Podcasts about river deep mountain high

Come avrebbe suonato "Heroes" di David Bowie senza la mano di Tony Visconti? E "Thriller" di Michael Jackson senza quella di Quincy Jones? E "Blood Sugar Sex Magick" senza quella di Rick Rubin? Se questi album sono considerati classici, il merito non è solo dei musicisti ma anche di coloro che stanno al di là del vetro, a lavorare con manopole e cursori e spesso a indirizzare lo stesso processo creativo: i produttori. In questa puntata passiamo in rassegna alcuni dei più leggendari.Playlist: Ike & Tina Turner - "River Deep Mountain High"Quincy Jones - "Birdland"David Bowie - "I Can't Give Everything Away"Robert Wyatt - "Heaps Of Sheeps"Red Hot Chili Peppers - "Breaking The Girl"

Maak gereed vir ‘n nuwe hoofstuk in Nádine se verhoog optredes. Hierdie keer is Nádine terug om die huis se fondasies te skud! Al jou gunstelinge en ook haar klassieke uitklophou rock items in een uitsonderlike live vertoning. Berei jouself voor vir unieke weergawes van Tina Turner se “River Deep Mountain High” of Cindy Lauper se “Time After Time”. ‘n Rock-gevulde “Alone” van die miljoen-album-verkoper Heart, of ‘n onverwagse Nádine in die AC/DC tradisionele “You Shook Me”. Die grootste rock liedere van die 80's, met selfs ‘n paar juwele uit die 70's en reuse rock-treffers uit die 90's. ‘n Vertoning van vreugde en die beste vermaak deur Nádine en ‘n seleksie van klassieke rock liedjies wat jy werklik nie wil misloop nie! Trek aan jou leerbaadjie en jeans en kom geniet ‘n heerlike aand uit saam Nàdine.

durée : 00:05:47 - C'est une chanson - par : Frédéric Pommier - Son nouveau film "La prisonnière de Bordeaux" sort ce mercredi dans les salles. L'histoire d'une amitié entre deux épouses de détenus, incarnées par Isabelle Huppert et Hafsia Herzi. Au micro de Frédéric Pommier, la réalisatrice Patricia Mazuy évoque "River Deep, Mountain High" d'Ike et Tina Turner.

This week, Sadie introduces us to Eleanor Greenwich, known as Ellie, who was the hit songwriter behind many of the greatest songs of the sixties pop charts. Stauney and Sadie discuss her life, the songwriting scene at the time, her undeniable talent and the mark she left on the music industry and pop culture itself with hits like "Da Doo Ron Ron", "Be My Baby", "Maybe I Know", "Then He Kissed Me", "Do Wah Diddy Diddy", "Christmas (Baby Please Come Home)", "Hanky Panky", "Chapel of Love", "Leader of the Pack", and "River Deep – Mountain High", among others. We also discuss the Ballerina Farms situation and our thoughts on relationships, sacrifice, and the arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

A new mishnah discusses what happens when something to a rented animal and who is responsible for unavoidable injuries. The gemara tries to determine if the first part of the mishnah is the opinion of Rabbi Meir

RIVER DEEP - MOUNTAIN HIGH (1966) NUTBUSH CITY LIMITS (1973) ACID QUEEN (1975) BETTER BE GOOD TO ME (1984) WHEN THE HEARTACHE IS OVER (1999) PROUD MARY (1971) GET BACK (1971) WHOLE LOTTE LOVE (1975) WE DON'T NEED ANOTHER HERO (1985) 12'' GOLDENEYE (1995) OOH POO PAH DOO (1971) TWO PEOPLE (1986)

Fernando Neira nos acerca la historia de Jim Gordon, músico detrás de algunas de las grandes canciones de la historia: 'Layla', 'River Deep Mountain High' o 'God Only Knows', la suya es una historia dramática marcada por la enfermedad mental. Después nos acompaña Guillem Gisbert, que estrena su primer disco en solitario 'Balla la masurca!', después de 15 años formando parte del grupo catalán 'Manel'. Para terminar, los oyentes nos cuentan sus historias musicales y Neira nos adelanta tres estrenos en exclusiva. 

Hello Friends! The time is finally here for the epic journey that is our Mixology exploration of the 1966 classic from Ike & Tina Turner, River Deep-Mountain High. Of note due to it's 5 Phil Spector productions (including the title cut), and 7 killer Ike Turner originals, this is a 12 track album of wall to wall bangers that didn't see release in American until 1969. Naturally, the album was issued in 1966 in both dedicated mono and stereo mixes, but unacknowledged until now was fully remixed into stereo in 1969 for the worldwide A&M reissue of the album, giving us 3 unique mixes of the 11 tracks carried across the 3 releases, plus 2 for 'You're So Fine', the track unique to the 1966 LP.   However, the fun doesn't stop there, as discussed recently in my breakdown of the mix exploration for this album (free to all over at the Patreon), 3 of the tracks were issued in seemingly unique mono mixes on the 1991 Back to Mono box set, and the mono LP and 45 presentations of the title cut are vastly different sonically - but are they differing mixes? We have a lot to dig into today, and to help me cover the deep dive taken for this is Patron, Assistant and Friend Andy, who joins me for a chat about the various pressings, cuttings, LPs, 45s and CDs we explored to cover all the bases of this seemingly innocuous album, and who is also responsible for this episode's flatlay.   This is the most excited I've been for a Mixology episode in a long time, and I hope you'll have a blast discovering these mixes (and maybe even this album) with me today on this epic journey. And to top it off, there's some great differences between these mixes too. So grab that tambourine in hand, get the echo unit ready to roll, and let's sail on down the river and climb that mountain - no matter how deep or how high!   Happy Listening, Frederick   Patreon   Email   Instagram  

Esse é o AutoRadio Podcast. Cinquentoes #23 Powered by Wisdomtech http://www.wisdomtech.com.br

Saluting a legend for the 83 years she allowed us to bask in her presence.

CluelessGorilla@gmail.com Youtube: https://www.youtube.com/c/GorillasPlaythrough Website with polls: https://gorillasplaythrough.wordpress.com/

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On this week's show, we...  spend quality time with new records from Jenny Lewis, Foo Fighters & Jason Isbell and the 400 Unit  bid adieu to the iconic Astrud Gilberto & the legendary Tina Turner  celebrate 45 years of my all-time favorite record - Bruce Springsteen's Darkness on the Edge of Town  All this & much, much less!Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Hosts Jim DeRogatis and Greg Kot welcome author RJ Smith back to the show to discuss his new book on Chuck Berry. The hosts also pay tribute to Tina Turner, who died May 24 at 83. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Chuck Berry, "Johnny B. Goode," Johnny B. Goode (Single), Chess, 1958Tina Turner, "What's Love Got to Do With It ," Private Dancer, Capitol, 1984Ike and Tina Turner, "Proud Mary," Workin' Together, Liberty, 1970Ike and Tina Turner, "River Deep Mountain High," River Deep - Mountain High, A&M, 1969Tina Turner, "Ball Of Confusion (That's What The World Is Today)," B.E.F. Presents Tina Turner, Virgin, 1982Tina Turner, "Better Be Good to Me," Private Dancer, Capitol, 1984Chuck Berry, "Blues #1," Have Mercy: His Complete Chess Recordings 1969-1974, Geffen, 2010Chuck Berry, "Maybellene," (Single), Chess, 1955Chuck Berry, "You Never Can Tell," (Single), Chess, 1964Chuck Berry, "Promised Land," (Single), Chess, 1964Jason Isbell and the 400 Unit, "Cast Iron Skillet," Weathervanes, Southeastern, 2023Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

Phil Spector was a very successful music producer and songwriter, who was also convicted of murder and serving a long sentence when he died in prison. Talented people can be bad people.Talented bad people can also do good things.Phil Spector produced the famous Ike and Tina Turner song "River Deep - Mountain High." He knew how controlling Ike was, so he created a unique contract for this work, paying Ike Turner $20,000 to stay away while giving credit to both Ike and Tina Turner. That seems like a talented bad person doing a good thing.We all know the story of Ike repeatedly beating Tina, until she escaped one night with no money and no where to go. Working long and hard at low-end jobs to keep herself and her children fed, she knew that she was a really good singer. Still under contract with United Artists she released solo albums, none of which succeeded. The UAR contract ended; she signed with EMI in the early 1980's, and as they say, the rest is history. It is easy to be impressed by talent, even when that talent is covering significant character flaws, ergo Ike Turner and Phil Spector. It is easy to overlook world-changing talent when it pushes a mop bucket, like Tina Turner.How much talent do you reject because it doesn't look like the talent you normally hire? How much talent do you keep, despite toxicity, because it can hit the high notes?We all know, whether we like it or not, that culture eats strategy for breakfast. So why do we live with toxic workers? Not one of them anywhere in any role for any organization is worth it. Many of us choose to be optimistic, hoping that the person will improve. How long is enough? One day? One month? One year? Every minute you accept toxicity as acceptable behavior you are driving away everything that is good about your organization. No level of skill can outweigh that. Your organization may be filled with Tina Turners looking to escape because of the Ike Turner or Phil Spector you choose to retain.What's love got to do with it?

Blue Mountain "Soul Sister"Ike & Tina Turner "River Deep Mountain High"John Hammond "I Want You to Love Me"Albert King "Answer to the Laundromat Blues"Margo Price "Ragged Old Truck"Dr. John "Zu Zu Man"Mamie Perry And The Gus Jenkins Orchestra "Lament"Bob Dylan "Most of the Time"Ry Cooder "It's All Over Now"Betty LaVette "Let Me down Easy"Charles Mingus "Better Get Hit In Yo' Soul"Grateful Dead "In the Midnight Hour"Townes Van Zandt "Mr. Mudd and Mr. Gold"Willie Nelson & Wynton Marsalis "Ain't Nobody's Business"Porter Wagoner "Satan's River"Eilen Jewell "Queen Of The Minor Key"Old 97's "Good With God"The Louvin Brothers "Knoxville Girl"OutKast "Elevators (Me & You)"Amaro Freitas "Trupé"Staple Singers "What's Your Thing"Tina Turner "Hard Times"Charlie Parr "Funeral Road Blues"Steve Earle "When I Fall"Bonnie Raitt "Sweet Forgiveness"Lightnin' Hopkins "Katie Mae Blues"Billy Joe Shaver "I Been to Georgia On a Fast Train"Aimee Mann "Goose Snow Cone"Joan Shelley "Sweet Dark-Haired Man"Doc & Merle Watson "Dig a Little Deeper in the Well"Peter Buck "Southerner"The B-52's "Private Idaho"Tom Waits "Long Way Home"Asie Payton "Skinny Legs & All"The Ronettes "I'm On the Wagon"Art Blakey & The Jazz Messengers "Evidence"Bob Dylan "She Belongs to Me"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"JD McPherson "Crying's Just A Thing That You Do"Bonnie "Prince" Billy "Sailor's Grave a Sea Of Sheep"

Indpendent artist: SorchaLinks: https://linktr.ee/sorchajmusicChris RobertOnstage Virtual Platform: www.tappy.tech/ONSTAGE%20Music%20Podcast)SocialsHosts: Peter Cabral: www.instagram.com/cabralphotography/?hl=enNick Cabral: www.instagram.com/nickcabral37/Producer: Darryn Arndt: www.instagram.com/darrynarndt/Theme song: Braden Mutch: www.instagram.com/braden_mutch/Instagram: www.instagram.com/justhitplaypodcast/Facebook: www.facebook.com/JusthitplaypodcastEmail: justhitplay7300@gmail.comwww.youtube.com/@justhitplaypodcast

Hello everyone! Episode 255 of StarSound Speaks reunites us with our beloved fellow astrologer/author/artist/yogini/world traveler Erin Reese! We dish about this amazing Full Moon in Sag and its resonance with the life of Tina Turner. (Tina was a Sag born on the Full Moon in Gemini!) Both of us felt Tina's presence during the podcast... Lots of juicy insights and advice for the Full Moon and Saturn's upcoming retrograde ... enjoy! To contact Erin: https://erinreese.substack.com erin@erinreese.com

Such sad news has broken this evening about the sad passing of the legend that is Tina Turner! Her music has enthralled fans around the world since the 60s with a string of absolute classics, such as River Deep Mountain High, Nutbush City Limits, Proud Mary, What's Love Got To Do With It, Goldeneye, Private Dancer, Simply the Best and many many more! I interviewed Tina's former musical director last year, Alan Clarke from the band Dire Straits. In this short clip, Alan pays tribute to Tina Turner, talking about what she is like as a person, what she was like to work with and he shares a wonderful story from their time in Memphis. Rest in peace Anna Mae Bullock, the Queen of Rock & Roll! Learn more about your ad choices. Visit megaphone.fm/adchoices

A special extra podcast recorded just after hearing the news. We can barely remember a time when we weren't aware of her. This looks back at the Ike & Tina R&B hits of the ‘60s, the Ikettes dance routines and how he copyrighted her stage name, the story of the recording of River Deep Mountain High with Phil Spector, Proud Mary on the Ed Sullivan Show, supporting the Rolling Stones, her unique vocal style and the way she sold the drama of the songs … and then the greatest comeback imaginable: the arrival of manager Roger Davies, the B.E.F.'s recording of Ball Of Confusion at Abbey Road (and the impossible demands of James Brown), Mad Max: Beyond the Thunderdome, Private Dancer (and Bowie's 1984) and the record-breaking 180,000-crowd show at Brazil's Maracana Stadium in 1988. And the fine art of dancing in high heels.Tickets for Word In The Park in London on June 3rd here!: https://www.eventbrite.com/e/576193870377 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

A special extra podcast recorded just after hearing the news. We can barely remember a time when we weren't aware of her. This looks back at the Ike & Tina R&B hits of the ‘60s, the Ikettes dance routines and how he copyrighted her stage name, the story of the recording of River Deep Mountain High with Phil Spector, Proud Mary on the Ed Sullivan Show, supporting the Rolling Stones, her unique vocal style and the way she sold the drama of the songs … and then the greatest comeback imaginable: the arrival of manager Roger Davies, the B.E.F.'s recording of Ball Of Confusion at Abbey Road (and the impossible demands of James Brown), Mad Max: Beyond the Thunderdome, Private Dancer (and Bowie's 1984) and the record-breaking 180,000-crowd show at Brazil's Maracana Stadium in 1988. And the fine art of dancing in high heels.Tickets for Word In The Park in London on June 3rd here!: https://www.eventbrite.com/e/576193870377 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Jeff Barry, compositor de ‘River deep, mountain high', éxito de Ike & Tina Turner de 1966, habló en La W sobre su colaboración con la cantante.

