Podcast appearances and mentions of Roy Clark

Frank Pleszak delves into the early life of Roy Clark, a man whose childhood was profoundly shaped by the events of World War II. From his memories of living on a farm near Ringway Airport during the 1940s invasion scare to his first lessons in aeronautics from soldiers, Roy shares his fascinating experiences during a tumultuous time. Join us for a nostalgic journey filled with anecdotes and insights.

National Laundry day. Tax Day. Entertainment from 1992. Abraham Lincoln died, RMS Titanic sank, Jackie Robinson broke the baseball color barrier, Ivory Soap went on sale.  Todays birthdays - Leonardo da Vinci, Elizabeth Montgomery, Roy Clark, Ray Raymond, Emma Thompson, Lynne Austin, Linda Perry, Samantha Fox, Chris Stapleton, Seth Rogen, Emma Watson.  Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/Taxman - The BeatlesThis is the way we wash our cloths - Lingo KidsFootloose - Kenny LogginsThe yellow rose - Johnny Lee   Lane BrodyBirthdays - In da club - 50 Cent   http://50cent.com/Honeymoon feeling - Roy ClarkWhat's up - 4 non blondesI wanna have some fun - Samantha FoxYou should probably leave - Chris StapletonExit - Country Couture - Cali Tucker    https://www.calitucker.com/countryundergroundradio.comHistory & Factoids website

With the sunny spring continuing, Gardeners' Corner visits a 19th century walled garden in Maghera. Once connected to the local rectory, it is now run by the council, and it features several distinct spaces including a large glasshouse and a wildflower meadow. Roy Clark, who knows the garden well, says their secret to planting spring bulbs in a naturalistic way is to get children to do it! The good weather has also lead to increased demand for compost and this week presenter David Maxwell is on the factory floor of one of the biggest suppliers in the country. Also on the programme, a charity in Ballymoney that is building good community relations through growing and Ann FitzSimons will join David in studio to answer questions. Email the programme at gardenerscorner@bbc.co.uk

Send us a textWhat a joy to remember working with so many of the greats. ROY CLARK, BILL CARLISLE, SKEETER DAVIS, JEAN SHEPARD, RAY PRICE, KITTY WELLS, ROY ACCUFF  and a special group called OLD DOGS that you won't wanna miss. Much more my friends. Enjoy and please share.

