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8 episodes with Ronnie Spector
8 episodes with Ronnie Spector
4 episodes with Ronnie Spector
6 episodes with Ronnie Spector
4 episodes with Ronnie Spector
4 episodes with Ronnie Spector
3 episodes with Ronnie Spector
6 episodes with Ronnie Spector
4 episodes with Ronnie Spector
Ever wonder how someone becomes a rock and roll star? Well, today you're going to find out. Steph Paynes, founder and lead guitarist of the all-girl powerhouse quartet Lez Zeppelin, shares her journey from rock journalist to leader of a band that captures the essence, spirit, power and seductiveness of Led Zeppelin. Steph started the group in 2004, after touring as a “Ronette” with the “first bad girl of rock and roll,” Ronnie Spector. Before donning the white satin dragon suit, she worked as a freelance writer, novelist and music journalist. Her stories and reviews have appeared in Rolling Stone, The NME, Musician, Guitar Player and Playboy among many other publications. She has shared the stage with Joey Ramone, Keith Richards and Chuck Berry. So much gold in this episode. We go deep on: How boldly walking into the offices of The NME as a young 20-something propelled her early career as a music journalist The story of how she dined on ham sandwiches with Frank Zappa at the Waldorf Astoria and discussed the censorship happening in music Dealing with disappointment The importance of practicing, persisting and being a master at your craft How Ronnie Spector restored her spirit and what she learned about giving everything to your performances When Steph knew she was onto something big with her new band Lez Zeppelin You've got to love what you're doing because the audience can tell Navigating the art and challenge of a group playing in communion Channeling emotion and pulling your own essence out of your art < CONNECT WITH LEZ ZEPPELIN > https://lezzeppelin.com/ < LET'S RISE > Energy Queen Mastermind: June - December 2025 Applications Open Soon What You Came Here For Retreat | Cape Cod | September 2025 https://www.oceanedge.com/wellness-retreats/What-You-Came-Here-For Iceland Retreat: Worldly Women Traveling in the Land of Fire + Ice | November 2025 Applications Open Soon
Chelsea and Kristina dive into April's hottest pop culture topics: Zendaya's casting as Ronnie Spector, the “White Lotus” season 3 finale (yes, we talk about the dicks and the discourse), and takeaways from Netflix's “Adolescence.” Plus, we dissect the great corporate feminism space race (looking at you, Katy Perry), shout out Cookie book recommendations, and nominate a few people for our dream anti-acknowledgments section. Trigger warning: This episode briefly discusses sensitive topics, including domestic violence and sexual assault. Take care while listening, and find helpful resources here. Join the cookie community: Become a member of the Patreon Follow Chelsea: Instagram @chelseadevantez Show Notes: Barry Jenkins Teams With A24 For Zendaya Starrer ‘Be My Baby' About Music Legend Ronnie Spector Ronnie Spector Memoir Episode Madonna and Elton John Make Up. (Yes, They Were Feuding.) ‘White Lotus' Creator Mike White Defends Season 3 After Viewers Call It Too Slow Creator of White Lotus, Mike White, appears on Podcast to promote Anti-Trans Conspiracy Theory "Adolescence" Has a Missing Victim Problem Candace Owens and Jessica Reed Kraus Are in a Massive MAGA-World Spat She Was a Mommy Blogger. Now She's Covering Trump and Kennedy on the Trail—and Making a Fortune. Introducing the Stars of Blue Origin's All-Female Flight In the wake of a sexual assault, astronaut Amanda Nguyen turned to activism “Freedom” song by Cookie Paget Cookie Book and Article Recs: Blazing Eye Sees All by Leah Sottile The Last American Road Trip by Sarah Kendzior “Someday, This Will Only Be a Memory" by Sarah Kendzior Where to find our Guest: Kristina Lopez Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Visit Brooklinen.com and use code TRASH to get $20 off your order of $100 or more. Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Non-stop movie news this week! We're breaking down the latest on “Avengers: Doomsday,” the casting of Zendaya as Ronnie Spector in Barry Jenkins' new film with A24, the power players behind the next James Bond movie, and the battle for “Texas Chainsaw Massacre, which could have the interest of Glen Powell! We also dive into the “Snow White” box office controversy, “Coyote Vs. Acme's” new home, and dissect the latest trailers for Paul Thomas Anderson's “One Battle After Another, Final Destination: Bloodlines,"Ballerina,” and “Together,” starring Dave Franco and Alison Brie.
Welcome back to Seasoned Sessions! This episode, we discuss; a couple sentenced to hundreds of years in prison after abusing their adoptive children, the upcoming Ronnie Spector biopic with Zendaya, and more – plus, we give Beyoncé's Sir Davis a taste test. Get in touch with us at @seasonedsessionspod, @adaenechi, and @its_hanifahh – have a great week!