A special extra podcast recorded just after hearing the news. We can barely remember a time when we weren't aware of her. This looks back at the Ike & Tina R&B hits of the ‘60s, the Ikettes dance routines and how he copyrighted her stage name, the story of the recording of River Deep Mountain High with Phil Spector, Proud Mary on the Ed Sullivan Show, supporting the Rolling Stones, her unique vocal style and the way she sold the drama of the songs … and then the greatest comeback imaginable: the arrival of manager Roger Davies, the B.E.F.'s recording of Ball Of Confusion at Abbey Road (and the impossible demands of James Brown), Mad Max: Beyond the Thunderdome, Private Dancer (and Bowie's 1984) and the record-breaking 180,000-crowd show at Brazil's Maracana Stadium in 1988. And the fine art of dancing in high heels.Tickets for Word In The Park in London on June 3rd here!: https://www.eventbrite.com/e/576193870377 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Long live the Queen of Rock 'n' Roll, Tina Turner!With heavy hearts, we share the news of Tina Turner's passing at the age of 83, as announced by her management team today.Tina Turner, a symbol of resilience, left an indelible mark on the sound of rock and roll for generations. From her iconic collaborations with Ike Turner in the '60s and '70s ("A Fool in Love" and "Proud Mary") to her solo projects like "River Deep Mountain High" in the '60s and the timeless "What's Love Got to Do with It?" in the '80s, her influence was undeniable.But Tina's talents extended beyond music. She graced the silver screen, portraying the unforgettable Acid Queen in The Who's "Tommy" (1975) and the post-apocalyptic warlord Aunty Entity in "Mad Max: Beyond the Thunderdome" (1985). She also appeared as the Mayor in Arnold Schwarzenegger's "Last Action Hero" (1993) and made a notable cameo in the ill-fated film adaptation of "Sergeant Pepper's Lonely Hearts Club Band" by The Bee Gees (1978).On television, Tina brightened various TV variety shows, including The Cher Show and Hollywood Nights with Olivia Newton-John. As the first black woman to grace the cover of Rolling Stone, Tina Turner shattered boundaries and solidified her place as one of the best-selling recording artists of all time.Today, we come together to celebrate the extraordinary life of Tina Turner. In honor of her legacy, we invite you to enjoy this encore presentation of "The Tea on Tina Turner," which originally aired in April of 2021.------Everyone expected 1984 to be a strange dystopian future, but it turned out to be an amazing year for pop culture with Tina Turner reigning supreme as the Queen of Rock and Roll.Although the press described Tina Turner's chart topping album Private Dancer as a comeback, Tina considered it her debut album, free from the control and abuse she faced from her ex-husband Ike Turner.In the new documentary film, Tina, the Queen of Rock and Roll has the final word on her extraordinary life from growing poor and Black in Nutbush, TN, to her relationship with Ike Turner and how she broke free to become one of the world's most celebrated artists.The new documentary is gonna get you hooked on Tina all over again.But despite it being an in depth look at the pop icon's life, many amazing things were briefly touched on or left on the cutting room floor.Today is Tina Turner day! We're looking at the life and legacy of the Queen of Rock and Roll, from the incredible year she had back in 1984, to her rock and roll roots with Ike Turner. Who made her iconic wigs? How did Cher save Tina's career? And what celebrities made her want to say “you better be good to me.”

The Children of the Sun sue the Pride of Man in Court and Spark up a conversation with Mona on the 59thStreet Bridge. They're talking Vietnam Potluck Blues while singing River Deep Mountain High and Higher and Higher and wondering, What About Me? I need some Fresh Air.

LA MALLE AUX SILLONS, rediffusion pour les feignant(e)s de l'épisode consacré à Ike & Tina Turner entrés au Panthéon de la musique avec River Deep Mountain High, un gros bout de légende.Le chef d'œuvre de Phil Spector, des séances d'enregistrement épiques, Tina Turner reprenant la chanson un nombre incalculable de fois, jusqu'à en tomber d'épuisement, devant un Brian Wilson des Beach Boys en transe, halluciné.Le résultat est extraordinaire, la voix héroïque, la musique homérique, les frissons infinis, 33ème meilleure chanson de l'histoire de la musique sur 500 selon le magazine Rolling Stones. Grandiose River Deep Mountain High.. Artiste : Ike & Tina Turner. Genre : soul et rock . Époque : de 1957 à 1976. De 1 à 10, probabilité que tu connaisses : 10 pour elle, 5 pour le salopard. Numéro de l'épisode : #33 redifPour l'écouter, c'est par ici si tu utilises Apple Podcasts, ici si tu utilises Deezer ou encore ici si tu utilises Spotify.Pour me contacter, pour me dire que tu as adoré (ou pas du tout mais j'y crois pas) ou encore me suggérer un artiste pour le prochain épisode, tu peux m'écrire à contact@lavoixdessillons.comGros Naze te souhaite une très bonne écoute. On se retrouve dans un prochain numéro de La Voix des Sillons, en attendant café et à la messe !Pour soutenir gratuitement le podcast :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toiEt pour le soutenir pas gratuitement :Alimenter ce podcast prend beaucoup de temps, sans compter les coûts induits. Alors, si tu prends du plaisir à écouter ces chroniques, si tu te marres, si tu apprends des choses, si tu découvres de nouveaux artistes, aide-moi à continuer, tout apport sera le bienvenu. Rendez-vous sur Tipeee ou Paypal. Tu peux aussi suivre la sortie des prochains épisodes sur mon site internet, sur ma page Facebook et sur mon compte Instagram. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In den 1960er Jahren wird Rhythm & Blues in den USA plötzlich groß. Etwa zeitgleich feilt ein bekannter Musikproduzent an einer einzigartigen Produktionstechik. Als beides zusammenkommt, entsteht ein Meisterwerk – nur, dass es anfangs keiner zu bemerken scheint.

"Tina Turner American-born singer Tina Turner, original name Anna Mae Bullock, (born November 26, 1939, Brownsville, Tennessee, U.S.), American-born singer who found success in the rhythm-and-blues, soul, and rock genres in a career that spanned five decades. Ike and Tina Turner Ike and Tina Turner" "--START AD- #TheMummichogblogOfMalta Amazon Top and Flash Deals(Affiliate Link - You will support our translations if you purchase through the following link) - https://amzn.to/3CqsdJH Compare all the top travel sites in just one search to find the best hotel deals at HotelsCombined - awarded world's best hotel price comparison site. (Affiliate Link - You will support our translations if you purchase through the following link) - https://www.hotelscombined.com/?a_aid=20558 “So whatever you wish that others would do to you, do also to them, for this is the Law and the Prophets."""" #Jesus #Catholic. Smooth Radio Malta is Malta's number one digital radio station, playing Your Relaxing Favourites - Smooth provides a ‘clutter free' mix, appealing to a core 35-59 audience offering soft adult contemporary classics. We operate a playlist of popular tracks which is updated on a regular basis. https://smooth.com.mt/listen/ Follow on Telegram: https://t.me/themummichogblogdotcom END AD---" " Turner was born into a sharecropping family in rural Tennessee. She began singing as a teenager and, after moving to St. Louis, Missouri, immersed herself in the local rhythm-and-blues scene. She met Ike Turner at a performance by his band, the Kings of Rhythm, in 1956, and soon became part of the act. She began performing as Tina Turner, and her electric stage presence quickly made her the centrepiece of the show. The ensemble, which toured as the Ike and Tina Turner Revue, was renowned for its live performances but struggled to find recording success. That changed in 1960, when “A Fool in Love” hit the pop charts, and a string of hit singles followed. Ike and Tina were married in 1962, although the date is subject to some speculation (during the couple's divorce proceedings in 1977, Ike claimed that the two were never legally married). The Phil Spector-produced album River Deep—Mountain High (1966) was a hit in Europe, and its title track is arguably the high point of Spector's “wall of sound” production style, but it sold poorly in the United States. Ike and Tina's final hits as a couple were the cover version of Creedence Clearwater Revival's “Proud Mary” (1971) and “Nutbush City Limits” (1973). Tina divorced Ike in 1978, alleging years of physical abuse and infidelity. British musical group Culture Club on the set of the ""Karma Chameleon"" video, 1983; (left to right) Roy Hay, Jon Moss, Boy George and Mikey Craig. BRITANNICA QUIZ 80s Music Quiz You can quiz if you want to, you can leave your friends behind... Eric Clapton and Tina Turner Eric Clapton and Tina Turner After a series of guest appearances on the albums of other artists, she released her debut solo album, Private Dancer, in 1984. It was a triumph, both critically and commercially, selling more than 20 million copies worldwide and winning three Grammy Awards, including record of the year and best female vocal performance for “What's Love Got to Do with It.” The single became Turner's signature song. She followed her musical success with a role in the film Mad Max Beyond Thunderdome (1985). Later albums included Break Every Rule (1986), Foreign Affair (1989), and Wildest Dreams (1996). Her greatest-hits compilation All the Best was released in 2004. Turner continued touring into the 21st century and also appeared on other artists' albums, notably Herbie Hancock's River: The Joni Letters (2007), a Grammy-winning tribute to Joni Mitchell. After residing in Switzerland for a number of years, Turner became a Swiss citizen in 2013 and shortly thereafter submitted the paperwork to relinquish her U.S. citizenship. She wrote the autobiographies I, Tina (1986; written with Kurt Lod

Helen and Gavin chat about The Crown, Pepsi, Where's My Jet?, and The Menu,  and it's Week 56 from the list of Rolling Stone's 500 Best Songs Ever, numbers 225 to 221; Both Sides Now by Joni Mitchell, Layla by Derek and the Dominos, Stan by Eminem feat. Dido, Suite: Judy Blue Eyes by Crosby, Stills and Nash, and River Deep Mountain High by Ike and Tina Turner.

We had the pleasure of interviewing Elle Winter over Zoom video! Known for her heartfelt songwriting style that has allowed her to connect with over 20 million people across streaming platforms, Elle Winter has been making waves in the music world even back in her teen years, being discovered by Radio Disney's “Next Big Thing.” Previously touring with Chloe x Halle and performing on prominent stages ranging from the Today Show to KIIS-FM's Jingle Ball, Elle is currently working with Album of the Year winning producers Autumn Rowe and Kizzo, and recently released her latest single, “Help”! “Help” comes on the heels of a turning point in Elle's life, as growing up under the pressures of the entertainment industry led to her living in fear of asking for support or sharing when she was struggling. After moving back to LA, Elle made the decision to start a new chapter in her life where she can find strength and power in vulnerability, putting herself first. Elle is looking forward to all that is to come, both as an artist and a University of Pennsylvania student—see below for more on Elle and her upcoming projects. Born and raised in New York City, Elle took to music at a very young age. She was discovered by Radio Disney at age 14 and took part in their “Next Big Thing” program which included the release of several singles and a national tour in which she began building a fanbase. As Elle made her way through high school, she continued pursuing her music career along with acting. She worked on new songs and independently released the single "One More” in 2018. A radio tour followed, as well as spots on The TODAY Show and the honorifics of being named Elvis Duran's Artist of the Month, as well as KIIS FM's Next Up Artist. In 2019, during her freshman year at the University of Pennsylvania, Elle signed with Sony Music's The Orchard (previously RED MUSIC) off the strength of her forthcoming EP. On a majority of the EP's tracks, Elle worked with production team The Orphanage, who has notched credits on recent albums from Demi Lovato and Alessia Cara and has given Elle's music the unique pop flavor it possesses. Elle's new body of work is produced by Grammy award winning producer Kizzo (“We Are”) and co-written with Elle by Grammy award winning songwriter Autumn Rowe (“We Are”) and the legendary Jeff Barry (“Be My Baby”, “River Deep Mountain High”). We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #ElleWinter #NextBigThing #RadioDisney#Help #NewMusic #zoomListen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Stop plumbing the depths.