In this engaging podcast episode, host Kent interviews Rudy Gatlin of the Gatlin Brothers. Rudy shares insights into his music career, favorite performance venues, and the gospel influences that shaped his journey. He discusses the evolution of the music industry, emphasizing the importance of talent and perseverance. Rudy recounts memorable encounters with icons like Johnny Cash and Roy Clark, and reflects on his disciplined upbringing and early gospel performances in Texas. The episode highlights the camaraderie within the country music community and offers valuable advice for aspiring musicians.   Automatically Transcribed With Podsqueeze Speaker 1 00:00:00  This Kent Hance, I hope you enjoyed part one of the interview with Rudy Gatlin. He's a great interview, a great American, and you're going to love. Part two. What's the worst place you ever performed? You know what I mean? Just a a dive. We were fortunate that. Speaker 2 00:00:21  We didn't work too many of those because we started had enough success. And we're making a little money on the road. And we I mean, we weren't taking a lot of money. We weren't making a lot. We were existing. We were living paying the bills, but we didn't have to work, and that wasn't our deal. I love, you know, good country, western, two step and honky tonk music, but. And Houston and lady takes the cowboy and but we we cut 28 records, 28 albums of other types of music. Great ballads write wonderful songs. Larry wrote a bunch of great songs, and we made a bunch of great records. But we thank you, Lord. Because they'd have been throwing beer bottles at us. Speaker 2 00:01:06  What Roy started doing done. Enough dying today. I've done enough dying today to get back to the honky tonk songs. We needed the chicken wire. Speaker 1 00:01:17  That. That's when, Roy Clark tells about the time that it threw some beer bottles at him and some other things, and he finally, we went. He refused to go back to that place, and they said, won't happen anymore. And they had the they had chicken wire in there so people couldn't throw things at them. You know. Speaker 2 00:01:36  When he was doing what he was doing yesterday when I was young, I remember that hit record. Speaker 1 00:01:41  That was a great song. I mean, one of the best that was rent. Speaker 2 00:01:46  They said, get back to Good God and Greyhound. You're gone. Speaker 1 00:01:50  Yeah. Thank God and Greyhound you're gone. But yesterday. Speaker 2 00:01:54  Song. Speaker 1 00:01:55  Yesterday was, written in France and, recorded French. And then somebody got Ahold of it and decided to do it in the United States. And then several people recorded it. And Roy Clark was the the most famous of the ones that did. Speaker 2 00:02:13  Great. Speaker 1 00:02:13  Songs. I know a little about music, not much, but, Speaker 2 00:02:17  And I do know that Porter and Dolly are your favorites. Speaker 1 00:02:20  Yeah. That's right, that's right. You got me up two tickets, I said at one time in class, I said I wouldn't take my dog to see Porter and remember it. Speaker 2 00:02:30  And I remember. Speaker 1 00:02:31  Y'all went out. Speaker 2 00:02:32  And bought. Speaker 1 00:02:32  It. You went out and bought tickets and some dog food and a leash and put it up on the the table where I came in. I came in to teach, and there it was. There's one of those, large classes that was in the small auditorium, and, I could look and there was 100, 150 people in there, and you were the only one that had written on your forehead. Guilty. I mean, I could just I could tell that you had been involved, but I liked it. And it was a lot of fun. A lot of fun. Speaker 2 00:03:05  Yeah. I thought I was smarter than that. Speaker 1 00:03:08  No, you had Gilti written all over you. I got it early on. What? What's the best place? You know, I asked you the worst you could, but what's the nicest place? Speaker 2 00:03:19  Dallas, Texas. Anywhere in Dallas, Texas. Speaker 1 00:03:23  Was always nice. Speaker 2 00:03:25  I'm in Dallas right now at my daughter's. We have a love affair with this city. Going back to when we sang gospel music as a gospel quartet. Right. From Odessa, we traveled to Dallas and Fort Worth and Mesquite and all over Texas. But we came to Dallas to sing in Oak Cliff, Oak Cliff, Assembly of God church. Sure. See? Noah. Whoa, man. Speaker 1 00:03:50  Hey, hey. When the religious music. When you were gospels and everything. What were some of your favorites? Because there's a lot of people listening, and they remember when we used to sing hymns instead of being bop of Jesus. Speaker 2 00:04:05  Well, our first song was I Woke Up. I wish I had my guitar. I've got my guitar in there. Speaker 2 00:04:10  I woke up this morning feeling fine. I woke up with heaven on my mind. I woke up with joy in my soul. Because I knew my Lord had control. I knew I was walking in that light. Because I'd been on my knees in the night. I pray to the Lord gave me sight. And now I'm feeling mighty fine. Yes, I'm feeling mighty. Speaker 1 00:04:34  That's good. Speaker 2 00:04:35  So first song we ever learned. In fact, I think we won that talent show. Singing that song. Speaker 1 00:04:40  That's good. But the standbys are amazing grace. And what a friend we have in Jesus. And y'all, y'all would sing all kinds of. Speaker 2 00:04:51  Well, we sang a lot of those songs, like our heroes, the Blackwood Brothers Statesmen Quartet that came through Abilene, Odessa, Lubbock. We bought the records, took them home and put them on the high five and played those. And mom got up on the piano and we just started singing. Joe knew how to, you know, God just said, y'all sing. Speaker 1 00:05:16  And you. Speaker 2 00:05:17  Know, he he gave you the ability to to understand law and all that stuff. You I, I, like I said, I can't spell be much less understand, you know, lawyer doctors. How do they understand all the, Michael Jordan can shoot a basketball? Tiger Woods and Scottie Scheffler can hit a golf ball. Speaker 1 00:05:41  A long way. Speaker 2 00:05:43  now I'm a I'm a I'm a I'm a better golfer. I'm than he is a singer, I guarantee you that. But God just gave everybody a talent because. And we developed it a little bit, you know, worked, sang in school And. Speaker 1 00:06:00  One year when, Alan White, he had that big party in Dallas headed out to Cowboys Stadium, and, y'all performed in. Your mom was there, and we we left. I was with y'all in a bus. They were taking us to to another part of the city and, had a great visit, and told your mom that you were a great student and everything. And she kind of grinned at me and said, you don't have to lie. Speaker 1 00:06:34  She she had a good sense of humor. Speaker 2 00:06:37  Yeah. I think she found out about that first semester away from home. Well, see, that was my first semester away from home. Curley Gatlin was a firm disciplinarian. Love. I love my upbringing. Mama, you know, wouldn't take anything for it. But, you know, they were firm. And I had to go to Odessa College and live at home for two years. And when I hopped in my 68 Volkswagen In 1972, headed north through Andrew. Boy, I was I was up all the way up to 65 miles an hour, probably on my way to Lubbock. I was free as the first time I'd ever been on my own. So. And like I said, I took too many hard courses, learn how to drink beer and play poker. But I made up for it and graduated and all that. Thankful for them. And they're there. You know, I try to a lot of people say you're just like your daddy. Speaker 2 00:07:29  And I say, thank you. Speaker 1 00:07:31  Sure. Speaker 2 00:07:32  Thank you very much. Mother drove us from Odessa to Dallas on Highway 80. Chancellor. Odessa. Midland. Big spring. Sweetwater. Abilene. Speaker 1 00:07:48  Eastland. Cisco. A Ranger. Ranger here in Weatherford. Speaker 2 00:07:56  Weatherford. Fort worth. Dallas. She one time we sang at Oak Cliff Assembly of God Church nine Sundays in a row, one. Speaker 1 00:08:06  Summer, and she'd take you back and forth every, every Sunday. Speaker 2 00:08:10  Before. Larry had his driver's license. And one night we stayed and did Sunday night service. The next day, I woke up in my bed in Odessa. On highway 80. Trucks, cars. You know how much. You know how much you miss cars going that way about like that. Speaker 1 00:08:34  Yeah. Speaker 2 00:08:37  And she drove us home and put it. Got us to bed. Got us up for school the next morning. Speaker 1 00:08:43  You were lucky. You you were fortunate. You had great parents, great parents. Speaker 2 00:08:49  And daddy was an oil field. He couldn't go with us. Speaker 1 00:08:51  Yeah. Speaker 2 00:08:52  Momma drove. We went to California a couple of times. New York one summer. Yeah, that. Great parents. Speaker 1 00:08:59  Well, it's a great training for you. What? What would you say to any young person that's looking to go into the music business today? Speaker 2 00:09:11  Bless their hearts. I'm. I'm so glad we came along when we did, because. But I can go pull a guy off the street and say, hey, man, we can get a guitar around you and you can start singing and make you a record and get you a website, get you a publicity agent and get you an agent and get you down here singing at so-and-so and do all this. Guess what? So can everybody else. There are just there's no gatekeeper anymore. There used to be a gatekeeper, and that was the A&R artist and repertoire person at the record company. If you couldn't sing and play your butt off, they weren't going to spend 100, $150,000 on making a record because they had to sell them if they didn't think they could sell them. Speaker 2 00:10:02  And they got money back. You weren't going to get a record deal. So there's. And the internet. Thank God. I mean, everybody's getting to live their dream and fulfill, you know, chase their dream and and everybody all chase your heart and. Yeah, we did. We did too. But if it hadn't worked out, I guarantee you I'd. I'd have gone and done something else. I'd I'd have taken that business law, by golly, diploma and walked right into First National Bank. Speaker 1 00:10:33  Well, you you could have been an accountant since you loved accounting so much. Hey, talking about performers. Who were some of the best people that you got to know and got to know well, and that recognized you the minute they saw you and and that were good people and encouraging type people. Speaker 2 00:10:51  Johnny cash. June Carter cash. Roy Clark. Speaker 1 00:10:57  what kind of guy was Roy Clark? Speaker 2 00:11:00  Great guy, great talent, great singer. Very entertaining. Entertaining, a great entertainer, good guy. John and June Cash. Speaker 2 00:11:09  Dottie West brought Larry to to Nashville. Roger Miller. Well, you name all those old guys, and we know them, and they know us. Speaker 1 00:11:18  Roger Miller was, originally from Shamrock. Or somewhere up in between, Shamrock and Eric, Oklahoma or something like that. And, you know, he he can't roller skate in the buffalo herd was one of his big ones. Speaker 2 00:11:35  But you can be happy if. Speaker 1 00:11:36  You if you if you have a mind to trailer for sale or rent, you know. He had a bunch of them. Speaker 2 00:11:43  You know what Roger said? Speaker 1 00:11:44  What? Speaker 2 00:11:46  You know, it don't make sense. That common sense don't make much sense anymore. isn't that good? Speaker 1 00:11:54  It is. Rudy, thank you so much. you've you've been great. You've done so well. And and you really inspired those students when you and you didn't talk with about 7 or 8 minutes and you told them how much the school meant to them and how much it meant to you and what you wanted to do. And I think the only thing you said, you wish that your mom and dad could see you walk across that stage, and that would have been neat, but, well, in anything. Speaker 2 00:12:22  They had the best seat in the house. Speaker 1 00:12:24  They did an ending. What the the thing that kept you from walking across the stage. I was going to ask that. Explain to the listeners what happened that caused you from not being able to walk across the stage. Speaker 2 00:12:40  Well, I had 64 hours when I went to from Odessa College. four of them didn't transfer, so 60. And I was I guess I was close to being a junior or whatever. The one of the semesters we had a couple of concerts in LA at the old Palomino Club in LA. And then we went to Vegas for a week to work in the Vegas Lounge, which was a great lounge. And Glen Campbell was in the main room. Well, I said, good Lord, I can't take that. I can't take that much time out of school. So I took two courses. One of them was Doctor Bowling Corp. Finance, and another one was another. So I just took eight hours that semester and I made a D in Corp. Finance. Speaker 1 00:13:29  That's easy. Speaker 2 00:13:30  To do. I told you the story. He wouldn't give me one point. Speaker 1 00:13:34  I had to. Speaker 2 00:13:35  Take it again. So I just passed three hours. That one semester I got behind. I was behind 12 hours. I made it up the next couple of semesters, but in the spring of 74, I was still 12 hours short. I took four, I was going to take four summer school classes. I took the first two. I'm going to take the next two. And they cancelled that real estate course and I went, oh no. And at that time, you remember, you could not take any correspondence to your last 30 hours. It had to be on campus. Right. And I said, I'm going to Nashville. I'm going to sing, I can I'm not I can't stick around here for three hours. They said they made an exception. I thank them, thank you, Texas Tech. I took the course. I went to Nashville, sent my lessons in, came back home in December, drove to Lubbock, took the test, passed it, finished all 130 hours. Speaker 2 00:14:37  Right? Speaker 1 00:14:38  Right. Speaker 2 00:14:40  And so it's December 74th, but I got them all in. That's why I didn't get to walk. And those turkeys that taught me how to drink beer and play poker, they graduated on time and walked that May. I just got through talking to them a couple of days ago. Speaker 1 00:14:57  Well, they had learned they had those first two years to learn how to do it. And you didn't have those two years you were still at home. Speaker 2 00:15:05  I was ready. I was a rookie. They were they were. Speaker 1 00:15:09  They were. Speaker 2 00:15:09  Professional veterans. Speaker 1 00:15:11  That's the reason you got to be careful on New Year's Eve, because the amateur drunks will be out and they'll run over you. You know. Speaker 2 00:15:17  They'll screw up the weave. Speaker 1 00:15:19  That's right. They'll mess up the weave. Speaker 2 00:15:21  That's that. That's why straight people don't go. That's why I don't go drive. Because when I'm driving straight, I'm going to mess up the weave. Speaker 1 00:15:28  Yeah, mess them up. Rudy, thank you very much. We've enjoyed it. Speaker 1 00:15:33  And thank you. Tell your friends to listen to the Ken Hance, best storyteller in Texas. And they'll get to hear people like Rudy Gatlin.