On this episode of THE HOT MIC, Jeff Sneider and John Rocha discuss the big entertainment news of the week including the Avengers Doomsday cast announcement excited people and left questions, Sneider's CinemaCon predictions, The Passion of the Christ 2 is filming this year, PTA's new trailer, Rachel Zegler controversy grows behind the scenes, Nick Frost rumored to be in consideration for Hagrid in Harry Potter series, Amy Pascal and David Heyman tapped as James Bond producers, Final Destination official trailer, Mikey Madison to lead Resident Evil rumors, Blade updates, Barry Jenkins and Zendaya for a Ronnie Spector biopic and more!#marvel #Avengers #Spiderman #RachelZegler #TheHotMic #JeffSneider #JohnRocha ____________________________________________________________________________________Chapters:Follow John Rocha: @therochasays Follow Jeff Sneider: @TheInSneider
- Zendaya va incarner Ronnie Spector au cinéma - Evanescence dévoile "Afterlife" - Une démo rarissime des Beatles retrouvée au CanadaDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Les classiques du jour : - The Stranglers "Always The Sun" - Lenny Kravitz "Always on The Run" Les nouveautés du jour : - Linkin Park - Up From The Bottom - Viagra Boys - The Bog Body - Pléthore "An Angel" Les sorties albums : - The Darkness "Dreams On Toast" - Lucy Dacus "Forever Is a Feeling" - Perfume Genius "Glory" - Pogo Car Crash Control "Negative Skills" Le journal de la musique : - Zendaya va incarner Ronnie Spector au cinéma - Evanescence dévoile "Afterlife" - Une démo rarissime des Beatles retrouvée au Canada L'album de votre week-end : Queens Of The Stone Age "Songs for the Deaf" Le live du jour : Lady Gaga & Bradley Cooper "Shallow" (Live from The Oscars, 2019) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Nueva entrega de Música de Contrabando, semanario de actualidad musical (27/03/2025)Entrevistas:- Contactamos a Hitten en mitad de su gira americana - Karlan , la fogosa banda de indie rock, nos presentan su primer Lp, "Surfer"- Crudos (Chema Espejo) , clásicos del rock murciano, anuncian recopilatorio. - Cocodrilos se reúnen más de 30 años después para subirse a un escenario.Noticias:El libro The Beatles Anthology se reedita por su 25 aniversario. 8 de los primeros discos de los Stones publicados en Dolby Atmos. Se anuncia edición conmemorativa 40 aniversario de Brothers in arms. Nuevo avance del próximo disco de Peter Murphy. Zendaya interpretará a Ronnie Spector. Brighton 64 anuncia su despedida. Toma vistas suma nuevos nombres a su cartel. Regresa anti con nuevo Ep tras 16 años. Muere Paul Wagstaff, guitarrista de Happy Mondays. The Specials publican homenaje a fallecidos de 2Tone. El sello Casa Maracas publicará disco de homenaje a Super 8 de Los Planetas. Alcantarilla le pone el nombre de una calle al rockero Emilio Chicheri.Novedades discográficas:Stereophonics, Lori Meyers e INMIR, Farmacia de Guardia, El Klan de los DDT, Carolina Durante, Yawners, Finta, Los Mejillones Tigre, Rufus T Firefly, Jose Luis, Amateur y Alondra Bentley, Deerhoof, Himalayas, Bon Iver, Colectivo da Silva, Lucy Dacus, Benét, Julien Baker & Torres, The Swell Season, Repion y Cora Yako, The Cat Empire, Cabo Ventura, Lael Neale, CMAT, Bria Salmena, Perfume Genius, Superchunk, Maria Somerville, Lisasinson, Marina Paredes, Quinito Rebelde y Venga, Bea, Neón Vampire y José Antonio García 091, Annapurna, Annahstasia, Braxton Cook, The Bug Club, Agenda de conciertos:Arizona Baby, El Nido, José Mercé, Raquel Pagés y Martín Puig, Sofía, Galgo Diamante, Karlan, Crudos, Cocodrilos, Felipático Band, Rulo y la Contrabanda, Sarria, Enemigos Íntimos, El Niño de la Hipoteca...
Turntables & Tea gets into the holiday spirit by diving into a landmark holiday album. Hear about Cher's experience recording this album as a backing vocalist (discussed in her new memoir) in addition to Charlie's appreciation for Ronnie Spector and Cory's thoughts on how "Parade Of The Wooden Soldiers" should be done. It's lovely weather for a sleigh ride with this episode! Follow us on social media: Twitter-https://twitter.com/turntablestea Facebook-https://www.facebook.com/turntablesandteapodcast Instagram-https://www.instagram.com/turntablesandteapodcast/ --- Support this podcast: https://podcasters.spotify.com/pod/show/turntablesandtea/support
Jimmy Vivino Live on Game Changers With Vicki Abelson It had been six long, 4 1/2 COVID years since last I sat down with my old friend, multi-instrumentalist, producer, composer, and long-time musical director for Conan O'Brien, Jimmy Vivino. It was like coming home. Almost the same age, we have many shared (unbeknownst to us at the time) memories of concerts at The Filmore East, Watkins Glen, the glory daze of the NY club scene, and a bounty of mutual friends. Talk about being in one's comfort zone. Jimmy talked growing up in New Jersey, his carpenter trumpet-playing father, his talented brothers, Jerry and Floyd, and how they began and evolved - he talked Conan, Laura Nyro, Phoebe Snow, Donald Fagen, John Sebastian, Al Kooper, Levon Helm, The Allman Brothers, Albert King, Tom Petty, Prince, Bruno Mars, Michael McDonald, Johnny Johnson, Hubert Sumlin, Stevie Wonder, Muddy Waters, Pinetop Perkins, John Sebastian, The Dead, The Band, Harry Shearer, Paul Shaffer, whom he credits as his mentor, Leader of the Pack, Broadway, Ronnie Spector, Felix Cavaliere, The Rascals, Frankie Valli, Slash, Sly Stone, The J. Geils Band, Elvis Costello, and the James Brown and Friends Set Fire To The Soul with Aretha, Robert Palmer, and Joe Cocker, that he orchestrated. Incredible stories all around, and this special is available on YouTube… wow - Snuff and I just watched it. Spectacular. We talked about COVID and Jimmy joining Canned Heat, currently touring with them, and Bill Murray, as well as still doing shows with Will Lee and The Fab Faux. His first all-original album, Gonna Be 2 of Those Days, is due to drop in February, signed copies are available for pre-sale at jimmyvmusic.com He treated us to a track to close the show. Life is busy, busy. busy… just the way Jimmy likes it. And so do we who follow and adore him. I so enjoyed every second of this. Jimmy needs to write a book and get all these stories down. He knows and has played with everyone. Such fun! Jimmy Vivino Live on Game Changers With Vicki Abelson Wednesday, 12/11/24, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/49vuRwT
Hoy en La Gran Travesía podréis escuchar a gente como los Dead Boys, U2, Led Zeppelin, Kiss, Ronnie Spector, Neil Young, Tesla, Ugly Kid Joe, Foo Fighters, Rival Sons, Bon Jovi, Matthew Sweet, Iron Maiden, Damned ... ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Silvia Rotlant, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC, Juan Carlos Ramírez, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Jarebua, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, José Luis Orive, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Javi Dubra, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.
If there was such a thing as the American ambassador to 60s French Pop it would have to be Elinor Blake, better known as April March. Elinor began her professional career in the world of animation back in the early 80s before she took on the April March rock and roll alter-ego. You've probably heard her music over the last few decades classic cartoons like The Ren and Stimpy Show and I Am Weasel and cult favorite films including But I'm A Cheerleader and Death Proof. She's rubbed shoulders with all kinds of heavy figures in the entertainment world, including Ronnie Spector, Pee Wee Herman, Frank Zappa, Maya Rudolph, and numerous figues in classic and contemporary Franch pop. I spoke with Elinor in the Summer of 2024 about her storied career, starting with a sneak preview of her upcoming 2025 album Villerville.