Two brand new, exclusive interviews this week with two of the most legendary songwriters of all time - both members of the Rock & Roll and Songwriters Halls Of Fame - Jeff Barry and Barry Mann. Both are synonymous with the iconic Brill Building era of the 1960's but their evergreen hits continued well into the decades of the 70's, 80's and beyond. The songs written by Jeff (with his then-wife Ellie Greenwich and others) and by Barry (with his wife Cynthia Weill and others) are still heard literally every day all over the world. Jeff tells us all about the iconic hits he wrote like “Da Doo Ron Ron,” “Be My Baby” and “River Deep Mountain High,” as well as his work with Phil Spector, Bert Berns and Norman Lear. Barry shares how he and Cynthia met, winning Grammy's Song of the Year in 1987 for “Somewhere Out There” and creating the most performed songs of the entire 20th century, “You've Lost That Lovin' Feeling.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Two brand new, exclusive interviews this week with two of the most legendary songwriters of all time - both members of the Rock & Roll and Songwriters Halls Of Fame - Jeff Barry and Barry Mann. Both are synonymous with the iconic Brill Building era of the 1960's but their evergreen hits continued well into the decades of the 70's, 80's and beyond. The songs written by Jeff (with his then-wife Ellie Greenwich and others) and by Barry (with his wife Cynthia Weill and others) are still heard literally every day all over the world. Jeff tells us all about the iconic hits he wrote like “Da Doo Ron Ron,” “Be My Baby” and “River Deep Mountain High,” as well as his work with Phil Spector, Bert Berns and Norman Lear. Barry shares how he and Cynthia met, winning Grammy's Song of the Year in 1987 for “Somewhere Out There” and creating the most performed songs of the entire 20th century, “You've Lost That Lovin' Feeling.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Rockshow episode 157 Ike and Tina Turner RockerMike and Rob discuss Ike & Tina Turner were an American musical duo consisting of husband and wife Ike Turner and Tina Turner. From 1960 to 1976, they performed live as the Ike & Tina Turner Revue, supported by Ike Turner's band the Kings of Rhythm and backing vocalists called the Ikettes. The Ike & Tina Turner Revue was regarded as "one of the most potent live acts on the R&B circuit." The duo had a string of R&B hits with their early recordings "A Fool In Love", "It's Gonna Work Out Fine", "I Idolize You", "Poor Fool", and "Tra La La La La". The release of "River Deep – Mountain High" in 1966, followed by a tour of the UK with The Rolling Stones, increased their popularity in Europe. Their later works are noted for interpretive soul-infused re-arrangements of rock songs such as "Come Together", "Honky Tonk Woman", and "Proud Mary", the latter of which won them a Grammy Award in 1972.Ike & Tina Turner received the first Golden European Record Award for their international hit "Nutbush City Limits" in 1974.They released dozens of albums; their most successful being Workin' Together and Live at Carnegie Hall. Pitchfork listed their album River Deep – Mountain High among the best of its era. Ike & Tina Turner were inducted to the Rock & Roll Hall of Fame in 1991.They have two singles inducted into the Grammy Hall of Fame, "River Deep – Mountain High" and "Proud Mary". Rolling Stone ranked them No. 2 on its list of the 20 Greatest Duos of All Time. https://www.biography.com/.amp/news/tina-turner-ike-relationship https://www.rockhall.com/inductees/ike-and-tina-turner https://open.spotify.com/artist/1ZikppG9dPedbIgMfnfx8k https://music.apple.com/us/artist/ike-tina-turner/196435051 https://www.tina-turner.nl/tina-ike.php https://www.grammy.com/artists/ike-tina-turner/13017 https://www.history-of-rock.com/ike_and_tina_turner.htm Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com https://lynyrdskynyrd.com/ https://m.facebook.com/LynyrdSkynyrd https://open.spotify.com/artist/4MVyzYMgTwdP7Z49wAZHx0 https://www.rockhall.com/inductees/lynyrd-skynyrd https://www.rollingstone.com/feature/remembering-lynyrd-skynyrds-deadly-1977-plane-crash-2-195371/amp/ https://mobile.twitter.com/skynyrd?lang=en https://www.instagram.com/skynyrd/?hl=en #musicvideo #musicstudio #musiclover #musiclife #musicindustry #musiclovers #musiccover #musician #Tinaturner #Iketurner #musicproducer #musicproduction #musicians #musicislife #musicartist #musicphotography #musicvideos #Music #drummer #Guitar @drummers @spotify @twitter @Ikeandtinaturner #grammy @grammy Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

#40-36Intro/Outro: Then He Kissed Me by The Crystals40. When a Man Loves a Woman by Percy Sledge *39. Green Onions by Booker T. & the MG's38. River Deep Mountain High by Ike & Tina Turner *37. Georgia On My Mind by Ray Charles *36. Louie Louie by The Kingsmen Vote on your favorite song from today's episodeVote on your favorite song from Week 2* - Previously played on the podcast

Dena and Melissa start the show discussing Dena's recent trip to New Orleans and a TikTok functionality tip from @sociallykylie.  5:40 - Songs The first trending song is a Glee cover of “River Deep Mountain High.” We feature some funny examples from @aimeeeperry and @nellesworld. Next is “Talking to the Moon” by Bruno Mars. Another song trend by @bydney.y uses the audio called, “HOL-UP-WAIT-A-MINUTE.” Beyonce's “Yonce” is trending with a slow squat dance, we love one by @chunja46.  15:15 - Trends Users try to catch an apple with a fork in the latest TikTok trend. Creator @kellymanno made a compilation video. There's a SpongeBob filter going around mixed with Material Girl, we feature audio from @littlecookiee. A filter showing what type of font you are keeps telling @lifeattwentythree she's comic sans. Dena and Melissa try it live on the air. A new prank has people telling other people to hold their phone while they record, featuring a sweet and hilarious one from @killerpumpkins.  26:50 - Celebrity Trend Famous actors use the song “That's Not My Name” by The Ting Tings to reminisce on the characters they've played in the past. A bunch of actors have posted this trend including Mandy Moore (@themandymoore), Idina Menzel (@idinamenzel), Alicia Silverstone (@aliciasilverstone), Drew Barrymore (@drewbarrymore), Reese Witherspoon (@reesewitherspoon).  Check out all these videos and more on our blog (2old4tiktok.com), Instagram (@2old4tiktokpod), and TikTok (@2old4tiktok_podcast).  

Vocals by: Gail NoblesActress: Gail NoblesKeyboardist and drummer: Gail NoblesIntro written by: Gail NoblesPhoto credit: Philip Spittle - IMG_1645/ Wikipedia Usage: CC BY 2.0Actress: Headlines! What Do the headlines say? I've been making it. Is it Ike and Tina or is it Tina Turner? She's got another hit song. Singing: Reading the headlinesWhat do they say about you and me?Reading the headlinesSince you've been goneI've been making it on my own.Announcer: This very day, Tina Turner is still in the headline news. Now on Broadway, there's a Tina Turner Musical-based on the rock and roll icon. She's the Queen of Rock n Roll.Turner began her career with Ike Turner's King of Rhythm in 1957. Under the name Little Ann, she appeared on her first record, “Boxtop”, in 1958. In 1960, she was introduced as Tina Turner with the hit duet single “ A Fool in Love”. The duo Ike & Tina Turner became one of the most formidable live acts in history. They released hits such as Its Gonna Work Out Fine, River Deep - Mountain High, and Proud Mary.Everybody knows about the kind of Relationship Ike and Tina Turner had. Tina left her husband and in the 1980's Turner launched one of the greatest comebacks in music history. Her 1984 multi-platinum album Private Dancer contained the hit song What's Love Got To Do With It, which won the Grammy Award for the Record of the Year and became her first and only No. 1 on the Billboard Hot 100. At age 44, she was the oldest female artist to top of the Hot 100. Her chart success continued with We Don't Need Another Hero which appeared in the 1985 film Mad Max Beyond Thunderdome which starred Tina Turner and Mel Gibson. And there were other songs like Private Dancer, I don't want to fight No More, and Golden Eye which was the theme for the 1995 James Bond film, Golden Eye. Tina did well with her comeback, and she has done it all without Ike, and she's still making some headlines today.I'm Gail Nobles, and you're listening to Sound Flave (Radiae Applis).

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

Ep 108: Pursued by deadly opponents, the party has taken refuge in its magical tower. Help unlooked for has emerged from the very stone of the earth, but are the newcomers trustworthy? Listen now to find out! ----- Stack o' Dice is an official affiliate of Dice Envy. Use this special link, https://diceenvy.com/stackodice, to buy your next set of dice, and you'll also help support our show! Our new spots for Dice Envy and Battlebards use music from Battlebards! We hope you like our use of: Urban Center - Village of Gnomes - Score Music by Moises Alvarez Capital City - Middlegate - Score Music by Shams Ahsan And our recap uses this Battlebards song: Downtime - Blood Eagle - Score Music by Alexander Nakarada We're glad you're sharing our story; we really appreciate your support and hope you enjoy what we've created together. We're having fun sharing our adventure with you each week, and we'll only get better with time! If you like what you hear, please take the time to leave us a review on iTunes, since that bumps us up in the ratings and lets others join in the fun. For quick updates on a more real-time basis, follow us on Twitter (@stackodice) and on Instagram (@stackodice), where we'd love to hear from you. Or if you want to share a question or idea with us, drop us a line at stack.o.dice@gmail.com. ----- We used some Creative Commons sound effects and music in this show. For the sake of attribution, we list them here. The following were taken from freesound.org, a fantastic resource for completely free sound effects. Sound effects that fall under the Attribution license: Heavy Rain is a copyright of lebaston100 Waterfall.wav is a copyright of cosmo235 We also used some excellent Battlebards sound effects. If you like what you hear, check them out at battlebards.com. If you sign up for a Prime account, be sure to use our special code, stack, and you'll get a 20% discount on your subscription. Here are the sound effects we used in this episode: Dwarf Temple - Blessing of the Dwarves - Score Music, by Benedict Nichols Dwarf Temple - Prayer Eternal - Score Music, by GoofParade Elven Dirge - Immortal's End - Score Music, by Eric Richards Orc Wars - Clan Alarm Horn, by Franco Cugusi And now, on with the show-- we're excited to tell a story with you.

"Simply The Best" von Tina Turner. Ein Best-of Album als Meilenstein? Zumindest offiziell. Eigentlich geht es aber weniger um dieses Album, sondern viel mehr um Tina Turner als Künstlerin und Mensch, der weiß, was es bedeutet, sich im Leben richtig durchbeißen zu müssen und an Schicksalsschlägen und Herausforderungen zu wachsen. Das Best-of-Album "Simply The Best" eignet sich ganz hervorragend, um über Tina Turner zu sprechen. Vor 30 Jahren ist die Platte rausgekommen und drin ist, was drauf steht: die größten Hits von Tina Turner und die Erklärung, warum Tina Turner zu einer der größten Rocksängerinnen aller Zeiten geworden ist. Im Podcast sprechen wir über das Album, Tina Turners Entscheidung, nach Europa zu ziehen, ihren aktuellen Gesundheitszustand und darüber, wie aus dieser Stimmgewalt eine echte Powerfrau geworden ist. Als Gast mit dabei ist Rocksängerin Julia Neigel. Sie hat Tina Turner in den 90ern auf ihrer "Rock Over Germany"-Tour begleitet und im Vorprogramm vor Zehntausenden Menschen gespielt.   __________ Über diese Songs vom Album "Simply The Best" wird im Podcast gesprochen: 05:40 Mins – "The Best" 13:20 Mins – "Steamy Windows" 21:48 Mins – "Typical Male" 26:20 Mins – "River Deep - Mountain High" 31:03 Mins – "Nutbush City Limits" (Remix) 36:33 Mins – "What's Love Got To Do With It" 40:33 Mins – "Love Thing" 40:34 Mins – "I Want You Near Me" 40:35 Mins – "Way Of The World" __________ Weitere Songbeispiele aus dem Podcast: 06:20 Mins – "The Best" von Bonnie Tyler 14:45 Mins – "Steamy Windows" von Tony Joe White 29:39 Mins – "Nutbush City Limits" Originalversion von Tina Turner 34:38 Mins – "What's Love Got To Do With It" von Kygo 43:29 Mins – "Golden Eye" von Tina Turner __________ Links zum Podcast: Julia Neigel – "Schatten an der Wand" (Rock gegen Rechts | Live | 02.12.2011) https://www.youtube.com/watch?v=ARBLNjJxiTo Die Biographie von Tina Turner – "Love My Life": https://books.google.de/books/about/My_Love_Story.html?id=Ck5VDwAAQBAJ&source=kp_book_description&redir_esc=y __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Holli' Conway is a broadway star who prior to the pandemic made her broadway debut in Tina: The Tina Turner Musical. 8 times a week, fans will begin to catch her again in the ensemble and as an Ikette while performing in a show featuring some of Tina Turner's greatest hits like River Deep Mountain High, Proud Mary, and Private Dancer. Conway also has experience working for Miss. America as well as several other pageants. Conway's father is also a former Olympian so her determination to be "Simply The Best" is in her blood. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jayme-starr/support