Roy Clark is a retired engineer with over 30 years of experience in new product and process development, including optical and spectroscopic measurements in adverse environments. He received his MA in chemistry from the University of Oxford University and his Ph.D. in chemical physics from Sussex University (UK; 1976). He started his own independent research on climate change in 2007. His particular interest is time-dependent or dynamic-surface energy transfer and the calculation of surface temperatures from first principles. He has published several technical articles on climate change and co-wrote the book ‘Finding Simplicity in a Complex World – The Role of the Diurnal Temperature Cycle in Climate Energy Transfer and Climate Change' with the late Prof. Arthur Rörsch. 00:00 Introduction and Guest Introduction 00:01 Background on Climate Modeling Errors 01:31 Manabe's 1967 Climate Model and Its Impact 03:42 Historical Context of Climate Models 08:07 Modern Climate Models and Their Flaws 12:47 NASA's Role in Climate Modeling 20:09 DOE and National Labs' Involvement 29:20 Critique of Global Mean Temperature Record 35:44 Radiative Forcing and Surface Temperature 53:16 Conclusion and Final Thoughts Slides for this podcast: https://tomn.substack.com/p/podcast-summaries A Nobel Prize for Climate Model Errors: https://scienceofclimatechange.org/wp-content/uploads/Clark-2024-Nobel-Prize-Errors.pdf About Roy Clark: https://co2coalition.org/teammember/roy-clark/ Reject NCA5: https://venturaphotonics.com/research-page-23.html ========= AI summaries of all of my podcasts: https://tomn.substack.com/p/podcast-summaries My Linktree: https://linktr.ee/tomanelson1 YouTube: https://www.youtube.com/playlist?list=PL89cj_OtPeenLkWMmdwcT8Dt0DGMb8RGR X: https://x.com/TomANelson Substack: https://tomn.substack.com/ About Tom: https://tomn.substack.com/about

Drex and Alisa have a chat with Donnie Evetts and Bob Brewer about their musical backgrounds also their roles in the Lyric's Hee Haw Christmas production.

