radio Show" - NOT a Podcast! 19:02 - "LIVE SINGING" Segment - "Hicksville Harry", "Cannabis Carl", and "Paranoid Pete" showed up to sing "RELEASE ME". As Al often says, what could POSSIBLY go wrong??? 31:20 - Paul's Interview with Author, CELESTE BARCLAY 56:34 - JOKES!!! As a reminder, you can catch all of our live shows on Mondays, Wednesdays, and Fridays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 2:00 p.m., 5:00 p.m., 8:00 p.m., and 11:00 p.m. ET on the same day) Enjoy!
In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Hicksville Harry", "Cannabis Carl", and "Paranoid Pete" showed up to sing "RELEASE ME". As Al often says, what could POSSIBLY go wrong??? Enjoy!
NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! NOTE - As there is no such license available, we can no longer post the music of others on the podcast page. The music IS still included on our radio show, but cannot be posted here. Please check out our full radio show, or snippets contained within, from Wednesday, July 14, 2021, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 2:12 - Paul's Interview with Hurricane Expert, WILLIE DRYE 13:34 - "Arrogant Al" Entered the Fray! 13:54 - MLB All-Star Game 16:03 - Frank Sinatra Report from a 2-Book Series 18:01 - Musical Jingle for "We are a Radio Show" - NOT a Podcast! 19:02 - "LIVE SINGING" Segment - "Hicksville Harry", "Cannabis Carl", and "Paranoid Pete" showed up to sing "RELEASE ME". As Al often says, what could POSSIBLY go wrong??? 31:20 - Paul's Interview with Author, CELESTE BARCLAY 56:34 - JOKES!!! As a reminder, you can catch all of our live shows on Mondays, Wednesdays, and Fridays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 2:00 p.m., 5:00 p.m., 8:00 p.m., and 11:00 p.m. ET on the same day) Enjoy!
Looking for the Perfect Beat 2021-23 by Irvin Cee Release date: 2021/05/30 Subscribe now to my channels to get your weekly dose of dance vitamins. www.facebook.com/IrvinCee www.irvincee.com www.youtube.com/c/IrvinCeedj Looking for the Perfect Beat is Irvin Cee's weekly radio show with the best and newest club music on the globe since 2014. A various mix of Deep House, House, Tech House, Techno, and Hard Techno is beat mixed in such a slick way it will take you to new heights of musical experience and you feel trapped to dance until the very end of the show. The full length and non-hosted versions are available on select platforms in video and audio format. Irvin Cee is available for International bookings at Clubs, Festivals en Quality bars. More info? booking@irvincee.com Video recording: Youtube video: https://youtube.com/watch?v=BMBIw1cJEAE Facebook video: https://facebook.com/IrvinCee/videos/324640279072214/ TRACKLIST: Time +/- : Num. - Title - Release [Label] (*time is +/- mix in time) 00:00:00 - Keep on Dancing (Original Mix) - DJ Lutique Buy on Beatport: https://www.beatport.com/track/-/15123031 00:04:42 - Release Me (feat. Rationale) (Extended Mix) - Billon, Rationale Buy on Beatport: https://www.beatport.com/track/-/13062839 00:09:00 - The Change (Original Mix) - Earth n Days Buy on Beatport: https://www.beatport.com/track/-/15076944 00:11:25 - Blakkat (Original Mix) - Catz 'n Dogz, Yotam Avni Buy on Beatport: https://www.beatport.com/track/-/14026879 00:17:00 - Ghetto Blaster (Original Mix) - Ramon Tapia Buy on Beatport: https://www.beatport.com/track/-/15243733 00:19:39 - Epilogue 4 (Len Faki Hardspace Mix) - Mod21 Buy on Beatport: https://www.beatport.com/track/-/13169711 00:23:43 - Plan B (Original Mix) - Kevin Call Buy on Beatport: https://www.beatport.com/track/-/13317847 00:25:44 - Unravel Me (Ketno Remix) - KICKREY Buy on Beatport: https://www.beatport.com/track/-/15046353 00:29:09 - Treasure (Original Mix) - Sebastian Mora, Mosher, Tadeo Chayre Buy on Beatport: https://www.beatport.com/track/-/15145400 00:34:01 - Contact (Original Mix) - Roman Weber Buy on Beatport: https://www.beatport.com/track/-/14113114 00:38:08 - Adolescent (Original Mix) - Alen Milivojevic, Drzneday Buy on Beatport: https://www.beatport.com/track/-/15258093 00:40:20 - Do What They Don't (Original Mix) - Manni Dee Buy on Beatport: https://www.beatport.com/track/-/13494852 00:46:15 - I'm Gonna Shoot You (Mechanic Freakz Remix) - Hannes Matthiessen Buy on Beatport: https://www.beatport.com/track/-/13478899 00:49:22 - Truth of Existence (Original Mix) - NØRBAK, Pfirter Buy on Beatport: https://www.beatport.com/track/-/14965125 00:52:42 - Tactics (Original Mix) - Sebastian Kramer Buy on Beatport: https://www.beatport.com/track/-/14940893 00:55:12 - In the Distance (Original Mix) - Sutura Buy on Beatport: https://www.beatport.com/track/-/14953603 00:58:29 - Orange Bud (Original Mix) - Natalino Nunes Buy on Beatport: https://www.beatport.com/track/-/15054622 #irvincee #"irvin cee" #perfectbeat #"perfect beat" #djmix #clubbing #music #deephouse #"deep house" #house #techhouse #"tech house" #techno #djset #dj #nightlife #radio #tekkno #tekk #electronic #underground #festival #berlin #2021
Urodzeni: Wiesław Michnikowski, Mickey Finn (T. Rex), Suzi Quatro, Deniece Williams, Release Me, Take It Easy.Zmarli: Anthony Quinn, Andrew Gold, Robert Brylewski (Kryzys, Brygada Kryzys, Izrael, Armia) (foto).Nagranie z roku 2021.
This week, Rosha and Hannah discuss The Giver, or as they call it, “Please Don't Release Me. Thanks for listening and remember, don't judge a book by its movie! We're now on Patreon! Become a Patron to get exclusive bonus content and more! Go to www.patreon.com/thebooviegirls Follow us on Instagram, Facebook & Twitter @TheBoovieGirls Email your comments to thebooviegirls@gmail.com
For the Season 1 Finale of Unfiltered - The Podcast we introduce....Ivan Gough!The term “legend” gets thrown around a lot, but with a career spanning 25 years, Ivan Gough has firmly cemented himself as a member of that group.As one half of the iconic duo TV ROCK, Ivan together with Grant Smillie were responsible for CLASSIC record selling hits like ‘Flaunt it', ‘The Others' and ‘Release Me'. After holding number 1 spots on the ARIA charts for months at a time, Ivan wasn't done yet and at the beginning of his solo career, he struck GOLD. In 2012 Ivan teamed up with Feenixpawl to create one of the biggest dance tracks of all time ‘In My Mind'. This track gained huge support from Swedish House Mafia and was a fixture on the festival circuit…and it remains one to this day.82 million streams later and it still gives us goosebumps!Ivan has teamed up with the best of the best, from Nervo to Axwell to create timeless house records that are ingrained in our memories forever and like a fine wine fine from his local Yarra Valley region, Ivan is only getting better with age having recently joined forces with another local industry icon Sgt. Slick to form the powerhouse progressive and deep house duo L'Tric.We go into the archives with this one and it's a ripper!