You would be right to think of Sha Na Na as a goofy amalgam of caricatures from a bygone era that might not have actually existed. But there was a time, JUST before their crowning achievement: their show being syndicated, when they attempted to be real, songwriting artists. Not of their self-appointed time and place, but as legitimate pop singers. I DO like some of their stuff. Scott Simon, J Jocko, and Denny Greene released solo records. They were not successful. None of these songs were, either. Scott Simon co-wrote "Sandy" for Grease.  ShaNaNa (letter-spacing is intentional - this is how the label reads) - Top 40 (1971) Reached #84, the closest thing they ever had to a hit record. Produced by Eddie Kramer, a South African-English recording producer and engineer that collaborated with several artists now in the Rock and Roll Hall of Fame, including the Beatles, David Bowie, Eric Clapton, Jimi Hendrix, the Kinks, Kiss, Led Zeppelin, the Rolling Stones, John Mellencamp, and Carlos Santana. Also Anthrax, Joe Cocker, Loudness, Peter Frampton, John Mayall, Ten Years After, Mott the Hoople, John Sebastian, Carly Simon, Dionne Warwick, Small Faces, Sir Lord Baltimore, and Whitesnake. (Deep breath) Kramer's film soundtrack credits include Blue Wild Angel: Live at the Isle of Wight, Festival Express, Jimi Plays Monterey, Jimi Plays Berkeley, Live at the Fillmore East, Mad Dogs and Englishmen, The Pursuit of Happiness, Rainbow Bridge, The Song Remains the Same, and Woodstock: Music from the Original Soundtrack and More. And this album by ShaNaNa. Sha Na Na - Bounce In Your Boogie (1972) Produced by Jeff Barry, who co-wrote "Do Wah Diddy Diddy", "Da Doo Ron Ron", "Then He Kissed Me", "Be My Baby", "Chapel of Love", and "River Deep - Mountain High" (all written with his then-wife Ellie Greenwich and Phil Spector); "Leader of the Pack" (written with Greenwich and Shadow Morton); "Sugar, Sugar" (written with Andy Kim); "Without Us" (written with Tom Scott), etc. And he produced this album for Sha Na Na.  Sha Na Na - Glasses (1972) This is the only song I could find in their discography that was written by John "Bowser" Bowman.  She Na Na - Only One Song (1971) This might be their best original, save for the clunky drum punch-ins and mediocre preaching.  John Lennon's backing band of choice from 1971-1973 or so also tried to succeed on their own terms, first as a kind of hippy-dippy second-rate peace-loving band of conscience, and later as a hippy-dippy second-rate peace-loving band of conscience that had backed John Lennon. Carly Simon was in the band for a brief time.  Elephant's Memory - Old Man Willow (1969) This is from the Midnight Cowboy soundtrack. I love Buddah Records.  Elephants Memory - Crossroads of the Stepping Stones (1969) Produced by Wes Farrell who was the music director for The Partridge Family.  Elephant's Memory - Mongoose (1970) John Lennon - Woman is the Nigger of the World (1972) With Elephant's Memory and Invisible Strings. I happen to love this song and Yoko's lyrics are truer every day.  John Lennon - Sunday Bloody Sunday (1972) Which is better? This, or McCartney's "Give Ireland To The Irish"? Chuck Berry - Bio (1973) Backed by Elephant's Memory.  Elephant's Memory - Running Man (1974)  Someone gave Ringo Starr a big pile of cocaine (a hell of a drug) and convinced him that he could run a record label, or at least serve as a tax-dodge for someone else. From the website Rare Beatles: As early as 1970, Ringo had involvement with a production company, Beachport Company Ltd. (in fact, most of the RING O' RECORDS releases feature this name). On July 26, 1973, Ringo started a new music publishing company, Wobble Music Ltd.. However, his own compositions were published by two other Ringo-owned companies, Startling Music Inc. and Richoroony Ltd.. Ringo purchased Tittenhurst Park, John and Yoko's old manor, on September 18,1973 and immediately made the in-house studio, re-christened Startling Studios, available for use by other recording artists. With Apple Records not being fun anymore and virtually little product being released, George formed Dark Horse Records Ltd. on May 23, 1974. Hot on George's heels, on June 28, 1974, Ringo started a company called Reckongrade Ltd.. By December 11, Ringo changed the name to Pyramid Records Ltd.. On April 4, 1975, Ringo officially declared that RING O' RECORDS was open for business, even though one single and an album had already been released! Just to add more confusion to the paper trail, the RING O' name and logo were trademarks of another Ringo company, Wibble Records Limited. RING O' RECORDS actually signed artists and produced records. However, Ringo was not, personally, an active participant in the company, nor was he signed to the label. Over a three-year period, seven albums, and 17 singles were released. [Ed: Click that link for a complete discography.] In North America, Capitol Records distributed the first two singles and the first album of the fledgling label. Polydor issued the label throughout the rest of the world. But distribution problems and the lack of a personal recording deal saw Ringo put his floundering company on hiatus for 18 months. Polydor became the worldwide distributor for the newly re-launched RING O' RECORDS in March 1977. Only a handful of artists (eleven) recorded for the label. In 1978, RING O' RECORDS, in Europe, became a production company, the Able Label. Ringo's financially disastrous venture into the record business was over. Bobby Keys - Gimme That Key (1975) Dirk and Stig - Ging Gang Goolie (1977) Listen for Eric Idle. This is him and Ricky Fataar, late of the South African band The Flames, The "So Tough"-era Beach Boys, and The Rutles, of which this record is a precursor. If in name only.   Someone gave George Harrison a big pile of cocaine (a hell of a drug) and convinced him that he could run a record label, or at least serve as a tax-dodge for someone else. At least his discography is more extensive. Among same: Henry McCullough - You Better Run (1975) Late of Wings. One wonders how this signing happened. If you listen to "Money" by Pink Floyd, Henry is the one saying "I was really drunk at the time..." They also recorded Paul and Linda but they didn't offer much in the way of insight. Any Beatle fan knows this label.  Attitudes - Ain't Love Enough (1975) Yes, THAT David Foster.  Jiva - Don't Be Sad (1975) Jiva was the first American act signed to Dark Horse Records. According to Geoffrey Giuliano's George Harrison biography, Harrison signed Jiva because they were followers of the young Indian Guru Maharaji, to whom he had been introduced by his future 2nd wife Olivia. Stairsteps - Posado (1976) This was originally The Five Stairsteps and Cubie, and then just The Five Stairsteps. Then Five Stairsteps. And then, for a brief time, "Dr. Jimmy and His Amazing Dancing Uvula", and finally, just Stairsteps.  They recorded "O-o-h Child", the huge hit from 1970.  Ravi Shankar - I Am Missing You (1974) Ravi Shankar - Dreams (1974)   The Temptations - Psychedelic Shack (long version) (1970) The Lundstroms with Tiny - The B-I-B-L-E (?) Think - Gotta Get To Know Each Other (1971) Think had an oddball Top 10 hit in the US with "Once You Understand".  Traffic Safety Tip (Public Service Announcement) (?) Spike Jones Without His Orchestra - What is a Disc Jockey? (1954) Vox Populi - Ah! (1969)  Wayne Newton - Charade (1964) We All Together - It's Us Who Say Goodbye (1973) Werner Müller - The Stripper (1972) William Shatner - That's Me Trying (2004) Wilson Malone Voice Band - Penny Lane (1968) Xerox - Bit By Bit (?) 

We nemen je deze week mee uit het diepe dal waarin Activision Blizzard zich bevind en beklimmen (The Ascent) vervolgens de hoogste toppen om met jullie over het wolkendek uit te kijken met Microsoft Flight Simulator. Sorry, voor de cheesy beeldspraak maar een schot voor open doel moet je gewoon nemen. Over hoogte- en dieptepunten gesproken:  Wat waren volgens ons de beste games van 2021 tot dusver, welke games wisten geen indruk te maken en wat staat ons nog te wachten? We bespreken het allemaal voor jou!  0:00 - Into1:17 - Chitchat7:30 - Activision Blizzard Update31:14 - Horizon Forbidden West uitgesteld?40:07 - Terug- en vooruitblik 2021  1:08:43 - Het korte nieuws!1:20:32 - The Ascent ervaringen1:34:31 - Flight Simulator ervaringen1:44:10 - Afsluiter1:45:00 - Outro

In this week's episode of Wheels Off, legendary songwriter and record producer Jeff Barry joins Rhett from his home in Laurel Canyon for a captivating conversation filled with wonderful nuggets of songwriting advice. Jeff and Rhett discuss Jeff's simplified songwriting formula, the early days of his career as a songwriter, how he learned to write great material, the sky-high success of Red Bird Records, and much more. Jeff shares the riveting story of providing the music for Sam Cooke's first single with RCA, and reveals fantastic tips for songwriters that only a master could articulate. Jeff Barry is a singer, songwriter, and record producer from Brooklyn, best known for his songwriting and production work with all-time great acts including The Monkees, The Shangri-Las, and Neil Diamond. He has written timeless classics with his former wife Ellie Greenwich and fellow songwriting partner Phil Spector, and together the three helped define the “Girl Group” sound. They produced hits like “Be My Baby,” “Da Doo Ron Ron,” "Do Wah Diddy Diddy," "River Deep - Mountain High," and many other chart-topping tunes. Jeff went on to compose for T.V. and movies, and wrote the theme songs for One Day at a Time and The Jeffersons, as well as the score for the movie The Idolmaker.Wheels Off is brought to you by Osiris Media. Hosted and produced by Rhett Miller. Co-produced by Kirsten Cluthe in partnership with Nick Ruffini (Revoice Media). Editing by Justin Thomas. Production Assistance by Matt Bavuso. Music by OLD 97's. Episode artwork by Katherine Boils. Show logo by Tim Skirven. See acast.com/privacy for privacy and opt-out information.

It's the series you've been waiting for. A deep dive into THE most iconic Glee character, Santana Lopez. For part four of four, we will talk through Santana's season 5 and 6. At the end, we take all of Santana's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part four, you'll hear #1-10 of Santana's song rankings.   The 41 songs up for discussion in the rankings are: Solos: 2x05: Science Fiction Double Feature 2x09: Valerie 2x16: Trouty Mouth 2x19: Songbird 2x21: Back to Black 3x16: If I Can't Have You 3x19: Love You Like a Love Song 4x04: Mine 4x13: Nutbush City Limits 4x13: Girl on Fire 4x16: Cold Hearted 5x03: If I Die Young 5x09: Don't Rain on My Parade 6x06: Alfie Duets: 1x18: The Boy Is Mine (with Mercedes) 2x02: Me Against The Music (with Brittany) 2x04: River Deep Mountain High (with Mercedes) 2x20: Dancing Queen (with Mercedes) 3x05: A Boy Like That/I Have a Love (with Rachel) 3x06: Hit Me With Your Best Shot/One Way Or Another (with Finn) 3x07: I Kissed a Girl (with Rachel) 3x07: Constant Craving (with Shelby) 3x10: We Found Love (with Rachel) 3x11: Smooth Criminal (with Sebastian) 3x12: La Isla Bonita (with David) 3x17: I Wanna Dance with Somebody (with Brittany) 3x17: So Emotional (with Rachel) 3x19: Take My Breath Away (with Quinn) 4x13: Make No Mistake She's Mine (with Sam) 5x01: A Hard Day's Night (with Rachel) 5x02: Here Comes the Sun (with Dani) 5x09: Brave (with Rachel) 5x09: Every Breath You Take (with Rachel) 5x12: Valerie (with Brittany) 5x13: Be Okay (with Rachel) 5x18: Doo Wop (That Thing) (with Mercedes) 6x03: Hand in My Pocket/I Feel The Earth Move (with Brittany) Group Features: 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x14: Stronger (What Doesn't Kill You) 3x21: Edge of Glory Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

It's the series you've been waiting for. A deep dive into THE most iconic Glee character, Santana Lopez. For part three of four, we will talk through Santana's season 4 and a bit of season 5. At the end, we take all of Santana's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part three, you'll hear #11-20 of Santana's song rankings.   The 41 songs up for discussion in the rankings are: Solos: 2x05: Science Fiction Double Feature 2x09: Valerie 2x16: Trouty Mouth 2x19: Songbird 2x21: Back to Black 3x16: If I Can't Have You 3x19: Love You Like a Love Song 4x04: Mine 4x13: Nutbush City Limits 4x13: Girl on Fire 4x16: Cold Hearted 5x03: If I Die Young 5x09: Don't Rain on My Parade 6x06: Alfie Duets: 1x18: The Boy Is Mine (with Mercedes) 2x02: Me Against The Music (with Brittany) 2x04: River Deep Mountain High (with Mercedes) 2x20: Dancing Queen (with Mercedes) 3x05: A Boy Like That/I Have a Love (with Rachel) 3x06: Hit Me With Your Best Shot/One Way Or Another (with Finn) 3x07: I Kissed a Girl (with Rachel) 3x07: Constant Craving (with Shelby) 3x10: We Found Love (with Rachel) 3x11: Smooth Criminal (with Sebastian) 3x12: La Isla Bonita (with David) 3x17: I Wanna Dance with Somebody (with Brittany) 3x17: So Emotional (with Rachel) 3x19: Take My Breath Away (with Quinn) 4x13: Make No Mistake She's Mine (with Sam) 5x01: A Hard Day's Night (with Rachel) 5x02: Here Comes the Sun (with Dani) 5x09: Brave (with Rachel) 5x09: Every Breath You Take (with Rachel) 5x12: Valerie (with Brittany) 5x13: Be Okay (with Rachel) 5x18: Doo Wop (That Thing) (with Mercedes) 6x03: Hand in My Pocket/I Feel The Earth Move (with Brittany) Group Features: 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x14: Stronger (What Doesn't Kill You) 3x21: Edge of Glory Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

It's the podcast series you've been waiting for. A deep dive into THE most iconic Glee character, Santana Lopez. For part two of four, we will talk through Santana's season 3. At the end, we take all of Santana's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part two, you'll hear #21-30 of Santana's song rankings.   The 41 songs up for discussion in the rankings are: Solos: 2x05: Science Fiction Double Feature 2x09: Valerie 2x16: Trouty Mouth 2x19: Songbird 2x21: Back to Black 3x16: If I Can’t Have You 3x19: Love You Like a Love Song 4x04: Mine 4x13: Nutbush City Limits 4x13: Girl on Fire 4x16: Cold Hearted 5x03: If I Die Young 5x09: Don’t Rain on My Parade 6x06: Alfie Duets: 1x18: The Boy Is Mine (with Mercedes) 2x02: Me Against The Music (with Brittany) 2x04: River Deep Mountain High (with Mercedes) 2x20: Dancing Queen (with Mercedes) 3x05: A Boy Like That/I Have a Love (with Rachel) 3x06: Hit Me With Your Best Shot/One Way Or Another (with Finn) 3x07: I Kissed a Girl (with Rachel) 3x07: Constant Craving (with Shelby) 3x10: We Found Love (with Rachel) 3x11: Smooth Criminal (with Sebastian) 3x12: La Isla Bonita (with David) 3x17: I Wanna Dance with Somebody (with Brittany) 3x17: So Emotional (with Rachel) 3x19: Take My Breath Away (with Quinn) 4x13: Make No Mistake She’s Mine (with Sam) 5x01: A Hard Day’s Night (with Rachel) 5x02: Here Comes the Sun (with Dani) 5x09: Brave (with Rachel) 5x09: Every Breath You Take (with Rachel) 5x12: Valerie (with Brittany) 5x13: Be Okay (with Rachel) 5x18: Doo Wop (That Thing) (with Mercedes) 6x03: Hand in My Pocket/I Feel The Earth Move (with Brittany) Group Features: 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x14: Stronger (What Doesn’t Kill You) 3x21: Edge of Glory Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