Blind Faith was a supergroup formed from Cream members Eric Clapton and Ginger Baker, Traffic founder Steve Winwood, and Family bassist/violinist Ric Grech.  Cream collapsed after increasing strife between members, particularly Baker and bassist Jack Bruce.  Traffic went on hiatus, and Winwood began jamming with Clapton in his basement.  Baker sat in on a session shortly after they moved to Traffic's rehearsal space in Berkshire, and was added to the lineup after some reluctance from Clapton was overcome.  Finally, Grech was invited to join, and  left the Family in the middle of a U.S. tour, creating understandable grievances.  The group created blues-oriented and psychedelic rock for their eponymously named Blind Faith debut album.  A summer tour was launched, but it was a challenging thing.  Clapton didn't want to do long jam sessions on the tour, but their single album was not a lot of material for a concert.  As a result, they wound up playing a significant amount of Cream and Traffic songs.  This delighted the audience, but irritated and distanced Clapton.  Despite great buzz from critics and fans alike, the group was destined to only last a few months.  Clapton began drifting away while on tour, spending more time with opening act Delaney & Bonnie.  He would eventually join that group prior to launching Derek & the Dominos.  Ginger Baker would move on to form Ginger Baker's Air Force, bringing in Winwood and Grech for a short stint before Winwood rejoined Traffic.  Rob brings us this short-lived supergroup in this week's podcast. Had to Cry TodayThe title track dispenses with the 3-minute single format in favor of a long form jam written by Steve Winwood.  The lyrics are ambiguous, and could reference a dying relationship, or perhaps a friend drifting away.Can't Find My Way HomeWinwood also wrote this well-known single from the album, covered by a number of artists including Joe Cocker, Alison Krauss, and Bonnie Raitt.  Winwood has been asked about the meaning of the lyrics, but has said that discussing song lyrics is a little like explaining a joke - it doesn't add anything to the experience.  Clapton leaves his electric guitar in favor of a rare acoustic one for this song.Well All RightThis track is the only one not written by members of Blind Faith.  Buddy Holly, Norman Petty, Jerry Allison, and Joe B. Mauldin wrote this song, and Holly sang it in 1958.  Clapton takes lead vocal duties on this song.Sea of JoyA piece of Winwood's writing also leads off side two of the album.  While some believe the song references hallucinogens, a simpler meaning would be simply the joy of being on the water.  “And I'm feeling close to when the race is run.  Waiting in our boats to set sail.  Sea of joy.” ENTERTAINMENT TRACK:Pfft You Were Gone (from the variety show “Hee Haw”)This country comedy and music show premiered on CBS in this month.  Buck Owens and Roy Clark led an ensemble of regulars and guests in this variety show. STAFF PICKS:These Eyes by The Guess WhoWayne starts out the staff picks with a song co-written by lead singer Burton Cummings and lead guitarist Randy Bachman.  This was their breakout song, with lyrics that describe the devastating feeling in the days following a long relationship break-up.Badge by CreamLynch reminds us that while Cream may have disbanded by this time, their music was still on the charts.  Eric Clapton and George Harrison wrote this song.  It was supposed to be called "Bridge," but was named "Badge," due to a misreading of the handwritten title.  George Harrison plays rhythm guitar, credited as "D'Angelo Misterioso" to avoid contractual issues.Oh Happy Day by the Edwin Hawkins SingersBruce features the first gospel song to hit the charts, reaching number 4 on the US singles chart.  Edwin Hawkins took a hymn originally written by Phillip Doddridge in 1755, and updated it with a piano introduction inspired by Sergio Mendes and lyrical improvisations influenced by James Brown. See by The Rascals Rob finishes the staff picks with the fuzzy lead off and title track to the Rascals sixth studio album.  Between 1966 and 1968, the Rascals released a number of soul-inspired singles.  This album marked a change in the band's focus from blue-eyed soul to psychedelic rock. COMEDY TRACK:Gitarzan by Ray StevensOne of the earliest comedy singles from Stevens closes out our podcast this week. 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.

Mark, Lou and Perry listen to a clip of Pere Ubu performing also songs with the word "rock" in them plus music trivia and some random relish topics also a talk of the late session guitarist Vic Flick and a listen to some original versions of hit songs and Roy Clark playing "Malaquena" and much more fun stuff!

National clean your fridge day. Entertainment from 2012. Zeb Pike 1st sees Pikes Peak, 1st Catholic college, 1st Wendy's resteraunt, Most expensive painting in history. Todays birthdays - William Herschel, Ed Asner, Joseph Wapner, Clyde McPhatter, Petula Clark, Sam Waterston, Anni-Frid Lyngstad, Beverly D'Angelo, Chad Kroeger. Roy Clark died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/COTF (cleaning out the fridge) - Dickie AlanOne more night - Maroon 5We are never ever getiing bach together - Taylor SwiftBirthdays - In da club - 50 Cent    http://50cent.com/People Court TV themeMoney Honey - Clyde McPhatter & the DriftersDowntown - Petula ClarkDancing Queen - ABBAHow you remind me - NickelbackHoneymoon feelin' - Roy ClarkExut - It's not love - Dokken      http://dokken.net/Follow Jeff Stampka on facebook, linkedin and cooolmedia.com

Release Date: 03-28-22What makes a bear dog? What traits do bear hunters need in a hound to successfully track, trail and catch the American Black Bear? Chris travels to Greeneville, Tennessee to the American Plott Association's annual Breed Days. Breed Days is held in the heart of bear bear hunting country. Chris calls it the “cradle of Civilization for North American bear hunting”. Greenville is situated at the foot of the Great Smokey Mountains and is in the heart of Appalachia. In this episode listeners will hear from legendary bear hunters. These men have hundreds of years of combined experience in hunting black bear and breeding top bear dogs. Men like Ira Jones, Roy Clark, Ray and James Brown and Rodney Burris share their experience with the hunting public in this one of a kind episode. The Plott Historian, John Jackson, shares his views and perspective. ►Get Your Houndsman XP Info, Gear & More Here!www.HoundsmanXP.com►Become a Patron of Houndsman XP! Check out our Tailgate Talks.|