“She loves attention - she'd sing to a pineapple.” - La La Brooks of The Crystals, on today's Doll: Ronnie SpectorRonnie needs no introduction. With her sister Estelle and her cousin Nedra, Ronnie broke down barriers and paved the way as pop music royalty and rock-and-roll's original bad girl. The fabulous Ronettes even boasted the likes of the Beatles AND Rolling Stones in their leagues of fans! But Ronnie's story is just as much of survival as it is of rock-and-roll. Neither would've been possible without her fiery unbreakable spirit. Hear about Ronnie's 5-decade career of “mascara, miniskirts, and madness” on today's episode of the Dolls Podcast, available wherever you stream your podcasts
Grammy Recording Bassist & Songwriter Scott Spray is our guest! Scott is a local musical legend in Connecticut...a killer bassist who has played with rock and blues legends Edgar Winter and Johnny Winter....also Rick Derringer, Ronnie Spector, Peter Criss from KISS, The Rascals and even Eric Clapton in the studio! Scott has written music for TV shows such as SEX in The City and more! Currently Scott will be jamming in a local band called MY BROTHERS BAND who play The Norwalk Oyster Fest Friday night September 6th in the beer tent at 7pm! For More on Scott or My Brothers Band visit their social media pages! https://www.facebook.com/scottjwsprayhttps://www.facebook.com/profile.php?id=61550922144334
"Hang In There With Me" If you're an artist, you either move West or you move East. In the case of the Pennsylvania-born Amy Rigby, she went east. Landing in New York in the late seventies, Rigby absorbed the music of the city and took assiduous notes about punk rock, indie scenesters and the rhythms of the age. I'm zipping through time here, but if you want to know about Rigby's New York years, read her fabulous memoir Girl To City, which I think is one of the best books about music ever written. She later married Will Rigby of The DB's and played in bands like The Shams and Last Roundup, but it wasn't until the mid-'90s with her solo debut Diary Of A Mod Housewife that she began to flex her songwriting muscle. Hilarious, heartfelt and in many ways conversational, Rigby's work is intimate and familiar and over the course of her winning discography which includes albums like The Sugar Tree, Little Fugitive and her brilliant new one Hang In There With Me, Rigby has proven herself to be one of the most tunefully engaging songwriters on the planet. Her songs have been covered by everyone from Ronnie Spector to John Flansburgh of They Might Be Giants, she's been praised by everyone from Mojo Magzine to Steve Earle and along with her husband Wreckless Eric, she's made a handful of flawless records. Hang In There With Me is a sterling set of more Rigby classics and frankly, she's never sounded better; nobody writes with such a perfect balance of candor and finesse. www.amyrigby.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.bombshellradio.com (http://www.bombshellradio.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com
Joey Dee and the Starlighters were Stars of the early 1960s. Joey wrote and sang “The Peppermint Twist”, a #1 song in 1962 that was integral to the worldwide twist dance craze phenomenon. They became the house band at The Peppermint Lounge in NYC, where people lined up each night to get in to rub elbows with the Stars of that era including Jackie Kennedy, Judy Garland and John Wayne.The band went on to have a number of other hits, and the list of famous musicians who played with Joey Dee includes Jimi Hendrix, Ronnie Spector of the Ronettes and Felix Cavaliere of The Rascals.My featured song is my reimagined version of Dobie Gray's hit, “The ‘In' Crowd” from the album PGS 7 by my band, Project Grand Slam. Spotify link.---------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.-----------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
National S'more day. Entertainment from 1968. Missouri became 24th state, Asperin was invented, England found out about the American Declaration of Independence. Todays birthdays - Herbert Hoover, Jack Haley, Eddie Fisher, Jimmy Dean, Bobby Hatfield, Ronnie Spector, Ian Anderson, Rosanna Arquette, Antonio Banderas, Angie Harmon. Isaac Hayes died.Intro - Pour some sugar on me - Def Leppard https://defleppard.com/S'mores - Buck HowdyHello I love you - The DoorsFolsom Prison Blues - Johnny CashHappy birthday - The BeatlesBirthdays - In da club - 50 Cent https://www.50cent.com/ Tell me why - Eddie FisherBig John - Jimmy DeanUnchained melody - The Righteous BrothersBe my baby - The RonettesAqua lung - Jethro TullChocolate salty balls - Isaac HayesExit - Its not love - Dokken https://www.dokken.net/ Follow Jeff Stampka at cooolmedia.com or on facebook
In this episode of Seeing Them Live, Charles and Doug welcome Stephen Pitalo, a music video historian and creator of the Music Video Time Machine. The discussion explores the golden age of music videos from the 80s and 90s, touching on Stephen's website, magazine, and blog that highlight iconic music videos and upcoming events. They reminisce about Stephen's first concert experience with Ratt and Bon Jovi in 1985, his fascinating encounters with musicians, and the influential music video directors he has interviewed for his upcoming book. The conversation also delves into memorable concerts attended by Stephen, from an unforgettable Joey Ramone show to a spectacular Prince performance, while also addressing the surprising disappointment of Billy Bob Thornton's Boxmasters. The episode offers a compelling look into the historical and cultural significance of music videos and live music experiences.BANDS: Alice In Chains, Bad Manners, Big Country, Billy Bob Thornton, Blondie, Bon Jovi, Cheap Trick, Crazy Town, Criss Cross, Dixie Chicks, Duran Duran, EMF, Fontaines D.C., Foo Fighters, Garbage, Guns and Roses, Guns N Roses, Henry Rollins, INXS, Joan Jett and the Blackhearts, Joey Ramone, L7, Lap Daddy, Madness, Marshmello, Morris Day and the Time, Motley Crue, Primus, Queen, Ratt, REM, Rick Springfield, Rod Stewart, Ronnie Spector, Soraia, Spin Doctors, Taylor Swift, Tears for Fears, The Boxmasters, The Dictators, The Independence, The Knuckle Sandwiches, The Meters, The Pristines, The Ramones, The Runaways, Twisted Sister, U2, Whitesnake, Whitney Houston, ZZ Top.VENUES: Bowery Ballroom, Brownies, Continental Club, CBGB, Coast Coliseum, Coney Island High, Continental Club, Continental Club, Gulf Coast Coliseum, Hank's, Mississippi Gulf Coast Coliseum, Pussycat Lounge, Starplex Amphitheater, Starplex Amphitheater, Tramps, Westbeth Theater, Westbeth Theater. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708
Let's get this out of the way up front: when you think of rock albums, Rick James is not the artist that immediately comes to mind. But when former founding podcaster Brian Dickhute comes back and wants to do the album, we find it difficult to deny him.James Ambrose Johnson, Jr. was born in Buffalo where he was in a number of groups and bands as a teenager. He joined the US Navy Reserves to avoid being drafted, then moved to Toronto in 1964 where he formed the rock band “The Minah Byrds.” Unfortunately he failed to let Uncle Sam know of his change of address, and would spend a few months in jail on charges of desertion. Shortly after his release he moved to California where he honed his craft in a number of rock and funk bands. He became a bigger hit and better known after signing with Gordy Records in 1977. Street Songs is Rick James' fifth solo studio album, and his most successful. It was an immediate success and went to number 3 on the US pop charts, while also spending 20 weeks at the number 1 spot on the US R&B chart.James would go on to be a successful producer and songwriter. His personal life would be unstable, and a hard life including drug abuse contributed to his