It's the podcast series you've been waiting for. A deep dive into THE most iconic Glee character, Santana Lopez. For part one of four, we will talk through Santana in seasons 1 and 2. At the end, we take all of Santana's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part one, you'll hear #31-41 of Santana's song rankings.   The 41 songs up for discussion in the rankings are: Solos: 2x05: Science Fiction Double Feature 2x09: Valerie 2x16: Trouty Mouth 2x19: Songbird 2x21: Back to Black 3x16: If I Can’t Have You 3x19: Love You Like a Love Song 4x04: Mine 4x13: Nutbush City Limits 4x13: Girl on Fire 4x16: Cold Hearted 5x03: If I Die Young 5x09: Don’t Rain on My Parade 6x06: Alfie Duets: 1x18: The Boy Is Mine (with Mercedes) 2x02: Me Against The Music (with Brittany) 2x04: River Deep Mountain High (with Mercedes) 2x20: Dancing Queen (with Mercedes) 3x05: A Boy Like That/I Have a Love (with Rachel) 3x06: Hit Me With Your Best Shot/One Way Or Another (with Finn) 3x07: I Kissed a Girl (with Rachel) 3x07: Constant Craving (with Shelby) 3x10: We Found Love (with Rachel) 3x11: Smooth Criminal (with Sebastian) 3x12: La Isla Bonita (with David) 3x17: I Wanna Dance with Somebody (with Brittany) 3x17: So Emotional (with Rachel) 3x19: Take My Breath Away (with Quinn) 4x13: Make No Mistake She’s Mine (with Sam) 5x01: A Hard Day’s Night (with Rachel) 5x02: Here Comes the Sun (with Dani) 5x09: Brave (with Rachel) 5x09: Every Breath You Take (with Rachel) 5x12: Valerie (with Brittany) 5x13: Be Okay (with Rachel) 5x18: Doo Wop (That Thing) (with Mercedes) 6x03: Hand in My Pocket/I Feel The Earth Move (with Brittany) Group Features: 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x14: Stronger (What Doesn’t Kill You) 3x21: Edge of Glory Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

Nikita Gale speaks with Alexander Provan about Tina Turner, Phil Spector, and the prospect of being heard without being controlled. Gale tells the story of the genre-busting song that Turner and Spector, the infamous producer, recorded in 1966, “River Deep—Mountain High”: a commercial failure but a creative breakthrough for Turner, who had previously been defined as an R&B singer and dominated by her abusive husband and bandmate, Ike Turner. Gale, an artist who has often engaged with Turner's music and biography, talks about the song as a symbol for how the music industry determines whose voices are amplified and whose are silenced. She observes that the segregation of cities in midcentury America was echoed on the airwaves, and the definition of audiences via racial and demographic categories has been upheld by record labels, Spotify, and the Grammys.Nikita Gale is an artist who lives in Los Angeles. In addition to co-hosting Medium Rotation, Gale has worked with Triple Canopy on a residency at the Hammer Museum and a related series of performances and publications. Gale's recent and upcoming projects include exhibitions at the California African American Museum (Los Angeles) and LAX Art (Los Angeles), a commissioned performance at MoMA PS1 (New York City), and the record and book INFINITE RESOURCES (Aventures, 2021).In this episode, Gale draws on her essay “Little Girls,” published by Triple Canopy last year, which describes “River Deep—Mountain High” as the zenith of Spector's “wall of sound” technique—and as “the sound of being together—or of being packed together, forced together.” (A reading of Gale's essay by Kaneza Schaal is available as a bonus episode.) Gale connects Turner's effort to transcend the role of R&B singer, Spector's desire to defy genre, and her own frustration as a teenager in Atlanta with radio stations that played rap for Black listeners and alt-rock for white ones. With Provan, she speaks about the production and reception of “River Deep—Mountain High” as part of the trajectory from “race records” in the 1920s to “urban contemporary” in the 1970s to the ongoing subsumption of most genres by pop music.In order of appearance, the music and other recordings played on this episode are: Tina Turner performing in Gimme Shelter (Maysles Films, 1970), directed by David Maysles, Albert Maysles, and Charlotte Zwerin; Tracy Chapman, “Fast Car,” Tracy Chapman (Elektra, 1988); Tyler, the Creator speaking to the press after winning Best Rap Album at the Grammy Awards, 2020; outtakes from the recording of “River Deep—Mountain High,” from Ike & Tina Turner, What You See Is What You Get (Big Fro, 2018); the Ronettes, “Walking in the Rain” (Philles, 1964); Jackie Brenston and his Delta Cats (a.k.a. Ike Turner and his Kings of Rhythm), “Rocket 88” (Chess, 1951); Tina Turner interviewed on “The Late Show with David Letterman,” May 31, 1984; Phil Spector inducting Ike & Tina Turner into the Rock & Roll Hall of Fame, 1991; interview with Phil Spector from All You Need Is Love: The Story of Popular Music (London Weekend Television, 1977), directed by Tony Palmer; Brian Gibson, dir., What's Love Got to Do with It (Touchstone Pictures, 1993).Medium Rotation is produced by Alexander Provan with Andrew Leland, and edited by Provan with Matt Frassica. Tashi Wada composed the theme music. Matt Mehlan acted as audio engineer and contributed additional music.Medium Rotation is made possible through generous contributions from the Andy Warhol Foundation for the Visual Arts and Nicholas Harteau. This season of Medium Rotation is part of Triple Canopy's twenty-sixth issue, Two Ears and One Mouth, which receives support from the Stolbun Collection, the Shelley & Donald Rubin Foundation, Agnes Gund, the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs in partnership with the City Council.

#275-271Intro/Outro: Inside Out by Eve 6275. It's the End of the World as We Know It (and I Feel Fine) by R.E.M.274. Sucker M.C.'s (Krush-Groove 1) by Run-D.M.C.273. Do You Remember by Jack Johnson272. New by Paul McCartney271. River Deep - Mountain High by Ike & Tina TurnerBalderdash alert: I inserted one bogus fact into today's episode

As the British weather forces Charlotte to rearrange her artisan pop-up event, we take refuge in the Voyage Around My AGA kitchen to study the bestselling cookbook Salt, Fat, Acid, Heat by Samin Nosrat and to explore new ways of using Elderflower. In the newly named Charlotte's Corner, she reminds us all of the tiny Forget-Me-Not, which seems to remind Steve of music! The weather has at least enabled us to catch up on TV, and Steve has gone very Proud Mary remembering Tina Turners final concert tour. --- Send in a voice message: https://anchor.fm/voyagearoundmyaga/message

Episode 49 of Just Havin a Crack, Angus Waddell.Angus has a unique story being one of few Australians to compete for Australia in Athletics and swimming.Angus was a fine high jumper, which took him to the Brisbane Commonwealth Games. Along with his father as his coach, Angus was a driven athlete, but he loved competing and the love of the sport wasn't lost on him.Following the Commonwealth Games and other events, Angus ruptured his Achilles and was no longer able to compete in the high jump.He turned his hand to swimming. he became good, very good. That talent took him to Pan-Pac's and the Barcelona Olympics. The 50m Freestyle was his pet event.

Queen & J. are two womanist race nerds talking liberation, politics, and pop-culture over tea. Drink up! On this episode… America’s vaccine rollout is giving structural oppression vibes! With many of America's incarcerated being denied access to the covid vaccine. Also, Black folks valid distrust of the system vs. irresponsible fear-mongering, and Tina Turner is a whole legend, let’s discuss! This week’s hot list: Routines, smoothies and Spring! SlayTV’s new queer web-series ‘For The Boys’ is our jam. Tina Turner’s life as Black woman in entertainment, and the HBO documentary Tina vs. her 1993 biopic ‘What’s Love Got To Do With’, racism and ageism, and how River Deep Mountain High is a bop! COVID-19 vaccines and the prison industrial complex, who deserves to live and who doesn’t. Black ass covid anxiety (TUSKEGEE!), fears, vaccine conspiracies, jokes, an adorable Daniel Kaluuya in an awkward ass SNL sketch. *Content warning: during our conversation about Tina Turner we do reference domestic abuse though we do not detail any incidents of violence* EPISODE TIMESTAMPS Libations: 3:16 Donation Libations: 7:43 Affirmations: 10:19 The Tina documentary: 12:51 Pay Black Women: 45:00 Incarcerated populations and COVID-19 vaccines: 47:25 Vaccine misinformation: 1:05:45 SNL Vaccine joke fail: 1:18:00 Tweet us while you listen! #teawithqj @teawithqj and add #podin on Twitter to help others discover Tea with Queen and J. podcast! WEBSITE www.TeaWithQueenAndJ.com SOCIAL MEDIA Twitter: twitter.com/teawithqj Instagram: Instagram.com/teawithqj Facebook: www.facebook.com/TeawithQueenandJ Tumblr: teawithqueenandj.tumblr.com EMAIL & SPONSOR INQUIRIES teawithqueenandj@gmail.com DONATE www.paypal.me/teawithqj OR www.patreon.com/teawithqj Queen’s Amazon wishlist: https://www.amazon.com/hz/wishlist/ls/CXV9ZDWZ3PP9?ref_=wl_share J.’s Amazon wishlist: https://www.amazon.com/hz/wishlist/ls/1NP09USMPJ0TB?ref=cm_sw_em_r_wl_ip_VEVWdvdDDemm Send us snail mail: Tea with Queen and J. P.O. Box 1617 229 East 85th Street New York, NY 10028 NEWS THAT’S NOT NEWS: Covid Outbreaks Devastated Prisons, but State Inmates’ Access to the Vaccine Varies Widely https://www.nytimes.com/2021/03/17/us/covid-prisoners-vaccine.html High Risk Group Left Out of NY’s Vaccine Rollout https://www.nytimes.com/2021/01/26/nyregion/new-york-vaccine-prisons.html Prison Policy Initiative: https://www.prisonpolicy.org/blog/2020/12/08/covid-vaccination-plans/ PAY BLACK WOMEN Help Rashida get the funds to finish her Masters’ program! cash app https://cash.app/$newbianqueenra Paypal PayPal.me/newbianqueen and Venmo @newbianqueen_ra NOTES AND EXTRA TEA Check out For The Boys, web series https://www.youtube.com/watch?v=Q90tiuQEGCw&t=3s Check out J. on The Grapevine in a throwback conversation about the covid-19 vaccine starting at 46:50 https://www.youtube.com/watch?v=3Su50OtYSv0 Google “Vaccine Game Show - SNL” to watch that awkward SNL sketch This week’s closing clip features DMX on Drink Champs podcast https://twitter.com/DanteAbstract/status/1378889850141675520 This episode was created, hosted, and produced by Naima Lewis Muhammad & Janicia Francis with editorial support from Candice Jones Libations to our friend’s Domingo, Tokunbo, and D. Sindayiganza who help keep this show running by paying and supporting Black women. Opening song by Ohene Cornelius Segment Music by Chad Milner

This week, we’re looking at not just one of the most influential vocal duos of all time, but one of the most incredible survival stories in music, Ike & Tina Turner! If you liked this episode, please subscribe, leave a comment, and share with your friends! Check us out in Patreon to support our channel: https://www.patreon.com/goodmusicpodcast Also, click on this link to listen to this week’s songs! https://open.spotify.com/user/lucaschrisman/playlist/1bhH8fpP24BOrPiEC3BBL7?si=nq7CV5NKRju-IKo-m5w7qA This week’s songs are: Proud Mary, Get It-Get It!, Game of Love, Workin’ Together, He Belongs To Me, River Deep Mountain High.