On the October 15 edition of the Music History Today podcast, Chuck Berry gives his final performance, as does CBGB, plus Rick Nelson gets booed & writes a song about it. Also, happy birthday to Chris de Burgh. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: In 1937, singer Jo Stafford married singer John Huddleston. * In 1955, the Grand Ole Opry TV show premiered on ABC TV. * In 1956, Little Richard recorded the song Good Golly Miss Molly. * In 1958, Jackie Wilson recorded his smash hit Lonely Teardrops. * In 1960, the Beatles, with Ringo Starr on drums instead of Pete Best, recorded together for the first time. * In 1963 Mary Travers of Peter, Paul, & Mary married photographer Barry Feinstein. * In 1965, Jimi Hendrix signed his first recording contract. * In 1966, The Four Tops hit #1 with the song Reach Out I'll Be There. * In 1966, The Monkees recorded the Neil Diamond - written song I'm a Believer. * In 1968, Led Zeppelin performed together for the first time, in England. * In 1971, Rick Nelson was booed at Madison Square Garden when he tried to perform newer songs instead of old hits during his concert. The experience went on to inspire him to write his comeback song Garden Party. * In 1973, Elvis entered the hospital for treatment of respiratory problems, which is where his doctor realized that Elvis was addicted to Demerol. * In 1977, Debbie Boone hit #1 with the song You Light Up My Life. * In 1981, Metallica formed. * In 1988, UB40 hit #1 with a cover version of Neil Diamond's song Red Red Wine. * In 1992, Madonna held her infamous Sex party in Manhattan to promote her Sex photo book. * In 2000, Dave Edmunds had triple bypass heart surgery. * In 2001, Slash of Guns N Roses married his wife Perla Ferrar. * In 2003, the Louis Armstrong House Museum opened in Queens, NY. * In 2006, Patti Smith was the final performer at the original New York City club CBGB. * In 2014, Chuck Berry played his final performance. It was at the Blueberry Hill Club in St Louis. * In 2016, the Lifetime Channel music docu-movie Surviving Compton: Dre, Suge, & Michel'le premiered. * In 2016, Winston Marshall of Mumford & Sons married singer and actress Dianna Agron. * In 2017, the music documentary series The Platinum Life premiered on the E! TV channel. In the world of classical music: * In 1886, Modest Mussorgsky's classical piece Night on Bald Mountain premiered in St. Petersburg, Russia. It would later become famous to an entire generation of kids in the Disney movie Fantasia. * In 1905, classical composer Claude Debussey's La Mer premiered. In 1925, the opera Beatrice from Willem Landre was performed for the first time. In 1994, Philip Glass premiered his Symphony No. 2 for string orchestra. In award ceremonies held on this date: * In 1969, Tammy Wynette & Johnny Cash won at the Country Music Association awards. * In 1973, Roy Clark won at the Country Music Association awards. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

On this episode of Hoop Love, host J. Michelle joins the rookie of the year conversation and shares her commentary on the players being considered.

Pete and Ben add two new items to track over the course of Pete's statistical analysis of this new season, and keep a look out for them during Roy Clark's visit to the Muppet Theatre. They also examine if there's a reason why only Frank and Jim seem to be present during the episode's backstage sequences and why the trumpeter in the Muppet pit band seems to be replaced on every possible occasion.

Roy Linwood Clark was an American singer, musician, and television presenter best known for having hosted "Hee/Haw".

National Laundry day.  Entertainment from 1992.Abraham Lincoln died, RMS Titanic sank, Jackie Robinson broke the baseball color barrier, Ivory Soap went on sale.  Todays birthdays - Leonardo da Vinci, Elizabeth Montgomery, Roy Clark, Ray Raymond, Emma Thompson, Lynne Austin, Linda Perry, Samantha Fox, Chris Stapleton, Seth Rogen, Emma Watson.  Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Monday monday - Mamas & the PapasTaxman - The BeatlesThis is the way we wash our cloths - Lingo KidsSave the best for last - Vanessa WilliamsThere ain't nothing wrong with the radio - Aaron TippinBirthdays - In da club - 50 Cent   http://50cent.com/Honeymoon feeling - Roy ClarkWhat's up - 4 non blondesI wanna have some fun - Samantha FoxYou should probably leave - Chris StapletonExit - Its not love - Dokken   https://en.wikipedia.org/wiki/Dokken  

How often do we think about our yesterdays? On this show I guess I'm thinkin about what guys would think, like when  TOBY KEITH sings  "I SHOULDA  BEEN A COWBOY.  ALLEN JACKSON, ROY CLARK, RAY PRICE, HANK WILLIAMS, CHARLIE LOUVIN, GRANDPA JONES, EARNIE FORD, ARCHIE CAMPBELL , and even GENE AUTRY  might help you have memories of the good ole yesterdays of our lives. Please enjoy and share with someone ya like.

For today's show highlight, we're sharing the most recent episode of Celebs with Horses, by Lisa Wysocky. You may have heard her co-hosting HITM recently, covering for Glenn while we were on the Horse Lovers Cruise. In this episode, Lisa highlights author, actor, musician, singer, and songwriter Roy Clark. Learn how a horse caused Roy a debilitating fear, and how he overcame it completely. You will also discover:How horses bonded Roy and his wife, BarbaraWhich horse was the true start of it all for RoyWhy he needed horses in his lifeShow Highlight: Celebs with Horses Roy Clark Interview Episode 3369 - Show Notes & Links: Link for sight impaired – Click HereHost: Author Lisa WysockySponsors: Hands on Gloves and Yard GliderGuest: Carol Grace AndersonSupport The Show:Become a Patreon for bonus content and access to our exclusive auditor community on Facebook!

For today's show highlight, we're sharing the most recent episode of Celebs with Horses, by Lisa Wysocky. You may have heard her co-hosting HITM recently, covering for Glenn while we were on the Horse Lovers Cruise. In this episode, Lisa highlights author, actor, musician, singer, and songwriter Roy Clark. Learn how a horse caused Roy a debilitating fear, and how he overcame it completely. You will also discover:How horses bonded Roy and his wife, BarbaraWhich horse was the true start of it all for RoyWhy he needed horses in his lifeShow Highlight: Celebs with Horses Roy Clark Interview Episode 3369 - Show Notes & Links: Link for sight impaired – Click HereHost: Author Lisa WysockySponsors: Hands on Gloves and Yard GliderGuest: Carol Grace AndersonSupport The Show:Become a Patreon for bonus content and access to our exclusive auditor community on Facebook!

Today's guest is author, actor, musician, singer, and songwriter Roy Clark. Find out why his story has resonated with Lisa for decades.Celebs with Horses Episode 5:Host: Author Lisa WysockySponsors: Hands on Gloves and Yard GliderGuest: Carol Grace AndersonPhoto Credits: Chris Hollo/Hollophotographics, Roy Clark ProductionsLearn how a horse caused Roy a debilitating fear, and how he overcame it completely. You will also discover:How horses bonded Roy and his wife BarbaraWhich horse was the true start of it all for RoyWhy he needed horses in his life

Lots of memories here my friends. RAY PRICE  wishing he was 18 again, ROY CLARK singing about yesterday. GEORGE JONES and his rockin chair and TOBY KEITH isn't as good as he once was. Lots more my friends.Take a listen and think back.