early death in 2004. WTR Host Lynch is out this week, so former founding host Brian Dickhute comes back with his funk on for this podcast. Give It To Me BabyThe lead single and lead-off track to the album went to number 40 on the Billboard Hot 100 and number 1 on the US R&B chart. It is a big dance song with a strong horn section, and the lyrics are pretty straightforward. Surprisingly, this is the best selling single from the album, even better than “Super Freak,” though that song would have more longevity. Ghetto LifeThis deeper cut was released as the third single from the album, though it barely missed cracking the Billboard charts when it reached number 102. The lyrics in this funk song depict life in a depressed Buffalo inner city, where hustles were needed to make ends meet.Super FreakHere is the single that would become Rick James' signature song. This ode to “a very kinky girl” reached number 16 on the Billboard Hot 100, and features background vocals from the Temptations. James would get further benefit when the song was used by MC Hammer as the foundation for his hit single “U Can't Touch This.”Below the Funk (Pass the J)Another deeper cut, this funky track is somewhat autobiographical, describing how James grew up on the street as the child of a single mother “on the corners hangin' out with all the hoodlums.” Rick James would struggle with drug addiction throughout his life. ENTERTAINMENT TRACK:Maybellene by Chuck Berry (from the motion picture “Porky's”)This is the movie that started the teen sex genre, with practical jokes and run-ins with corrupt authority figures. STAFF PICKS:Blood Stains by Agent OrangeWayne opens the staff picks with a heavy metal power punk trio. The group takes its name from both the defoliant used by the military in Vietnam and the county in metro Los Angeles from which the group hails. The song is considered “skate punk,” and was used in Tony Hawk's pro skater video game.Alien by the Atlanta Rhythm SectionBruce brings us the sole single from ARS's tenth studio album Quinella. The lyrics are about feeling out of place and away from home. This keyboard-heavy song peaked at number 29 on the Billboard Hot 100, and was the last top 40 hit by the group.Winning by SantanaRob features a song originally written and performed by Russ Ballard, and covered by Santana with Alex Ligertwood singing lead. It went to number 17 on the Billboard Hot 100, one of Santana's biggest hits. It is a positive song about overcoming difficulties.Say Goodbye to Hollywood by Billy JoelBrian closes out the staff picks with this song paying homage to Ronnie Spector. While this track premiered several years prior on the Turnstyles album, the live version from the Songs In the Attic album came out in 1981. It was recorded in the Milwaukee arena, and was more successful as a live song than as a studio song. INSTRUMENTAL TRACK:Hooked on Classics by the Royal Philhormonic Orchestra and Louis ClarkThis instrumental mosaic of well known classics from the symphony was a hit on the charts in 1981. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
The guys talk about “The Money Man” – the larger-than-life legend, backed by Bill Graham who seemed determined to kill himself with drugs in his first decade, and then relaunched his career by offering a different kind of legend a guest spot. SHOW NOTES: https://www.gulfbreezerecovery.com/rehab-blog/eddie-moneys-drug-addiction-struggle/ https://ultimateclassicrock.com/eddie-money-no-control/ https://en.wikipedia.org/wiki/Eddie_Money https://www.rollingstone.com/music/music-news/eddie-money-dead-obit-884000/ Paste Magazine performance from 2011: https://www.youtube.com/watch?v=IeQbY2F-vW4 https://en.wikipedia.org/wiki/Winterland_Ballroom https://en.wikipedia.org/wiki/Live_at_Winterland https://ultimateclassicrock.com/eddie-money-bill-graham/ https://www.nytimes.com/2001/02/01/arts/judy-davis-the-stars-vocal-coach-81.html https://en.wikipedia.org/wiki/Eddie_Money_(album) http://barbra-archives.com/bjs_library/60s/judy_davis_story_1964.html https://www.thewellnews.com/well-played/remembering-eddie-money/ Steven P Wheeler interview collection: https://rokritr.com/2019/09/14/eddie-money-in-memory-of/ https://www.inland360.com/lewiston-moscow/money-diversifies-before-their-new-reality-show-eddie-money-and-the-fam-play-lewiston/Content?oid=11372862 https://en.wikipedia.org/wiki/Ron_Nevison Ron Nevison interview: https://vwmusicrocks.com/2021/05/18/an-interview-with-record-producer-ron-nevison/ Interview clip with Dan Rather talking about the overdose: https://www.youtube.com/watch?v=TNFjCozbuiQ Merv Griffin interview 1982: https://www.youtube.com/watch?v=k-jCrdRYLT8 https://www.classicrockrevisited.com/show_interview.php?id=1260 https://americansongwriter.com/behind-the-death-of-take-me-home-tonight-singer-eddie-money/ https://en.wikipedia.org/wiki/Richie_Zito https://en.wikipedia.org/wiki/Take_Me_Home_Tonight_(song) https://en.wikipedia.org/wiki/Ronnie_Spector
In this week's episode we're discussing the infamous murder of Lana Clarkson, whose life was cut short due to the horrifying actions of legendary producer Phil Spector. Buy my book: prh.com/obitchuaryMerch! Merch! Merch!: wonderyshop.com/cultliterLLCome see me on tour: obitchuarypodcast.com Write me: spencer@cultliter.comSpencer Henry PO Box 18149 Long Beach CA 90807 Follow along online: instagram.com/cultliterpodcast instagram.com/spencerhenryJoin our patreon: Patreon.com/cultliterCheck out my other show OBITCHUARY wherever you're listening now! Sources: https://web.archive.org/web/20120222203030/http://www.lanaclarkson.com/www/bio.htmlhttps://en.wikipedia.org/wiki/Lana_Clarksonhttps://www.vanityfair.com/style/2007/08/dunne200708https://www.vulture.com/article/phil-spector-music-producer-murderer-obituary.htmlhttps://www.insideedition.com/a-look-back-at-be-my-baby-singer-ronnie-spectors-1991-inside-edition-interview-72528https://www.dailymail.co.uk/news/article-6439433/Ronnie-Spector-reveals-Phil-Spector-surprised-twins-without-asking.htmlhttps://www.hulu.com/series/450e38df-b1b7-4018-a783-117547005454https://www.nbclosangeles.com/news/timeline_events_in_phil_spector_case/2095492/https://www.cbsnews.com/news/woman-says-phil-spector-turned-demonic/https://www.cbsnews.com/news/woman-testifies-spector-pointed-gun-at-her/https://www.courttv.com/news/phil-spector-murder-trial-revisiting-the-death-of-lana-clarkson-19-years-later/https://casetext.com/case/people-v-spector-14See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
On this week's episode of Rolling Stone's 500 Greatest Songs, hosts Brittany Spanos and Rob Sheffield discuss the story of “Be My Baby,” breaking down the song's massive impact on pop history. The song comes in at #22 on Rolling Stone's list and is as universal as a pop song can be. It's the song that made Ronnie Spector a timeless rock & roll legend, a teenage girl from Spanish Harlem who packed a lifetime of raw power into three minutes. Ever since Ronnie belted “Be My Baby” in 1963, it's been the classic that sums up the whole Sixties girl-group era, with Phil Spector's lavish Wall of Sound production – but it's never left the airwaves. It's been the foundation for artists from Brian Wilson to Bruce Springsteen to Lana Del Rey. You hear it everywhere, from Scorsese movies to goth clubs to hair metal, from the Ramones to Beyoncé. This week Rob and Brittany are joined by a true legend: Jeff Barry, who co-wrote “Be My Baby.” The Barry/Greenwich team cranked out a host of Sixties girl-group smashes for stars like the Crystals (“Then He Kissed Me”), the Dixie Cups (“Chapel of Love”), the Chiffons (“I Have a Boyfriend”), and the Shangri-Las (“Leader of the Pack”). Barry discusses the making of “Be My Baby,” the early Brill Building songwriting days, and his long career from pop to soul to country.See omnystudio.com/listener for privacy information.