Tercer programa, de cuatro, dedicado al Soul de Stax (Memphis) y Atlantic (Nueva York) que nos llegó vía Hispavox (Madrid) Las grabaciones pertenecen a dos elepés dobles que se ensamblaron en España y se publicaron en una 'serie 500', que significaba dos discos al precio de uno: 500 pesetas. Fué un considerable éxito de ventas. Ponemos los discos españoles originales, analógicos, sin remasterizar. VARIOS – LO MEJOR DEL SOUL 2. Atlantic – 500-97 5. Hispavox 1974 B3 Leslie Uggams– River Deep Mountain High 2:46 A4 Spinners– Ghetto Child 3:47 A5 R.B. Greaves– Take A Letter Maria 2:44 A6 Joe Tex– Green Grass Of Home 3:13 B1 Wilson Pickett– Get Me Back On Time, Engine N°9 6:23 B2 Sam & Dave– Hold On I'm Comin' 2:30 B3 Leslie Uggams– River Deep Mountain High 2:46 B4 Arthur Conley– Ah ! Ah ! Ah ! 2:20 B5 Clarence Carter– Light My Fire 2:50 B6 Roberta Flack– The First Time I Ever Saw Your Face 5:21 C1 Donny Hathaway– Come Little Children 4:31 C2 Aretha Franklin– I Say A Little Prayer 2:41 Escuchar audio

Segundo programa de cuatro dedicado al Soul de Stax (Memphis) y Atlantic (Nueva York) que nos llegó vía Hispavox (Madrid) Las grabaciones pertenecen a dos elepés dobles que se ensamblaron en España y se publicaron en una serie 500, que significaba dos discos al precio de uno: 500 pesetas. Fué un considerable éxito de ventas. Ponemos los discos españoles originales, analógicos, sin remasterizar. VARIOS – LO MEJOR DEL SOUL 1. Atlantic – 500-48 Hispavox 1974 C5 Rufus Thomas– The Memphis Train = El Tren De Memphis 2:30 C4 King Curtis– Memphis Soul Stew 2:55 C6 Wilson Pickett– In The Midnight Hour = A La Media Noche 2:29 D1 Clarence Carter– Funky Fever 2:45 D2 The Mar-Keys– Philly Dog 2:14 D3 Otis Redding– Sittin On The Dock Of The Bay = Sentado En El Muelle De La Bahía 2:38 D4 Joe Tex– Show Me = Enseñame 2:53 D5 Otis Redding, Carla Thomas– Tramp = Vagabundo 3:00 D6 Percy Sledge– When A Man Loves A Woman 2:55 VARIOS – LO MEJOR DEL SOUL 2. Atlantic – 500-97 5 Hispavox 1974 A1 Aretha Franklin– Spanish Harlem 3:30 A2 Rascals– People Got To Be Free 2:57 A3 Roberta Flack & Donny Hathaway– Where Is The Love 2:43 B3 Leslie Uggams– River Deep Mountain High 2:46 Escuchar audio

In part two of the Mercedes Jones character study, it's time to follow Mercedes to hang with the infamous TroubleTones. We're finishing out Mercedes' senior year and covering the few times we get to see her in season 4. At the end, we take all of Mercedes's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part two, you'll hear #16-30 of Mercedes's song rankings.   The 49 songs up for discussion in the rankings are: Solos: 1x03: Bust Your Windows 1x07: Hate on Me 1x13: And I Am Telling You I’m Not Going 1x16: Beautiful 2x03: I Look To You 2x03: Bridge Over Troubled Water 2x05: Sweet Transvestite 2x16: Hell to the No 2x17: Ain’t No Way 2x21: Try a Little Tenderness 3x03: Spotlight 3x09: All I Want For Christmas Is You 3x12: Don’t Wanna Lose You 3x13: I Will Always Love You 3x16: Disco Inferno 4x21: Higher Ground 5x03: I’ll Stand By You 5x15: You Make Me Feel (Like a Natural Woman) 5x15: Colorblind 5x16: I Want To Know What Love Is 5x20: Shakin’ My Head 6x06: Baby It’s You 6x12: I’m His Child 6x13: Someday We’ll Be Together Duets: 1x10: Lean on Me (with Artie) 1x15: 4 Minutes (with Kurt) 1x18: Lady is a Tramp (with Puck) 1x18: The Boy is Mine (with Santana) 2x04: River Deep Mountain High (with Santana) 2x09: Dog Days Are Over (with Tina) 2x10: We Need a Little Christmas (with Tina) 2x13: Take Me Or Leave Me (with Rachel) 2x20: Dancing Queen (with Santana) 3x03: Out Here On My Own (with Rachel) 3x11: Human Nature (with Sam) 5x13: I Am Changing (with Kurt) 5x16: Let’s Wait AWhile (with Artie) 5x18: Doo Wop (That Thing) (with Santana) 6x07: All About That Bass (with Roderick) 6x08: At Last (with Artie) Group Features: 1x11: Hair/Crazy in Love 3x03: It’s All Over 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x10: Summer Nights 3x14: Stronger (What Doesn’t Kill You) 3x17: My Love is Your Love 3x21: Edge of Glory 4x21: Superstition Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

The time has come to dive deep into the world of superstar-on-the-rise, Mercedes Jones! In part one, we'll be talking about Mercedes' early days in the New Directions during seasons 1 and 2. At the end, we take all of Mercedes's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part one, you'll hear #31-49 of Mercedes's song rankings.   The 49 songs up for discussion in the rankings are: Solos: 1x03: Bust Your Windows 1x07: Hate on Me 1x13: And I Am Telling You I’m Not Going 1x16: Beautiful 2x03: I Look To You 2x03: Bridge Over Troubled Water 2x05: Sweet Transvestite 2x16: Hell to the No 2x17: Ain’t No Way 2x21: Try a Little Tenderness 3x03: Spotlight 3x09: All I Want For Christmas Is You 3x12: Don’t Wanna Lose You 3x13: I Will Always Love You 3x16: Disco Inferno 4x21: Higher Ground 5x03: I’ll Stand By You 5x15: You Make Me Feel (Like a Natural Woman) 5x15: Colorblind 5x16: I Want To Know What Love Is 5x20: Shakin’ My Head 6x06: Baby It’s You 6x12: I’m His Child 6x13: Someday We’ll Be Together Duets: 1x10: Lean on Me (with Artie) 1x15: 4 Minutes (with Kurt) 1x18: Lady is a Tramp (with Puck) 1x18: The Boy is Mine (with Santana) 2x04: River Deep Mountain High (with Santana) 2x09: Dog Days Are Over (with Tina) 2x10: We Need a Little Christmas (with Tina) 2x13: Take Me Or Leave Me (with Rachel) 2x20: Dancing Queen (with Santana) 3x03: Out Here On My Own (with Rachel) 3x11: Human Nature (with Sam) 5x13: I Am Changing (with Kurt) 5x16: Let’s Wait AWhile (with Artie) 5x18: Doo Wop (That Thing) (with Santana) 6x07: All About That Bass (with Roderick) 6x08: At Last (with Artie) Group Features: 1x11: Hair/Crazy in Love 3x03: It’s All Over 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x10: Summer Nights 3x14: Stronger (What Doesn’t Kill You) 3x17: My Love is Your Love 3x21: Edge of Glory 4x21: Superstition Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

To close out this Mercedes Jones series, we talk through seasons 5 and 6 as our girl begins to achieve all the success she deserves, lending a helping hand to her friends all along the way. At the end, we take all of Mercedes's featured songs and reveal the final rankings based on voting from both hosts as well as anyone who participated in the song surveys! For part three, you'll hear #1-15 of Mercedes's song rankings.   The 49 songs up for discussion in the rankings are: Solos: 1x03: Bust Your Windows 1x07: Hate on Me 1x13: And I Am Telling You I’m Not Going 1x16: Beautiful 2x03: I Look To You 2x03: Bridge Over Troubled Water 2x05: Sweet Transvestite 2x16: Hell to the No 2x17: Ain’t No Way 2x21: Try a Little Tenderness 3x03: Spotlight 3x09: All I Want For Christmas Is You 3x12: Don’t Wanna Lose You 3x13: I Will Always Love You 3x16: Disco Inferno 4x21: Higher Ground 5x03: I’ll Stand By You 5x15: You Make Me Feel (Like a Natural Woman) 5x15: Colorblind 5x16: I Want To Know What Love Is 5x20: Shakin’ My Head 6x06: Baby It’s You 6x12: I’m His Child 6x13: Someday We’ll Be Together Duets: 1x10: Lean on Me (with Artie) 1x15: 4 Minutes (with Kurt) 1x18: Lady is a Tramp (with Puck) 1x18: The Boy is Mine (with Santana) 2x04: River Deep Mountain High (with Santana) 2x09: Dog Days Are Over (with Tina) 2x10: We Need a Little Christmas (with Tina) 2x13: Take Me Or Leave Me (with Rachel) 2x20: Dancing Queen (with Santana) 3x03: Out Here On My Own (with Rachel) 3x11: Human Nature (with Sam) 5x13: I Am Changing (with Kurt) 5x16: Let’s Wait AWhile (with Artie) 5x18: Doo Wop (That Thing) (with Santana) 6x07: All About That Bass (with Roderick) 6x08: At Last (with Artie) Group Features: 1x11: Hair/Crazy in Love 3x03: It’s All Over 3x06: Rumor Has It/Someone Like You 3x08: Survivor/I Will Survive 3x10: Summer Nights 3x14: Stronger (What Doesn’t Kill You) 3x17: My Love is Your Love 3x21: Edge of Glory 4x21: Superstition Follow us on Twitter: @choirroompod E-mail us! Feedback, ideas, fact-checks, anything! choirroompodcast@gmail.com Want to help financially support the show? paypal.me/choirroompodcast

Two of the best selling albums of 2020 were from Taylor Swift. Hosts Jim DeRogatis and Greg Kot talk with music critic Kristin Stahlke about Swift's remarkable year and what led to it. They also review a new album from singer-songwriter Jazmine Sullivan, bid farewell to New York Dolls guitarist Sylvain Sylvain and discuss Phil Spector. Become a member on Patreon: https://www.patreon.com/soundopinionsMake a donation via PayPal: https://bit.ly/36zIhZK Record a Voice Memo: https://www.micdropp.com/studio/5febf006eba45/ Featured Songs:Taylor Swift, "dorothea," evermore, Republic, 2020The Ronettes, "Be My Baby," (Single), Phillies, 1963Darlene Love, "Christmas (Baby Please Come Home)," (Live on Late Night with David Letterman), Unreleased, 1986Ike and Tina Turner, "River Deep - Mountain High," River Deep - Mountain High, London, 1966New York Dolls, "Trash," New York Dolls, Mercury, 1973David Johansen, "Frenchette," David Johansen, Columbia, 1978Jazmine Sullivan, "Lost One," Heaux Tales, RCA, 2021Jazmine Sullivan, "Pick Up Your Feelings," Heaux Tales, RCA, 2021Jazmine Sullivan, "Antoinette's Tale," Heaux Tales, RCA, 2021Jazmine Sullivan, "The Other Side," Heaux Tales, RCA, 2021Taylor Swift, "champagne problems," evermore, Republic, 2020Taylor Swift, "this is me trying," folklore, Republic, 2020Taylor Swift, "the 1," folklore, Republic, 2020Taylor Swift, "willow," evermore, Republic, 2020Taylor Swift, "exile (feat. Bon Iver)," folklore, Republic, 2020Taylor Swift, "closure," evermore, Republic, 2020Taylor Swift, "This Is Why We Can't Have Nice Things," reputation, Big Machine, 2017Taylor Swift, "We Are Never Ever Getting Back Together," Red, Big Machine, 2012Taylor Swift, "no body, no crime (feat. HAIM)," evermore, Republic, 2020Taylor Swift, "august," folklore, Republic, 2020Taylor Swift, "marjorie," evermore, Republic, 2020Taylor Swift, "mirrorball," folklore, Republic, 2020Taylor Swift, "gold rush," evermore, Republic, 2020Frank Zappa, "Peaches en Regalia," Hot Rats, Reprise, 1969  

Ayer llegó la noticia de que el productor y compositor Phil Spector había muerto por causas naturales el sábado en el hospital de la prisión donde se encontraba confinado desde 2008. Spector derivó la música pop y el rock and roll a grandes orquestaciones con ese sonido grandioso que se dio en llamar “Wall Of Sound”. Hizo éxitos como “Be My Baby” para The Ronettes o “Unchained Melody” para The Righteous Brothers, produjo álbumes históricos como “Let It Be” de The Beatles “Imagine” de John Lennon”, “Death Of A Ladies Man” de Leonard Cohen. Su última producción fue para el grupo Starsailor “silence is Easy” en 2003. DISCO 1 THE BEATLES The Long And Winding Road (1967/70CD 2 - 14) DISCO 2 THE BEATLES The Long And Winding Road (LET IT BE NAKED - 4)  DISCO 3 THE CRYSTALS Da Doo Ron Ron (MAGGIE ROGERS - 1) 1963 DISCO 4 THE RONETTES Be My baby (MAGGIE ROGERS - 2) 1963 DISCO 5 THE RIGHTEOUS BROTHERS You’ve Lost That Loving Feeling (1) 1965 DISCO 6 THE RIGHTEOUS BROTHERS Unchained Melody (3) 1965 DISCO 7 IKE & TINA TURNER River Deep- Mountain High (2) 1966 DISCO 8 GEORGE HARRISON My Sweet Lord (CD 1 - 2) 1970 DISCO 9 BOB DYLAN Blowin' In The Wind (CONCERT FOR BANGLA DESH CD 2 - 55) 1971 DISCO 10 JOHN LENNON Imagine (CD 1 - 2) 1971 DISCO 11 YOKO ONO Nobody Sees Me Like You Do (Cara 1 Corte 4) 1981 DISCO 12 RAMONES Do You Remember Rock & Roll Radio? (CD 1 - 29) 1980 DISCO 13 LEONARD COHEN True Love Leaves No Traces (MAGGIE ROGERS - 3) 1977 DISCO 14 NEIL YOUNG Wonderin’ (Alternate)(14) Escuchar audio

What did George Harrison have to say about River Deep Mountain High? How much was Ike Turner paid to stay away from the recording? Which country music icon played guitar on the  track? Join Stevie Nix as he answers all of these questions and more on this episode that pays tribute to Tina Turner's greatest vocal performance.WARNING: This episode contains traces of Phil Spector.Featured artists [in alphabetical order]:The AnimalsGlen CampbellDeep PurpleErasureThe FaithettesIke & Tina TurnerAdrienne WarrenPrecious WilsonHidden track: It's Gonna Work Out Fine20 Songs That Have Things Covered #7Join Stevie on Spotify and Instagramwww.songsungnew.com

New episode of Music Is My Radar: Quarter 2 of 2007 #1's. A whole lotta Sparks this time out, and some 'cancelled' music talks. I try not to be too thinkpiece like, but it had to be mentioned. Enjoy! Song list: "Sad Sweet Dreamer" by Sweet Sensation, " This Town Ain't Big Enough For Both of Us" by Sparks, "C'mon Marianne" by the Four Seasons, "Amateur Hour" by Sparks, " The Legend of Xanadu" by Dave Dee, Dozy, Beak, Mick, and Tich, and "River Deep - Mountain High" by Ike and Tina Turner. --- Support this podcast: https://anchor.fm/musicismyradar/support

In the 4th episode of Season 2, Conor is joined by Adam Trundle, of the Odd Theatre Company. Tune in to hear their thoughts about the iconic duet competition, River Deep Mountain High, and all things Glee.Co-produced by Conor Burke and Daniella Harrison.