Happy New Year! We just celebrated Christmas—a warm, giving Holiday that we look forward to every year. I find it interesting that the world was in a deep crisis on that very first Christmas, much like it is today. So, just how in the world could we call it a Merry Christmas or tell others to have a Happy Holiday and a Happy New Year? Listen and find out, you'll be Happy you did, not to mention encouraged too. The song we use in this episode is "Gloom Despair and Agony On Me" by HEE HAW with Roy Clark, Grandpa Jones, Gordie Tapp and Archie Campbell.  We don't own any rights.Contact usLinktree: www.Linktr.ee/HappyLifeStudiosEmail: Podcast@HappyLife.StudioYo Stevo Hotline: (425) 200-HAYS (4297)Webpage: www.HappyLife.lol YouTube: www.YouTube.com/StevoHaysTikTok: www.tiktok.com/@happylifestudiosFacebook: www.Facebook.com/HappyLifeStudios Instagram: www.Instagram.com/HappyLife_Studios Twitter: www.Twitter.com/HappyLifStudios If you would like to help us spread the HappyPayPal: www.PayPal.me/StevoHaysCash App: $HappyLifeStudiosZelle: StevoHays@gmail.comVenmo: @StevoHaysBuy Me A Coffee: buymeacoffee.com/HappyLifeStudioCheck: Payable to Hays Ministries or Steve Hays and send to PO Box 102 Maple Valley, WA 98038

A doubleshot of tributes to Stan Lee and legendary musician Roy Clark

National clean your fridge day. Entertainment from 1970. Zeb Pike 1st sees Pikes Peak, 1st Catholic college, 1st Wendy's resteraunt, Most expensive painting in history. Todays birthdays - William Herschel, Ed Asner, Joseph Wapner, Clyde McPhatter, Petula Clark, Sam Waterston, Anni-Frid Lyngstad, Beverly D'Angelo, Chad Kroeger. Roy Clark died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/COTF (cleaning out the fridge) - Dickie AlanI'll be there - The Jackson 5Fifteen years ago - Conway TwittyBirthdays - In da club - 50 Cent http://50cent.com/People Court TV themeMoney Honey - Clyde McPhatter & the DriftersDowntown - Petula ClarkDancing Queen - ABBAHow you remind me - NickelbackHoneymoon feelin' - Roy ClarkExut - It's not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/

Seleccionamos unas cuantas canciones dedicadas a películas de terror de todos los tiempos, desde clásicos inmortales a oscuras joyitas de serie B. Playlist; (sintonía) LOS STRAITJACKETS “Theme from Halloween” ROY CLARK “Spooky movies” AL ELIAS “King Kong” THE CRAMPS “Creature from the black leather lagoon” THE METEORS “The hills have eyes” THE MISFITS “Night of the living dead” PENNYWISE “Astro-zombies” THE VINDICTIVES “Pinhead” RAMONES “Chainsaw” AIRBAG “Ladrones de cuerpos” DDT “El diablo sobre ruedas” LOS VEGETALES “Tiburón XIII” THE DEMONICS “Regan” REDD KROSS “Linda Blair” THE CRAMPS “I was a teenage werewolf” THE FLESHTONES “I was a teenage zombie” RATIO “Pet semetary” NEW YORK DOLLS “Frankenstein” Escuchar audio

My next guest was born in Texas in 1938 and has lived a life full of success that most can only dream of. Red Steagall was born to be a cowboy and touch and inspire the lives of millions through his music and poetry. Surviving polio at the age of 15, which damaged his shoulder to the point that he could not move his left arm, he still went on to become a famous guitar player and singer. Red discovered Reba McEntire and blessed our world by exposing her beautiful talent. He has worked with and become friends with so many names that you would recognize like Wilford Brimley, Dean Smith, Roy Clark, Boots O'Neill, Buster Welch, Jim Shoulders etc. Twenty three albums and hundreds of records later, Red still performs concerts and produces radio and television shows. I was honored and surprised that this great star was so willing to meet with me and help me move this podcast forward. My short time with Red is something that I will forever remember and treasure. His enormous presence comes through the microphone, as you are about to see, and I am certain that those of you that are not Red Steagall fans yet are about to become one. Our clearance is approved as filed. Enjoy the ride. For more information about Chris Gregory CJF ASF FWCF: https://chrisgregoryauthor.com/ https://www.heartlandhorseshoeing.com/

In this episode of the Nappie Award winning Port City Plate Podcast, we take a journey with Roy Clark, the force behind The Haberdasher in Downtown Mobile. Roy, a native Mobilian, delves into his humble beginnings during the early days of Mobile's bar scene, painting a vivid picture of a time when craft cocktails were a novelty. Starting with a handful of drinks on a chalkboard, The Haberdasher has transformed under Roy's leadership, becoming an epicenter for cocktail enthusiasts and a beacon for the evolving Mobile nightlife.A significant highlight of our discussion is the birth and growth of Tiki Week. Starting in 2013, what began as a one-night party rooted in Roy's passion for mixology and Polynesian culture has bloomed into a city-wide celebration, roping in nearly twenty businesses in 2023. This tropical extravaganza has not only become an anticipated event but also a testament to Mobile's growing embrace of diverse and intricate cocktails.Diving deeper into the craft, Roy elaborates on the intricate art of cocktail creation. Drawing from a rich tapestry of classic concoctions and a culinary background, Roy and his team at The Haberdasher focus on education, ensuring that every bartender not only knows how to mix but understands the 'why' behind each drink. Their dedication is evident in every glass, from the ever-popular Old Fashioned to unique creations like the Jerk Store.Wrapping up the conversation, the episode touches on rumors surrounding an upstairs bar at The Haberdasher. Whether its craft cocktails you enjoy, beer, spirits, or great food, The Haberdasher has it all as does this episode! Tiki Week 2023 is August 14th-19th, don't miss out! Local Restaurants Mentioned in this Episode:KnucklebonesMerry WidowNoble South Sidecar Lounge POSTNoJaFront Yard TacosInsider Food Hall - HammeredCowRoshell's Taste of ThaiLighthouse RestaurantIf you enjoy the Port City Plate Podcast, consider buying Chris a coffee. (Locally owned, of course!)Support the Show Share the best dish you've had in Mobile! Join the Port City Plate Facebook GroupAll episodes are presented by Bienville Bites Food Tour. Take a guided walking tour through Downtown Mobile while tasting your way through the best food and drink in town! Book a Bienville Bites Food TourBook a tour with our sister tour company in beautiful, Fairhope, Alabama! Book a Taste of Fairhope Food Tour