ANDY KEYS CLARK – ‘SHE'S SO SPECTOR-ESQUE', 4min., UK Directed by Ignatius Rake An animated tribute to legendary singer and 60s icon Ronnie Spector (1943-2022), this epic music video for UK soul and ska stalwart Andy Keys Clark (AKC) blasts Space-Race rocketry out to the furthest corners of the cosmos to help a lovestruck astronaut reconnect with his enigmatic lover.https://www.ninjinart.com/ Get to know the filmmaker: I had worked with Andy Keys Clark before on a couple of video projects, including a short musical film about the COVID-19 lockdowns, or ‘bang-ups', in our hometown in Cornwall, UK. He was looking for a video for his song ‘She's So Spector-Esque' and I jumped at the chance when he asked me. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod
Osaka Popstar is the pop-punk music and art project of singer/producer John Cafiero, long-time Misfits & Ramones collaborator and platinum selling film and video director. The critically acclaimed debut album “Osaka Popstar & the American Legends of Punk” features frontman Cafiero with a revolving lineup of punk-rock legends as guests in his backing band including members of the Misfits, Ramones, Black Flag, the Voidoids and more. Other recent Osaka Popstar releases include members of Superchunk, Bob Mould, The Smithereens, Sparks, Roxy Music, Milk ‘n' Cookies, and the Voluptous Horror of Karen Black in the backing band.Osaka Popstar transcends punk rock, comic books, and anime themes beyond music alone with limited edition vinyl toy releases, collaborations with Topps; having appeared in their Garbage Pail Kids & Wacky Packages series, and animated Osaka Popstar music videos have even debuted on the Nintendo 3DS gaming platform under license to Nintendo.Cafiero's long standing collaborations with the Misfits remain consistent two decades deep on both a creative and business level. Among other endeavors Cafiero edited the acclaimed book “Commando: the Autobiography of Johnny Ramone”, Directed the chart topping “Ramones Raw” documentary, and modern day cult-classic feature film “Big Money Hustlas” starring the Insane Clown Posse, Rudy Ray Moore (aka “Dolemite”), WWE's Mick Foley, & the Jerky Boys.In addition to the legendary Misfits (currently headlining arena shows reuniting Original Misfits co-founders Glenn Danzig & Jerry Only), Cafiero also manages the Estate of Dee Dee Ramone (of the world famous Ramones). When the Ramones received a lifetime achievement Grammy Award in 2011, Cafiero had the honor of accepting and speaking on behalf of the late punk icon.Cafiero has produced music by everyone from punk icons the Misfits, to the late pop icon Ronnie Spector—and the #1 charting album “Dr. Demento Covered in Punk” which he produced and conceived of. His band Osaka Popstar's cover of the ‘demented' classic “Fish Heads” (from “Dr. Demento Covered in Punk”) was ranked in the top 10 most requested songs of 2018 on the Dr. Demento Show and the focus of a fully-animated music video.
Osaka Popstar is the pop-punk music and art project of singer/producer John Cafiero, long-time Misfits & Ramones collaborator and platinum selling film and video director. The critically acclaimed debut album “Osaka Popstar & the American Legends of Punk” features frontman Cafiero with a revolving lineup of punk-rock legends as guests in his backing band including members of the Misfits, Ramones, Black Flag, the Voidoids and more. Other recent Osaka Popstar releases include members of Superchunk, Bob Mould, The Smithereens, Sparks, Roxy Music, Milk ‘n' Cookies, and the Voluptous Horror of Karen Black in the backing band.Osaka Popstar transcends punk rock, comic books, and anime themes beyond music alone with limited edition vinyl toy releases, collaborations with Topps; having appeared in their Garbage Pail Kids & Wacky Packages series, and animated Osaka Popstar music videos have even debuted on the Nintendo 3DS gaming platform under license to Nintendo.Cafiero's long standing collaborations with the Misfits remain consistent two decades deep on both a creative and business level. Among other endeavors Cafiero edited the acclaimed book “Commando: the Autobiography of Johnny Ramone”, Directed the chart topping “Ramones Raw” documentary, and modern day cult-classic feature film “Big Money Hustlas” starring the Insane Clown Posse, Rudy Ray Moore (aka “Dolemite”), WWE's Mick Foley, & the Jerky Boys.In addition to the legendary Misfits (currently headlining arena shows reuniting Original Misfits co-founders Glenn Danzig & Jerry Only), Cafiero also manages the Estate of Dee Dee Ramone (of the world famous Ramones). When the Ramones received a lifetime achievement Grammy Award in 2011, Cafiero had the honor of accepting and speaking on behalf of the late punk icon.Cafiero has produced music by everyone from punk icons the Misfits, to the late pop icon Ronnie Spector—and the #1 charting album “Dr. Demento Covered in Punk” which he produced and conceived of. His band Osaka Popstar's cover of the ‘demented' classic “Fish Heads” (from “Dr. Demento Covered in Punk”) was ranked in the top 10 most requested songs of 2018 on the Dr. Demento Show and the focus of a fully-animated music video.