Tiffany and Tom finally continue on their Tina Turner pilgrimage. In this episode, Tina's marriage to Ike Turner is discussed with a special Tom update at the top of the show. Tina Turner Companion Playlist: rb.gy/0bdtmp Listen to our Patréon only Podcast Wreck Collect: https://open.acast.com/public/patreon/fanSubscribe/1656779 Instagram - bit.ly/2Gs4dan
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Tiffany and Tom finally continue on their Tina Turner pilgrimage. In this episode, Tina's marriage to Ike Turner is discussed with a special Tom update at the top of the show. Tina Turner Companion Playlist: rb.gy/0bdtmp Instagram - bit.ly/2Gs4dan
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 Website - www.itbearsrepeatingpodcast.com
 Email - itbearsrepeatingpod@gmail.com

How does a record make us feel like we're in a vast space, one that we've never experienced, one that may not exist? In this episode, the last of the series, I look at the Phil Spector production, 'River Deep — Mountain High', performed in 1966 by Tina Turner, to explore how we hear space in music. It was a groundbreaking record in its time, costing an unprecedented amount of money to make, and it still sounds as if it's pushing at the outer limits of what can be captured on record. I'm interested in how we experience all that as listeners: how something so apparently small as a three-minute pop song can contain intimations of cavernous feeling and impossible depths.All the songs discussed in this episode, including the original recording of 'River Deep - Mountain High' can be heard here. If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

Für die Queen of Rock und Soul-Diva war der Titel nicht nur der ganz große Durchbruch vor allem in Europa, er hat in den 1960ern auch Musikgeschichte geschrieben. Sein oppulenter, orchesterhafter Sound entsteht durch das Übereinanderlegen von mehrfach besetzten Instrumenten und den Einsatz von Hall. Ein damals aufwendiges Verfahren, für das der Produzent Phil Spector den Begriff „Wall of Sound” geprägt hatte.

durée : 00:07:03 - Le disque qui vaut le détour France Bleu Besançon - Le disque qui vaut le détour de Caroline disquaire à Forum Besançon

Ohio Players/Together Curtis Mayfield/P.S. I Love You The Five Stairsteps/The Girl I Love Latimore/Long Distance Love The Main Ingredient/Traveling Sylvia/Not On The Outside Stevie Wonder/I Never Dreamed You'd Leave In Summer Smokey Robinson/Baby, Baby Don't Cry David Ruffin/ Heavy Love Cameo/Sparkle L.T.D./Shine On Funkadelic/Sexy Ways Steve Cropper, Pop Staples, Albert King/Baby, What You Want Me To Do The Allman Brothers/Soulshine Otis Redding/That's How Strong My Love Is The Whispers/A Song For Donny The Persuaders/Love Gonna Pack Up (And Walk Out) Barbara Acklin/I Call It Trouble The Controllers/Somebody's Gotta Win Bloodstone/My Kinda Woman The Gap Band/Yearning For Your Love Con Funk Shun/Make It Last Ray, Goodman & Brown/ The Way It Should Be The Commodores/Zoom Ike & Tina Turner/Your No Good Ike & Tina Turner/River Deep Mountain High Ike & Tina Turner/Nutbush City Limits Ike & Tina Turner/A Fool In Love

A detailed look at black, African-American, culture during the "Sixties". (1960-1969)   Overview   "The Sixties":  the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order.   Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time.   Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm.   The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments.   In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock.   Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe.   The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States.   The 1960s were marked by several notable assassinations:   12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi.   22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas.   21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X.   4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee.   5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries.   Social and political movements (counterculture)   Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music.     Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in".   Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing.   Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country.   Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term.   Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride.   Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest.   Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018)   Popular culture   The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism.   Music   British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964   "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana.     As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public.   Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963.   Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward.   Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others.   While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music.   In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964.   As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes.   A major development in popular music during the mid-1960s was the movement away from singles and towards albums.   Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk.   Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century.   Significant events in music in the 1960s:   Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances.   Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record.   The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run.   The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go".   John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era.   In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States.   The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques.   R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash.   The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody".   1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin.   Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968.   Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock.   The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums.   Woodstock Festival, 1969   Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival.   Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch.   Television   The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie.   The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day.   Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War.   Fashion   Significant fashion trends of the 1960s include:     The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket.   The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.   The bikini came into fashion in 1963 after being featured in the film Beach Party.   Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s.   Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade.   Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade.   African-American hairstyles for men and women included the afro.       James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968)     Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962)     Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969)     The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969)     Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964)     Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68)     The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968)     Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965)     The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965)     Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63)     Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967)     Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965)     Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968)     Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969)     Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967)     Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967)     B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968)     Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967)     The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965)     Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964)     The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966)     Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965)     Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964)     Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965)     Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68)     The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62)     Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964)     Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966)     The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63)     Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69)     Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969)     Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966)     Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962)     Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967)     Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969)     The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969)     Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969)     Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964)     Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969)     Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961)     Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966)     Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969)     The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968)     Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966)     Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969)     The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963)     Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965)     Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966)     Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966)     Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)  