Much like bacon on donuts, you never know what compelling and sometimes sublime combinations are out there. When considering the world of musical genius artists the combinations can be fascinating. to say the least. The output by the pairings that populate this particular playlist is exquisite in its oddness, but the music is definitely worth hearing. Speaking of oddness, we are excited for the long-awaited return of our musical hero and guardian, mega mensch Geoff Pearlman and we hope you enjoy TOP TEN UNLIKELY COLLABORATIONS. Like that one guy with the pointy head once said, stop, collaborate and listen. Part 1 features picks 10-6.Geoff makes his bones making music, folks. It's probably in the top 10 of most essential professions on earth and we're not even close to being sarcastic. Keep up with his shenanigans at his website:https://www.geoffpearlmanmusic.comThanks to all who are making the ATTT1000 aka The 1,000 Greatest Songs We've Ever Heard so much fun to unveil. Get that playlist in your earholes now!Spotify: https://open.spotify.com/playlist/1dmYMmJDAAK1B6CxS9msYO?si=a690037815754ee8YouTube: https://www.youtube.com/watch?v=TydZ4NAXMic&list=PL2Sj57_93sSc5g3NUhDTwU-_JBMJg385G

From September 22, 2015: Country music legend Roy Clark, one of the best guitar players on the planet, called in to discuss a special DVD set, The Hee-Haw Collection. 

This week we welcome Doug Gabriel! Doug Gabriel's #1 Hits Tribute Show is everything the name implies and so much more! One of Branson's longest running and most successful entertainers, Doug Gabriel gives you everything he's got on songs that everyone knows and loves! Hits from today's artists, yesterday's hit-makers. Doug started singing at the age of two, and began using his God-given talent professionally at the age of twelve. Several years later he began touring and opening for many other stars like Marie Osmond, Roy Clark, Tony Orlando, Tanya Tucker, Bobby Vinton, Mel Tillis, The Gatlins, Moe Bandy, Ronnie McDowell This is an example of a man who never lost sight of making his professional dreams come true. Doug's talent, consistency, and his persistence made a diamond in the rough, a shining star. As a long-time favorite in Branson, it wasn't a stretch that in 1994 his own show was created, “The Branson Morning Show, starring Doug Gabriel.” His talent has made him Branson's Most Awarded Performer, and soon he began performing at night to the same ovations he got during the day. He remains very passionate about music and entertaining Branson audiences but, more than anything, he's passionate about family. Plus, Doug plays his World Famous Mufftar, a guitar made out of a 1969 Thunderbird muffler! He, and his family, are the 8th longest running act in the Branson area. This is due to his seemingly effortless talent, the quality of his show, and the altering of his show each year to keep things fresh. His talent and personal appeal will keep you coming back every time you are in Branson. Doug has a brand new location for his 2020 show, The Branson Famous Theatre! For more information, or to order tickets call the Branson Famous Box Office: 417-231-4999 or visit DougGabriel.com.

Episode #263, Breaking Up, presents 17 songs about the bitter end of romantic relationships. Performers include Roy Clark, Kitty Wells, Guy Lombardo, Elvis Presley, Roy Orbison, Judy Garland, Frank Sinatra, and 11 more.   Episode... Read More The post Episode #263, Breaking Up appeared first on Sam Waldron.

While I was considering what to play for you today I kept having flashbacks of my yesterdays. And so my friends, today's show has to do with my memories of yesterdays including, ROY CLARK, BILL CARLISLE, SKEETER DAVIS, JERRY REED& GLEN CAMPBELL, JEAN SHEPARD, RAY PRICE, WILL ARDEL, KITTY WELLS, ROY ACUFF, GARTH BROOKS , LORETTA LYNN,  and even a get together of MEL TILLIS, WAYLON JENNINGS, BOBBY BARE & JERRY REED with a song I'm pretty sure you haven't heard. Have a BLESSED day my friends.

National laundry day. Pop culture from 2017. Titanic sank, Rubber erasure invented, Abe Lincoln died, Boston marathon bombiing. Todays birthdays - Leonardo Di Vinci, Elizabeth Montgomery, Roy Clark, Emma Thompson, Lynne Austin, Linda Perry, Chris Stapleton, Seth Rogen, Emma Watson.

Corey sits down with me to talk about his fatherhood journey. We talk about the values he looks to instill into his kids. In addition we talk about the life lessons his kids taught him. After that we talk about his music career and how meeting Willie Nelson helped fuel his passion in music. Corey shares his creative process when it comes to music and how people responded to his music, especially Man of the House. Lastly, we finish the interview with the Fatherhood Quick Five.  About Corey Kent  Corey Kent has been poised for a career in music from the beginning. Growing up influenced by various genres and artists, Corey started his journey in music at an early age. Taking the stage at age 11 as the lead singer for a touring Western Swing band, Corey hit early career milestones opening for legendary acts like Roy Clark and The Oak Ridge Boys. A few years later, he would be booking gigs around his hometown of Bixby, OK and by 17 he made his way to Nashville. On March 4, 2022, Corey released his smash hit single “Wild As Her” and shortly after signed his deal with Sony Music Nashville and their RCA Nashville Imprint. A road warrior, Corey has been seen out on the road performing over 100 shows a year in 2021 alone. Corey and his wife, Dayna are blessed with three kids. Follow Corey on Twitter and Instagram at @coreykent. Check out his website over at coreykentofficial.com. About The Art of Fatherhood Podcast  The Art of Fatherhood Podcast podcast follows the journey of fatherhood. Your host, Art Eddy talks with fantastic dads from all around the world where they share their thoughts on fatherhood. You get a unique perspective on fatherhood from guests like Joe Montana, Kevin Smith, Danny Trejo, Jerry Rice, Jeff Foxworthy, Patrick Warburton, Jeff Kinney, Paul Sun-Hyung Lee, Kyle Busch, Dennis Quaid, Dwight Freeney and many more.