Aujourd'hui, nous allons parler du disque qui, plus que tout autre, a assuré la place de Phil Spector dans l'histoire de la musique populaire - un disque qui a changé la vie de plusieurs personnes qui l'ont écouté pour le meilleur, qui a changé la vie de sa chanteuse pour le pire, et qui possède l'intro de batterie la plus imitée de tous les temps. Nous allons nous pencher sur un chef d'oeuvre intemporel, sur une intro de batterie reconnaissable entre mille : "Be My Baby" des Ronettes The Ronettes, "Be My Baby" Frankie Lymon and the Teenagers, "Why Do Fools Fall In Love ?" Ronnie and the Relatives, "I Want a Boy" Ronnie and the Relatives, "I'm Gonna Quit While I'm Ahead" Joey Dee and the Starliters, "The Peppermint Twist" Bob B. Soxx and the Blue Jeans, "Zip-a-Dee-Doo-Dah". Connie Francis, "Second-Hand Love" Veronica, "Why Don't They Let Us Fall In Love ?" The Crystals, "The Twist"The Crystals, " The Wah-Watusi "Jeff Barry, "It's Called Rock and Roll" Sam Cooke, "Teenage Sonata" Ray Peterson, "Tell Laura I Love Her" Ellie Gaye, "Silly, Isn't It ?" Jay and the Americans, "This is It" Darlene Love, "(Today I Met) The Boy I'm Gonna Marry" Bob B. Soxx and the Blue Jeans, "Why Do Lovers Break Each Others' Hearts ?" Ellie Greenwich "Doo Wah Diddy Diddy (demo)" The Ronettes, "Be My Baby"" The Ronettes" (The Wrecking Crew), Tedesco and Pitman". The Ronettes, "Baby I Love You" The Ronettes Featuring Veronica, "Walking in the Rain" The Ronettes, "I Can Hear Music" Ronnie Spector, "Try Some, Buy Some" Southside Johnny and the Asbury Dukes, "You Mean So Much To Me" Ronnie Spector et le E-Street Band, "Say Goodbye to Hollywood" Eddie Money, "Take Me Home Tonight"
This week on Name 3 Songs... ⚡️Fangirl Nonsense: Nicholas Galitzine is the new It Boy of the Month. Louis Tomlinson called out Larries over a recipe for chicken parmesan. Zayn Malik cosplays as Voldemort for halloween. ⚡ Then we have a replay! The Most Exploitative Men In Music featuring Troy McEady from Bind the Blinds and Dunzo podcasts. If you thought Justin Timberlake ruining Janet Jackson's or Britney Spears' career was bad, just wait till you hear this! Sadly, men taking advantage of young pop stars is a repeating theme throughout pop culture history. What are some examples of relationships the most exploitative men in music have been in you ask? This week we're covering; Phil and Ronnie Spector, Mariah Carey and Tommy Mottola, Mandy Moore and Ryan Adams. We're joined by pop culture expert Troy McEady from Dunzo Podcast to take a closer look at the men who have exploited pop stars in their relationships. From glass coffins to security cameras to revenge music videos, it's a wild ride! Enjoy this episode? Join our Patreon community or leave us a tip on PayPal! Want to talk more? Find us: @name3songs | @sara_feigin | @jenna_million Check out all the sources for this episode at name3songs.com Learn more about your ad choices. Visit megaphone.fm/adchoices
SUMMARY:You wanted the best, you got the best! Rock & Roll Hall of Famer Paul Stanley of KISS joins Songcraft to talk about his long and diverse career through the lens of his role as a songwriter.PART ONE:Paul and Scott talk about musicians who adopt personas, how KISS seems to have the best timing of any musical group of all time, and their respective frightening memories of the band. Then they spend the rest of the time pinching themselves that Paul freakin' Stanley is on Songcraft. PART TWO:Our in-depth conversation with Rock & Roll Hall of Famer Paul StanleyABOUT PAUL STANLEY:Paul Stanley is best known for his vocals, guitar, and outlandish stage performances that have helped define KISS. Combining elements of shock rock and glam to set a new standard for theatrical arena rock, Stanley's Starchild persona, alongside fellow band co-founder Gene Simmons's Demon character, has become one of the most iconic figures in music history. One of the best-selling bands of all time, KISS has sold over 75 million albums worldwide, and has earned more Gold-certified albums than any other band in the US. Fourteen of their albums have been certified Platinum, three of which have earned multi-Platinum status. Stanley has written or co-written many of the band's best-known songs, including “Strutter,” “Rock and Roll All Nite,” “Shout it Out Loud,” “Detroit Rock City,” “God of Thunder,” “Hard Luck Woman,” “Love Gun,” “I Was Made for Lovin' You,” “Lick it Up,” “Heaven's on Fire,” “Crazy, Crazy Nights,” “Forever,” and many others. In addition to his work with the band, Stanley released a self-titled debut album in 1978, and another solo album in 2006 called Live to Win. More recently, he released the album Now and Then, a collection of R&B classics alongside vintage-style originals under the name Paul Stanley's Soul Station. Defying categorization, he has written a hit song with Michael Bolton, duetted with Sarah Brightman, and even starred in a production of Phantom of the Opera. Paul's songs have been covered by a diverse list of artists, including Cher, Nirvana, The Replacements, Green Day, Ronnie Spector, Bonnie Tyler, Toad the Wet Sprocket, and Garth Brooks. As a member of KISS, Paul was inducted into the Rock & Roll Hall of Fame in 2014. This fall, the band wraps the final leg of their End of the Road tour, culminating in a pair of shows at Madison Square Garden in New York, the city where KISS first formed in 1972.
Como cada miércoles J.F. habla de productores musicales y de su función en las canciones, que son quienes toman la última decisión y a los que se les cede el control. Por ello influyen completamente en el estilo y hay artistas que imponen sus normas, otros sin embargo, deciden auto producirse aunque para hacerlo bien necesitan mucha experiencia. El productor más icónico a la vez que psicópata, Phil Spector, que produjo a Los Beatles, Tina Turner, Elvis Presley y a su mujer Ronnie Spector de las Ronettes a la que maltrataba, finalmente terminó en la cárcel por matar a una actriz.