A detailed look at black, African-American, culture during the "Sixties". (1960-1969) (Bonus Artists: hidingtobefound & Luck Pacheco)   Overview   "The Sixties":  the counterculture and revolution in social norms about clothing, music, drugs, dress, sexuality, formalities, and schooling – or - irresponsible excess, flamboyance, and decay of social order.   Also labeled the Swinging Sixties because of the fall or relaxation of social taboos especially relating to racism and sexism that occurred during this time.   Also described as a classical Jungian nightmare cycle, where a rigid culture, unable to contain the demands for greater individual freedom, broke free of the social constraints of the previous age through extreme deviation from the norm.   The confrontation between the US and the Soviet Union dominated geopolitics during the '60s, with the struggle expanding into developing nations in Latin America, Africa, and Asia characterized by proxy wars, funding of insurgencies, and puppet governments.   In response to civil disobedience campaigns from groups like the Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Conference (SCLC), U.S. President John F. Kennedy, pushed for social reforms. Kennedy's assassination in 1963 was a shock.   Liberal reforms were finally passed under Lyndon B. Johnson including civil rights for African Americans· and healthcare for the elderly and the poor. Despite his large-scale Great Society programs, Johnson was increasingly reviled. The heavy-handed American role in the Vietnam War outraged student protestors around the globe.   The assassination of Martin Luther King, Jr., anti-Vietnam War movement, and the police response towards protesters of the 1968 Democratic National Convention, defined a politics of violence in the United States.   The 1960s were marked by several notable assassinations:   12 June 1963 – Medgar Evers, an NAACP field secretary. Assassinated by Byron de la Beckwith, a member of the Ku Klux Klan in Jackson, Mississippi.   22 November 1963 – John F. Kennedy, President of the United States. Assassinated by Lee Harvey Oswald while riding in a motorcade through Dealey Plaza in Dallas, Texas.   21 February 1965 – Malcolm X. Assassinated by members of the Nation of Islam in New York City. There is a dispute about which members killed Malcolm X.   4 April 1968 – Martin Luther King, Jr., civil rights leader. Assassinated by James Earl Ray in Memphis, Tennessee.   5 June 1968 – Robert F. Kennedy, United States Senator. Assassinated by Sirhan Sirhan in Los Angeles, after taking California in the presidential national primaries.   Social and political movements (counterculture)   Flower Power/Hippies In the second half of the decade, young people began to revolt against the conservative norms of the time. The youth involved in the popular social aspects of the movement became known as hippies. These groups created a movement toward liberation in society, including the sexual revolution, questioning authority and government, and demanding more freedoms and rights for women and minorities. The movement was also marked by the first widespread, socially accepted drug use (including LSD and marijuana) and psychedelic music.     Anti-war movement The war in Vietnam would eventually lead to a commitment of over half a million American troops, resulting in over 58,500 American deaths and producing a large-scale antiwar movement in the United States. Students became a powerful and disruptive force and university campuses sparked a national debate over the war. The antiwar movement was heavily influenced by the American Communist Party, but by the mid-1960s it outgrew this and became a broad-based mass movement centered in universities and churches: one kind of protest was called a "sit-in".   Civil rights movement Beginning in the mid-1950s and continuing into the late 1960s, African-Americans in the United States aimed at outlawing racial discrimination against black Americans and voting rights to them. The emergence of the Black Power movement, which lasted roughly from 1966 to 1975, enlarged the aims of the civil rights movement to include racial dignity, economic and political self-sufficiency, and anti-imperialism. The movement was characterized by major campaigns of civil resistance. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama.; and a wide range of other nonviolent activities. Noted legislative achievements during this phase of the civil rights movement were passage of Civil Rights Act of 1964, that banned discrimination based on "race, color, religion, or national origin" in employment practices and public accommodations; the Voting Rights Act of 1965, that restored and protected voting rights; the Immigration and Nationality Services Act of 1965, that dramatically opened entry to the U.S. to immigrants other than traditional European groups; and the Fair Housing Act of 1968, that banned discrimination in the sale or rental of housing.   Hispanic and Chicano movement Another large ethnic minority group, the Mexican-Americans, are among other Hispanics in the U.S. who fought to end racial discrimination and socioeconomic disparity. In the 1960s and the following 1970s, Hispanic-American culture was on the rebound like ethnic music, foods, culture and identity both became popular and assimilated into the American mainstream. Spanish-language television networks, radio stations and newspapers increased in presence across the country.   Second-wave feminism A second wave of feminism in the United States and around the world gained momentum in the early 1960s. While the first wave of the early 20th century was centered on gaining suffrage and overturning de jure inequalities, the second wave was focused on changing cultural and social norms and de facto inequalities associated with women. At the time, a woman's place was generally seen as being in the home, and they were excluded from many jobs and professions. Feminists took to the streets, marching and protesting, writing books and debating to change social and political views that limited women. In 1963, with Betty Friedan's revolutionary book, The Feminine Mystique, the role of women in society, and in public and private life was questioned. By 1966, the movement was beginning to grow and power as women's group spread across the country and Friedan, along with other feminists, founded the National Organization for Women. In 1968, "Women's Liberation" became a household term.   Gay rights movement The United States, in the middle of a social revolution, led the world in LGBT rights in the late 1960s and early 1970s. Inspired by the civil-rights movement and the women's movement, early gay-rights pioneers had begun, by the 1960s, to build a movement. These groups were rather conservative in their practices, emphasizing that gay men and women are no different from those who are straight and deserve full equality. This philosophy would be dominant again after AIDS, but by the very end of the 1960s, the movement's goals would change and become more radical, demanding a right to be different, and encouraging gay pride.   Crime The 1960s was also associated with a large increase in crime and urban unrest of all types. Between 1960 and 1969 reported incidences of violent crime per 100,000 people in the United States nearly doubled and have yet to return to the levels of the early 1960s. Large riots broke out in many cities like Chicago, Detroit, Los Angeles, New York City, Newark, New Jersey, Oakland, California and Washington, D.C. By the end of the decade, politicians like George Wallace and Richard Nixon campaigned on restoring law and order to a nation troubled with the new unrest.   Economics The decade began with a recession and at that time unemployment was considered high at around 7%. John F. Kennedy promised to "get America moving again." To do this, he instituted a 7% tax credit for businesses that invest in new plants and equipment. By the end of the decade, median family income had risen from $8,540 in 1963 to $10,770 by 1969. Minimum wage was $1.30 per hour / ~$2,700 per year (~$18,700 in 2018)   Popular culture   The counterculture movement dominated the second half of the 1960s, its most famous moments being the Summer of Love in San Francisco in 1967, and the Woodstock Festival in upstate New York in 1969. Psychedelic drugs, especially LSD, were widely used medicinally, spiritually and recreationally throughout the late 1960s, and were popularized by Timothy Leary with his slogan "Turn on, tune in, drop out". Psychedelic influenced the music, artwork and films of the decade, and several prominent musicians died of drug overdoses. There was a growing interest in Eastern religions and philosophy, and many attempts were made to found communes, which varied from supporting free love to religious puritanism.   Music   British Invasion: The Beatles arrive at John F. Kennedy International Airport, 7 February 1964   "The 60's were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves." – Carlos Santana.     As the 1960s began, the major rock-and-roll stars of the '50s such as Chuck Berry and Little Richard had dropped off the charts and popular music in the US came to be dominated by Motown girl groups and novelty pop songs. Another important change in music during the early 1960s was the American folk music revival which introduced Joan Baez, Pete Seeger, The Kingston Trio, Harry Belafonte, Bob Dylan, Odetta, and many other Singer-songwriters to the public.   Girl groups and female singers, such as the Shirelles, Betty Everett, Little Eva, the Dixie Cups, the Ronettes, and the Supremes dominated the charts in the early 1960s. This style consisted typically of light pop themes about teenage romance, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las emerged by 1963.   Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward.   Also during the early '60s, the “car song” emerged as a rock subgenre and coupled with the surf rock subgenre. Such notable songs include "Little Deuce Coupe," "409," and "Shut Down," all by the Beach Boys; Jan and Dean's "Little Old Lady from Pasadena" and "Drag City," among many others.   While rock 'n' roll had 'disappeared' from the US charts in the early '60s, it never died out in Europe and Britain was a hotbed of rock-and-roll activity during this time. In late 1963, the Beatles embarked on their first US tour. A few months later, rock-and-roll founding father Chuck Berry emerged from a 2-1/2-year prison stint and resumed recording and touring. The stage was set for the spectacular revival of rock music.   In the UK, the Beatles played raucous rock 'n' roll – as well as doo wop, girl-group songs, show tunes. Beatlemania abruptly exploded after the group's appearance on the Ed Sullivan Show in 1964.   As the counterculture movement developed, artists began making new kinds of music influenced by the use of psychedelic drugs. Guitarist Jimi Hendrix emerged onto the scene in 1967 with a radically new approach to electric guitar that replaced Chuck Berry, previously seen as the gold standard of rock guitar. Rock artists began to take on serious themes and social commentary/protest instead of simplistic pop themes.   A major development in popular music during the mid-1960s was the movement away from singles and towards albums.   Blues also continued to develop strongly during the '60s, but after 1965, it increasingly shifted to the young white rock audience and away from its traditional black audience, which moved on to other styles such as soul and funk.   Jazz music during the first half of the '60s was largely a continuation of '50s styles, retaining its core audience of young, urban, college-educated whites. By 1967, the death of several important jazz figures such as John Coltrane and Nat King Cole precipitated a decline in the genre. The takeover of rock in the late '60s largely spelled the end of jazz as a mainstream form of music, after it had dominated much of the first half of the 20th century.   Significant events in music in the 1960s:   Sam Cooke was shot and killed at a motel in Los Angeles, California [11 December 1964] at age 33 under suspicious circumstances.   Motown Record Corporation was founded in 1960. Its first Top Ten hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number-two on the Billboard Hot 100 and was Motown's first million-selling record.   The Marvelettes scored Motown Record Corporation's first US No. 1 pop hit, "Please Mr. Postman" in 1961. Motown would score 110 Billboard Top-Ten hits during its run.   The Supremes scored twelve number-one hit singles between 1964 and 1969, beginning with "Where Did Our Love Go".   John Coltrane released A Love Supreme in late 1964, considered among the most acclaimed jazz albums of the era.   In 1966, The Supremes A' Go-Go was the first album by a female group to reach the top position of the Billboard magazine pop albums chart in the United States.   The Jimi Hendrix Experience released two successful albums during 1967, Are You Experienced and Axis: Bold as Love, that innovate both guitar, trio and recording techniques.   R & B legend Otis Redding has his first No. 1 hit with the legendary Sitting on the Dock of the Bay. He also played at the Monterey Pop Festival in 1967 just before he died in a plane crash.   The Bee Gees released their international debut album Bee Gees 1st in July 1967 which included the pop standard "To Love Somebody".   1968: after The Yardbirds fold, Led Zeppelin was formed by Jimmy Page and manager Peter Grant, with Robert Plant, John Bonham and John Paul Jones; and, released their debut album Led Zeppelin.   Big Brother and the Holding Company, with Janis Joplin as lead singer, became an overnight sensation after their performance at the Monterey Pop Festival in 1967 and released their second album Cheap Thrills in 1968.   Gram Parsons with The Byrds released the extremely influential LP Sweetheart of the Rodeo in late 1968, forming the basis for country rock.   The Jimi Hendrix Experience released the highly influential double LP Electric Ladyland in 1968 that furthered the guitar and studio innovations of his previous two albums.   Woodstock Festival, 1969   Sly & the Family Stone revolutionized black music with their massive 1968 hit single "Dance to the Music" and by 1969 became international sensations with the release of their hit record Stand!. The band cemented their position as a vital counterculture band when they performed at the Woodstock Festival.   Film Some of Hollywood's most notable blockbuster films of the 1960s include: 2001: A Space Odyssey, The Apartment, The Birds, I Am Curious (Yellow), Bonnie and Clyde, Breakfast at Tiffany's, Bullitt, Butch Cassidy and the Sundance Kid, Carnival of Souls, Cleopatra, Cool , and Luke, The Dirty Dozen, Doctor Zhivago, Dr. Strangelove, Easy Rider, Exodus, Faces, Funny Girl, Goldfinger, The Graduate, Guess Who's Coming to Dinner, , Head, How the West Was Won, The , Hustler, Ice Station Zebra, In the Heat of the Night, The Italian Job, It's a Mad, Mad, Mad, Mad World, Jason and the Argonauts, Judgment at Nuremberg, The Jungle Book, Lawrence of Arabia, The Lion in Winter, The Longest Day, The Love Bug, A Man for All Seasons, The Manchurian Candidate, Mary Poppins, Medium Cool, Midnight Cowboy, My Fair Lady, Night of the Living Dead, The Pink Panther, The Odd Couple, Oliver!, One Hundred and One Dalmatians, One Million Years B.C., Planet of the Apes, Psycho, Romeo and Juliet, Rosemary's Baby, The Sound of Music, Spartacus, Swiss Family Robinson, To Kill a Mockingbird, Valley of the Dolls, West Side Story, Who's Afraid of Virginia Woolf?, The Wild Bunch.   Television   The most prominent American TV series of the 1960s include: The Ed Sullivan Show, Star Trek, Peyton Place, The Twilight Zone, The Outer Limits, The Andy Williams Show, The Dean Martin Show, The Wonderful World of Disney, Alfred Hitchcock Presents, The Beverly Hillbillies, Bonanza, Batman, McHale's Navy, Laugh-In, The Dick Van Dyke Show, The Fugitive, The Tonight Show, Gunsmoke, The Andy Griffith Show, Gilligan's Island, Mission: Impossible, The Flintstones, The Adventures of Ozzie and Harriet, Lassie, The Danny Thomas Show, The Lucy Show, My Three Sons, The Red Skelton Show, Bewitched and I Dream of Jeannie.   The Flintstones was a favored show, receiving 40 million views an episode with an average of 3 views a day.   Some programming such as The Smothers Brothers Comedy Hour became controversial by challenging the foundations of America's corporate and governmental controls; making fun of world leaders, and questioning U.S. involvement in and escalation of the Vietnam War.   Fashion   Significant fashion trends of the 1960s include:     The Beatles exerted an enormous influence on young men's fashions and hairstyles in the 1960s which included most notably the mop-top haircut, the Beatle boots and the Nehru jacket.   The hippie movement late in the decade also had a strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.   The bikini came into fashion in 1963 after being featured in the film Beach Party.   Mary Quant invented the miniskirt, which became one of the most popular fashion rages in the late 1960s among young women and teenage girls. Its popularity continued throughout the first half of the 1970s and then disappeared temporarily from mainstream fashion before making a comeback in the mid-1980s.   Men's mainstream hairstyles ranged from the pompadour, the crew cut, the flattop hairstyle, the tapered hairstyle, and short, parted hair in the early part of the decade, to longer parted hairstyles with sideburns towards the latter half of the decade.   Women's mainstream hairstyles ranged from beehive hairdos, the bird's nest hairstyle, and the chignon hairstyle in the early part of the decade, to very short styles popularized by Twiggy and Mia Farrow in Rosemary's Baby towards the latter half of the decade.   African-American hairstyles for men and women included the afro.       James Brown "Papa's Got A Brand New Bag" (1965) "I Got You (I Feel Good)" (1965) "Say It Loud--I'm Black and I'm Proud" (1968)     Ray Charles "Georgia On My Mind' (1960) "Hit the Road Jack" (1961) "I Can't Stop Loving You" (1962)     Marvin Gaye "Ain't That Peculiar?" (1965) "I Heard It Through the Grapevine" (1968) "Too Busy Thinking About My Baby" (1969)     The Temptations "My Girl" (1965) "Ain't Too to Beg" (1966) "I Can't Get Next to You" (1969)     Bobby "Blue" Bland "I Pity the Fool" (1961) "Turn On Your Lovelight" (1961) "Ain't Nothing You Can Do" (1964)     Aretha Franklin "I Never Loved a Man (The Way I Love You)" (1967) "Respect" (1967) "Chain of Fools" (1967-68)     The Supremes "Where Did Our Love Go?" (1964) "Stop! In the Name of Love" (1965) "Love Child" (1968)     Smokey Robinson & The Miracles "Shop Around" (1960-61) "You've Really Got a Hold On Me" (1962-63) "The Tracks of My Tears" (1965)     The Impressions "Gypsy Woman" (1961) "It's All Right" (1963) "People Get Ready" (1965)     Brook Benton "Kiddio" (1960) "Think Twice" (1961) "Hotel Happiness" (1962-63)     Jackie Wilson "Doggin' Around" (1960) "Baby Workout" (1963) "(Your Love Keeps Lifting Me) Higher and Higher" (1967)     Sam Cooke "Wonderful World" (1960) "Bring It On Home To Me" (1962) "A Change is Gonna Come" (1965)     Otis Redding "These Arms of Mine" (1963) "Try a Little Tenderness" (1966-67) "(Sittin' On) The Dock of the Bay" (1968)     Jerry Butler "He Will Break Your Heart" (1960) "Never Give You Up" (1968) "Only the Strong Survive" (1969)     Wilson Pickett "In the Midnight Hour" (1965) "Land of 1000 Dances" (1966) "Funky Broadway" (1967)     Stevie Wonder "Fingertips, Part 2" (1963) "Uptight (Everything's Alright)" (1965-66) "I Was Made to Love Her" (1967)     B.B. King "Beautician Blues" (1964) "Waiting on You" (1966) "Paying the Cost To Be the Boss" (1968)     Joe Tex "Hold What You've Got" (1964-65) "A Sweet Woman Like You" (1965-66) "Skinny Legs and All" (1967)     The Marvelettes "Please Mr. Postman" (1961) "Beechwood 4-5789" (1962) "Too Many Fish in the Sea" (1965)     Mary Wells "Bye Bye Baby" (1960-61) "The One Who Really Loves You" (1962) "My Guy" (1964)     The Four Tops "Baby, I Need Your Loving" (1964) "I Can't Help Myself (A/K/A Sugar Pie, Honey Bunch)" (1965) "Reach Out, I'll Be There" (1966)     Martha & The Vandellas "Heat Wave" (1963) "Dancing in the Street" (1964) "Nowhere to Run" (1965)     Dionne Warwick "Don't Make Me Over" (1962-63) "Anyone Who Had a Heart" (1963-64) "Walk On By" (1964)     Solomon Burke "Just Out of Reach (Of My Two Open Arms)" (1961) "Everybody Needs Somebody To Love" (1964) "Got To Get You Off My Mind" (1965)     Etta James "At Last" (1960-61) "Tell Mama" (1967-68) "I'd Rather Go Blind" (1967-68)     The Shirelles "Will You Love Me Tomorrow? (1960-61) "Dedicated to the One I Love" (1961) "Baby It's You" (1961-62)     Chuck Jackson "I Don't Want to Cry" (1961) "Any Day Now (My Wild Beautiful Bird)" (1962) "Beg Me" (1964)     Gene Chandler "Duke of Earl" (1962) "Rainbow" (1963) "I Fooled You This Time" (1966)     The Drifters "This Magic Moment" (1960) "Save the Last Dance for Me" (1960) "Up on the Roof" (1962-63)     Jr. Walker & The All-Stars "Shotgun" (1965) "(I'm A) Road Runner" (1966) "Home Cookin'" (1968-69)     Gladys Knight & The Pips "Every Beat of My Heart" (1961) "I Heard it Through the Grapevine" (1967) "Friendship Train" (1969)     Carla Thomas "Gee Whiz (Look at His Eyes)" (1961) "B-A-B-Y" (1966) "Another Night Without My Man" (1966)     Chubby Checker "The Twist" (1960) "Pony Time" (1961) "Dancin' Party" (1962)     Sam & Dave "Hold On! I'm A Comin'" (1966) "When Something is Wrong With My Baby" (1967) "Soul Man" (1967)     Joe Simon "My Adorable One" (1964) "Nine Pound Steel" (1967) "The Chokin' Kind" (1969)     The Dells "There Is" (1967-68) "Stay in My Corner" (1968) "Oh, What a Night" (1969)     Little Milton "So Mean To Me" (1962) "We're Gonna Make It" (1965) "Grits Ain't Groceries" (1969)     Ben E. King "Spanish Harlem" (1960-61) "Stand By Me" (1961) "That's When it Hurts" (1964)     Betty Everett "You're No Good" (1963) "The Shoop Shoop Song (It's in His Kiss)" (1964) "There'll Come a Time" (1969)     Hank Ballard & The Midnighters "Let's Go, Let's Go, Let's Go" (1960) "Finger Poppin' Time" (1960) "Nothing But Good" (1961)     Major Lance "The Monkey Time" (1963) "Um, Um, Um, Um, Um, Um" (1964) "Investigate" (1966)     Booker T. & The MGs "Green Onions" (1962) "Hip-Hug-Her" (1967) "Time is Tight" (1969)     The Intruders "Together" (1967) "Cowboys to Girls" (1968) "(Love is Like a) Baseball Game" (1968)     Ike & Tina Turner "A Fool in Love" (1960) "Goodbye, So Long" (1965) "River Deep--Mountain High" (1966)     Johnnie Taylor "I Got to Love Somebody's Baby" (1966) "Who's Making Love" (1968) "I Could Never Be President" (1969)     The Orlons "The Wah Watusi" (1962) "Don't Hang Up" (1962) "South Street" (1963)     Barbara Lewis "Hello Stranger" (1963) "Baby, I'm Yours" (1965) "Make Me Your Baby" (1965)     Maxine Brown "All in My Mind" (1960-61) "Oh No, Not My Baby" (1964) "One in a Million" (1966)     Garnet Mimms & The Enchanters "Cry Baby" (1963) "Tell Me Baby" (1964) "I'll Take Good Care of You" (1966)     Ramsey Lewis "The In Crowd" (1965) "Hang On Sloopy" (1965) "Wade in the Water" (1966)