Summer vibes throughout with a mix of Soulful & Vocal House and a few big drops!!Forward Thinking Deep Tech House - Mixed live by Zam Stuart. Leave a comment or rate my podcast if you like what you hear! You can subscribe to my mixes that feature tracks from some of the most cutting edge artists and producers in Underground House Music!! I am inspired by Circo Loco at DC10, Davide Squillace, Matthias Tanzmann, Mihai Popoviciu, Sonny Fodera, Dennis Cruz, Jamie Jones, Black Coffee, Low Steppa, Ibiza, Butch, Saytek, Enzo Siragusa, Marco Lys, Zoo Project, Yaya, Fuse, Carlo Lio, The Martinez Brothers, Jaded, Space, Raymundo Rodriguez, Playa den Bossa, Tania Volcano, Bora Bora, Kerri Chandler, Defex, Ushuaia, Luca Bacchetti, Amnesia, London, Ministry of Sound, Dennis Ferrer, Defected, Serge Devant, Leftwing & Kody, Green Velvet, Mark Knight, Riva Starr, D-Jaw and loads loads more!! Tracklist:1. Wonderful - Sharon S2. Reach - Jesse Maas3. Walking Away (12" Version) - Loods4. A Piece of Me (Jarred Gallo Remix) - Sebb Junior5. Around feat. Manny - Tough Love 6. Love This Way - Sebb Junior, Nayfer, Jess Bays7. Joys - Roberto Surace8. Release Me feat. Rationale - Billion9. Big Love (David Penn Remix) - Pete Heller10. This Feeling feat. Mc Knight (Low Steppa Remix) - Roger Sanchez, Park & sons11. House Ain't Giving Up - Bart B More12. Surrender feat. Liz Jai (Dario D'Attis Remix) - Mark Di Meo13. No Make Up - Dirtytwo14. Lale - Butch
Astrid Tanton is an openly Queer, up and coming Toronto Artist. Her song "Release Me" is her recent single, along with her EP coming out this September. Keep your eyes peeled.
Join PassionPoet as he has an entertaining interview with Ms Angel Sand, author of the quirky romance novella, "Release Me." --- Send in a voice message: https://anchor.fm/wett-spot-by-passion/message
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On this episode of The Comics Alternative podcast, Derek and Andy W. discuss four new titles. They begin with Ryan K. Lindsay, Eric Zawadzki, and Sebastian Piriz's Headspace (IDW Publishing). This was originally an eight-issue digital series published by MonkeyBrain between March 2014 and April 2015. A law enforcement officer, Shane, finds himself in a surreal land with no memory of how he got there nor any idea how to leave. He eventually discovers that he is inside the mind of a violent criminal whose brain is being manipulated by the authorities. As the guys point out, this is a psychological thriller as much as it is an astute exercise in world-building. Next, they take an extensive look at Nate Powell's You Don't Say (Top Shelf), a collection of seventeen short stories published between 2003 and 2013. For readers who appreciate Powell's previous works -- such as Swallow Me Whole, Any Empire, The Silence of Our Friends, and the first two volumes of March -- this is a wonderful opportunity to see the development as well as the full range of the creator. The earlier stories, several of which were part of his first Top Shelf book Release Me, demonstrate Powell's autobiographical attempts to capture an artist in transition. But the emerging impact of the writer becomes more apparent in the later works where you can more clearly see some of the characteristics that mark Powell's style, such as the theme of race relations (often set in the South) and the psychological quality of his storytelling. In fact, Derek points out that in many of Powell's work, there is a "dreamy" quality where transitions between scenes and even panels are represented in a fluid, and at times ambiguous, manner, reflecting the way in which memory and fantasy allows us to interpret the world. Both Andy and Derek highlight their favorites in this collection, including "Cakewalk" (written by Rachel Bormann), "Bets Are Off," and the gothic "The Villa at the End of the Road." These collected stories originally appeared in earlier Powell works, in various anthologies, as part of a CD release, and as self-published installments. Together they demonstrate the sheer force of Powell's artistry. Finally, the Two Guys look at two recent releases from Nobrow, Andy Poyiadgi's Lost Property and Jen Lee's Vacancy. These are both part of the publisher's unique 17x23 series, a graphic short-story project established to help young creators present their work in a concise and economic format. Lost Property is a brief tale about missing pieces, the various things we have lost throughout our lives -- both literal and figurative -- and how their rediscovery can help us define who we are. Lee's comic is an anthropomorphic narrative about the costs of freedom. Simon, a young dog, is neglected by his owners, yearns to venture beyond his backyard fence, and then ventures into the woods with a deer and a raccoon, with mixed results. Both of these short works are beautifully produced -- Andy specifically points out Nobrow's distinguishing coloring -- and highly affordable. For a little more than the cost of an ordinary American comic book, you can get a 17x23 publication that is more of a book than a periodical. The guys featured a Publisher Spotlight on Nobrow last year, and there's certainly a reason that they keep coming back to their publications.
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