Here's the highlights: Brendan Frasier films, Eddie Money & Ronnie Spector, Our favorite movies, Bass players & band dynamics, The 10,000 hour rule, Dolly joins a book club, They Shall Not Grow Old (The Movie), Military drafts & chicken recipes, And much more…
dl talks the life and beauty of 'the original bad girl of rock n roll'. All music in episode by Ronnie Spector Drinks in Episode: Everything that hydrates
We talk with local CT musician Alan Marcus from a new band called The British Legends of Rock Show. Alan had a long run in other bands in Fairfield County but wanted to step it up and form a new kind of tribute band...instead of catering to just one popular rock band like Led Zeppelin or The Who and their songs he decided to change it up by paying tribute to multiple bands. But he had to draw the line somewhere and make a decision on which bands to cover and perform stellar versions of their songs at the same time. That is when he came up with The British Legends of Rock Show! For more info on The British Legends of Rock Show log onto their website: https://britishlegendsrock.com/ABOUT THE BAND/BIO It takes quite a band to play it ALL which is why The British Legends of Rock Show is such a standout and unique musical performance. Collectively, these pro-players have shared the stage with musical greats The Monkee's, The Crystals, The Coasters, The Bangles, The Waitresses, Marshall Crenshaw, Ronnie Spector, Tommy James & The Shondells. Together as a band, They faithfully and meticulously recreate the golden age of British Rock note for note just like the original recordings.https://britishlegendsrock.com/media-video
On the first episode of the year Brandon honors the graduating class of 2022. The musicians who moved on to the great beyond but who's music will be with us forever. We remember, Ronnie Spector, Terry Hall, Keith Levene, Loretta Lynn and more! Mini-Intro song by Niko Riley Main Theme song: Apache by Jorgan Ingmann Instagram: @birp60406 Facebook: @blueislandradio If you'd like to support the show visit Patreon.com/blueislandradio
My guest on Episode 128 of The Paul Weller Fan Podcast is Terry Edwards. A musician who has largely been in the studio, on the radio or onstage somewhere in the world since the age of 20. Terry sings and plays an array of musical instruments - sax, trumpet, guitar, keyboards, flute - with a myriad of artists including PJ Harvey, Nick Cave, Billy Bragg, Jesus & Mary Chain, Madness, Franz Ferdinand, Jerry Dammers, Gallon Drunk, Ronnie Spector, Spiritualized and many more... When it comes to our podcast subject - Paul Weller - Terry was called upon to play on the 2010 solo album Wake Up The Nation.He's a founding member of The Higsons, the punk funk band who were signed to Jerry Dammers' label 2-Tone and has subsequently performed and released records as a solo artist (with and without his band The Scapegoats) and as a session musician. He is also a member of The Near Jazz Experience with Madness bassist Mark Bedford & former Higsons drummer Simon Charterton.Find out more in the show notes for this podcast on my website and if you want to support the podcast financially, you can buy me a virtual coffee at paulwellerfanpodcast.com/store Hosted on Acast. See acast.com/privacy for more information.
Our annual two-part memorial show begins here, as we recall the pop culture legends we lost in the first half of 2022. Including: actors (Sidney Poitier, Sally Kellerman, William Hurt, Ray Liotta), musicians (Ronnie Spector, Meat Loaf, Vangelis), comedians (Bob Saget, Louie Anderson, Gilbert Gottfried), artists (Neal Adams, George Pérez), a Gorgeous Lady of Wrestling, the moms from Seinfeld, the guy who made "Convoy," and many more. So join us, and bring a beverage. (Maybe garnish it with an orange slice. For Gilbert.) The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Epsilon Three!
Flopcast episode 556! Our annual two-part memorial show begins here, as we recall the pop culture legends we lost in the first half of 2022. Including: actors (Sidney Poitier, Sally Kellerman, William Hurt, Ray Liotta), musicians (Ronnie Spector, Meat Loaf, Vangelis), comedians (Bob Saget, Louie Anderson, Gilbert Gottfried), artists (Neal Adams, George Pérez), a Gorgeous … Flopcast 556: Memorial Show Part 1 – No Time-Traveling Dead People Read More » The post Flopcast 556: Memorial Show Part 1 – No Time-Traveling Dead People appeared first on The ESO Network.
This week Steve says goodbye to a number of the artists who passed away in 2022. Not all of them, but a good number. We will be hearing these artists this week: Budgie, Ronnie Spector, The Ventures, Syl Johnson, Screaming Trees, Sponge, Foo Fighters, The Saints, Earth, Wind & Fire, Depeche Mode, Yes, Teenage Head, Buddy Holly, Robert Gordon with Link Wray, Jerry Lee Lewis, The Boomtown Rats, Jah Wobble & Keith Levene, Dr. Feelgood, The Stranglers, The Specials. On the Air on Bedford 105.1 FM Radio *** 5pm Friday *** *** 10am Sunday *** *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051 *** Facebook: SuburbanUndergroundRadio *** Instagram: SuburbanUnderground *** #newwave #altrock #alternativerock #punkrock #indierock
durée : 00:54:09 - Very Good Trip - par : Michka Assayas - Ce soir, ce sera une célébration. Celle d'une des plus belles voix de l'histoire du rock qui s'est éteinte, mais que Very Good Trip va faire revivre et qui va nous illuminer durant toute cette heure.
Well, it's that time again...another year is almost at an end—and once again, we have been subjected to the whims of the universe and human stupidity through 2022... It got better with covid but then we have the war in Ukraine...politics are more polarized than ever no matter where you go...social media is still making us stupider...and try as he might to leave the planet, Elon Musk is still here... When it comes to the world of music, we lost Taylor Hawkins, Andy Fletcher of Depeche Mode, Paul Ryder of The Happy Mondays, Mark Lanegan, Dallas Good of The Sadies, Meat Loaf, Ronnie Hawkins, Coolio, Olivia Newton-John, and Ronnie Spector, among others... It's still hard to make a living from streaming, artists are getting burned out on the road, and inflation is killing everyone... That's a lot to deal with...here's hoping that 2023 will be better...we gotta think that because otherwise, we'd go crazy... This is also the time of year I try to clean up the home office where I do all my “ongoing history” research and writing and production...I'm always looking for interesting and cool stuff to talk about when it comes to anything related to music...when I have enough material on a particular subject, I can write a new episode... But there's also a lot of orphaned material—research that has gone unused because I couldn't find a place for it for whatever reason...it would be a shame for all this knowledge and trivia and factoids to go to waste, so it's time for the annual purge... So watch out...a lot of information is about to dumped on your...this is the 2022 edition of 60 mind-blowing facts about music... Learn more about your ad choices. Visit megaphone.fm/adchoices
Born in Philadelphia, 1984; Matthew was raised by his mother, a doll sculptor, and his step-father, a jazz pianist. He studied clarinet, piano, drums, guitar and voice, but his favourite instrument was a Roland Groovebox 303 his step-father bought for him as a birthday gift. Matthew attended Sarah Lawrence College for Musical Composition and Theory, where, as a freshman, he became the head sound technician. His job required recording and rendering all the concerts held on campus. While Matthew loved writing music, he soon discovered he loved recording music even more. In 2005, Matthew left school to pursue his interests as a recording engineer. In 2007 he took up a job at Studio E in Philadelphia, where he recorded overdubs for the Grammy Nominated album “The Othello Syndrome” by Uri Caine. Matthew worked as an in house engineer until 2010 when he decided to begin freelancing. From that point his focus shifted from recording work to mixing. Between 2010 to 2016 he worked with high profile clientele such as Ronnie Spector, Arrested Development, SisQo', Sonny Digital, and Dizzee Rascal. In 2013, Matthew mixed the album “Rosso” by King Midas which won the Norwegian Spellemann Award for Best Rock Album: 2013. Matthew moved to Los Angeles in 2016 where he partnered with Kanye West's engineer Andrew Dawson running a commercial recording studio. A year later, Weiss became a technical consultant for the construction of a recording studio owned by multi-platinum recording artist Akon. Recognizing Matthew's talent, Akon asked him to be his personal recordist and mixing engineer. In 2019, Matthew received a Platinum plaque for engineering “Comentale” by Ozuna and Akon. Matthew has recorded and mixed four albums and hundreds of B-sides with Akon. He has also mixed for artists Swae Lee, Jeremih, Chris Brown, Tory Lanez, Nicky Minaj, Becky G, Anitta, Rick Ross, Farruko, and Ozuna. IN THIS EPISODE, YOU'LL LEARN ABOUT: Transitioning from live sound to in studio How to stand out as a studio intern Getting great vocals Getting vocals to feel locked in rhythmically Using Autotune How to use headphone cues to help capture better performances Setting up your room to hear accurate low-end Working with pre-processed samples Analyzing your processes and learning to simplify To learn more about Matthew Weiss, visit: http://weiss-sound.com/ To learn more tips on how to improve your mixes, visit https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!
Anthony Cioffi is a founder/partner in Boulevard Carroll Entertainment Group, one of the largest, full-spectrum backline and production companies in the country. The New York City location alone boasts a full 17,500 square foot facility, and seven state of the art production/rehearsal studios, dance-friendly mirrored/wood-floored rooms, production offices, comfortable lounges, all to meet the needs from anything from an acoustic duo to a full orchestra with room for choreography. Anthony started in the business with his twin brother, James, as successful musicians, playing up and down the East coast before realizing they could make more money supplying musicians with great backline gear and comfortable, professional environments to rehearse in. The long list of clients over the years includes U2, Bruce Springsteen, Southside Johnny, Kate Pierson, Dave Mason, Jorma Kaukonen, Keith Richards, Ronnie Spector, and many, many more. FULL Episode HERE: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=942224c5aa644a05
Country singer Margo Price talks about "Fight To Make It" a song on which she teamed up with Mavis Staples and Noise For Now to raise awareness and support for reproductive justice. We talk about Margo's correspondence with Ronnie Spector, her experience advocating for reproductive healthcare in Tennessee and the tragic loss of one of her children in infancy. Dr. Monica Mclemore, nurse-scientist and reproductive healthcare advocate joins us to tell us about the often surprising statistics uncovered by reproductive healthcare research. She was an expert witness in the Supreme Courts Dobbs case and brings an unparalleled level of expertise to the conversation on abortion. This episode was co-produced by Noise For Now.
Anthony Cioffi is a founder/partner in Boulevard Carroll Entertainment Group, one of the largest, full-spectrum backline and production companies in the country. The New York City location alone boasts a full 17,500 square foot facility, and seven state of the art production/rehearsal studios, dance-friendly mirrored/wood-floored rooms, production offices, comfortable lounges, all to meet the needs from anything from an acoustic duo to a full orchestra with room for choreography. Anthony started in the business with his twin brother, James, as successful musicians, playing up and down the East coast before realizing they could make more money supplying musicians with great backline gear and comfortable, professional environments to rehearse in. The long list of clients over the years includes U2, Bruce Springsteen, Southside Johnny, Kate Pierson, Dave Mason, Jorma Kaukonen, Keith Richards, Ronnie Spector, and many, many more. FULL Episode HERE: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=942224c5aa644a05
Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. And the I Never Loved a Man album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father. But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem
Chelsea and Azie Dungey (Ask A Slave, Girls5eva) laugh and cry over the stories Ronnie Spector tells of her incredible early days with the Ronettes, surviving an abusive marriage to Phil Spector, and her victorious escape and inspiring recovery. For more book recaps & gentle tea, follow Chelsea on Instagram @chelseadevantez To join the community and get access to bonus episodes, click here to become a member of the Celebrity Book Club Patreon
In this bonus episode, Greg adds a song to the Desert Island Jukebox that he remembered after Ronnie Spector passed. Jim is amazed to learn this band is a favorite of Greg's.Become a member on Patreon: https://bit.ly/3slWZvc Send us a Voice Memo: https://bit.ly/2RyD5Ah Join our Facebook Group: https://bit.ly/3sivr9T
Hosts Jim DeRogatis and Greg Kot interview singer and songwriter Adia Victoria about her stunning 2021 album "A Southern Gothic." They also review some new music from Earl Sweatshirt and FKA twigs, plus they bid farewell to the late Ronnie Spector of The Ronettes. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Adia Victoria, "Troubled Mind," A Southern Gothic, Atlantic, 2021Earl Sweatshirt, "Sick!," Sick!, Tan Cressida/Warner, 2022Earl Sweatshirt, "Tabula Rasa (feat. Armand Harmmer)," Sick!, Tan Cressida/Warner, 2022Earl Sweatshirt, "Titanic," Sick!, Tan Cressida/Warner, 2022FKA twigs, "tears in the club (feat. the weeknd)," Caprisongs, Young, 2022FKA twigs, "meta angel," Caprisongs, Young, 2022FKA twigs, "careless (feat. daniel caesar)," Caprisongs, Young, 2022Adia Victoria, "South For The Winter (feat. Matt Berninger)," A Southern Gothic, Atlantic, 2021Adia Victoria, "Magnolia Blues," A Southern Gothic, Atlantic, 2021Adia Victoria, "You Was Born To Die (feat. Kyshona Armstrong, Margo Price & Jason Isbell)," A Southern Gothic, Atlantic, 2021Adia Victoria, "Far From Dixie," A Southern Gothic, Atlantic, 2021Adia Victoria, "Please Come Down," A Southern Gothic, Atlantic, 2021Adia Victoria, "Mean-Hearted Woman," A Southern Gothic, Atlantic, 2021Adia Victoria, "Whole World Knows," A Southern Gothic, Atlantic, 2021The Ronettes, "Be My Baby," Presenting the Fabulous Ronettes Featuring Veronica, Philles, 1964Ronnie Spector, "She Talks To Rainbows," She Talks to Rainbows, Kill Rock Stars, 1999The Ronettes, "Do I Love You?," Presenting the Fabulous Ronettes Featuring Veronica, Philles, 1964Ronnie Spector, "You Can't Put Your Arms Around a Memory," She Talks to Rainbows, Kill Rock Stars, 1999John Prine, "Hello In There," John Prine, Atlantic, 1971
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
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