Let's Welcome a singer-songwriter from Pennsylvania Trevor James. Trevor came on the show and we had a great conversation about The Office, Roy Clark, beer with Pitbull, music and more. We even listened to a few of his songs which are available for download. So pull up a seat and listen in to our conversation. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thegeorgiasongbirds/message Support this podcast: https://podcasters.spotify.com/pod/show/thegeorgiasongbirds/support

Downeast Mike Episode 58 *News & Commentary* September 30, 2022 Our Motto: Some of this is whimsy – some of this is true – the interpretation of it all is entirely up to you! Today is Friday, September 30th, 2022 In today's episode: President Proposes Gas Tax (1974) Bad Ad Friday Round-up(1940) Roy Clark Thrills Bangor (1974) Maine's Bi-weekly Bird New Song from Downeast Mike – Holly Had A Bass Thank you for listening! Please send your birthday wishes, comments and requests to mike(@)downeastmike.com --- Support this podcast: https://anchor.fm/frank-w-norwood/support

This week we welcome Doug Gabriel! Doug Gabriel's #1 Hits Tribute Show is everything the name implies and so much more! One of Branson's longest running and most successful entertainers, Doug Gabriel gives you everything he's got on songs that everyone knows and loves! Hits from today's artists, yesterday's hit-makers. Doug started singing at the age of two, and began using his God-given talent professionally at the age of twelve. Several years later he began touring and opening for many other stars like Marie Osmond, Roy Clark, Tony Orlando, Tanya Tucker, Bobby Vinton, Mel Tillis, The Gatlins, Moe Bandy, Ronnie McDowell This is an example of a man who never lost sight of making his professional dreams come true. Doug's talent, consistency, and his persistence made a diamond in the rough, a shining star. As a long-time favorite in Branson, it wasn't a stretch that in 1994 his own show was created, “The Branson Morning Show, starring Doug Gabriel.” His talent has made him Branson's Most Awarded Performer, and soon he began performing at night to the same ovations he got during the day. He remains very passionate about music and entertaining Branson audiences but, more than anything, he's passionate about family. Plus, Doug plays his World Famous Mufftar, a guitar made out of a 1969 Thunderbird muffler! He, and his family, are the 8th longest running act in the Branson area. This is due to his seemingly effortless talent, the quality of his show, and the altering of his show each year to keep things fresh. His talent and personal appeal will keep you coming back every time you are in Branson. Doug has a brand new location for his 2020 show, The Branson Famous Theatre! For more information, or to order tickets call the Branson Famous Box Office: 417-231-4999 or visit DougGabriel.com.

Hee-haw and hubba-wha, it's the Roy Clark episode of The Muppet Show! It's not going to set the world on fire but it's a pretty fun time, with dogs and frogs and pigs and chickens and ducks and foxes and…mustachioed flutists and empowered sex workers? Throw in the Grand Old Opry, Fallout, and some serious concerns about fire code violations, and you've got yourself a Muppeturgy! https://muppeturgy/episodes/roy-clark

For those of you who have managed to secure a position in my age bracket, I'm thinking you'll get some real enjoyment as we flash back trough the years. Who better to kick it off than Roy Clark and "Yesterday". Bill Carlisle is Too Old To Cut The Mustard and Skeeter Davis gives such a poignant rendition of The End Of The World. Ray Price wishes he was 18 again and Jean Shepherd can feel it Slippin Away. Lotsa great stories to go with the music and an incredible interview with Kevin Cameron a man who has trained and presented over 5000 Service Dogs to our veterans and first responders. To top it all off we've got Waylon, Mel Tillis,Bobby Bare and another wild man who all got together to record a hilarious take on life. Garth Brooks, Roy Accuff, Will Ardell and Kitty Wells all join us. Enjoy my friends and please leave us a comment and share with someone you love. Life is good.

Roy Clark guest stars on an episode named after him in S5E19 “The Roy Clark Show”.  We discuss the many songs and pieces of music in this episode; Clark's resume and his time on Hee Haw; the return of John Wheeler a Mr. Felscher; guest star Albert Paulsen; edits on the version airing on Decades TV; our observations of ad-libs and laugh tracks in the episode.

Local San Antonio celebrity and KJ97 Radio Personality, Randy Carroll shares his experiences in radio. He talks about memories with Reba McEntire, Roy Clark and Waylon Jennings. He also talks about how his version of the song "San Antonio Christmas" became a San Antonio favorite and how the song connected with service men and women. He's worked with KJ97 for nearly 40 years with no plans to retire. Get ready to laugh and get inspired!Listen to Randy on iHeart RadioFollow him on FaceBook at https://www.facebook.com/randycarrollkjIf you would like to hear about a profession or love what you do, I would love to hear from you! And if you're enjoying these podcasts, please give me a rating of five stars!Connect with Bonnie: https://www.bonnielang.com/igniteConnect with Bonnie on Instagram: @bonnielang.com 

Today we go back to a time when CBS had tons of programming aimed at rural America. One of the most classic of those hits, Hee Haw, was basically Saturday Night Live for the farm belt and deep south. I grew up on this show. As the Grandson of farmers this was can't miss programing. Let's talk about Roy Clark, Buck Owens, and whole Hee Haw gang! Salute!

IT'S TIME TO WATCH THE MUPPETS! This week with special guest Roy Clark. Distracted rants include but are not limited to Mel Blanc, food, Timothée Chalamet, girl cartoon characters, BIg Fish, TikTok, Germany, and much more!"Fozzie Bear hears Kermit say the show is "going country" with guest Roy Clark, so he sends all the stagehands out to the country. Furious, Kermit makes Fozzie do all their work -- shift the scenery, open the curtains -- and if anything goes wrong, Fozzie will be fired. Moments later, the theater catches on fire. Fozzie organizes a bucket brigade, and when Kermit demands an explanation, Fozzie gets the Swedish Chef to explain. He also must make a quick patchwork after Gonzo makes a hole on stage before the closing number."Follow us:Twitter.com/ittwtmInstagram.com/ittwtm

What makes a bear dog?  What traits do bear hunters need in a hound to successfully track, trail and catch the American Black Bear?  Chris travels to Greeneville, Tennessee to the American Plott Association's annual Breed Days. Breed Days is held in the heart of bear bear hunting country. Chris calls it the “cradle of Civilization for North American bear hunting”. Greenville is situated at the foot of the Great Smokey Mountains and is in the heart of Appalachia.  In this episode listeners will hear from legendary bear hunters. These men have hundreds of years of combined experience in hunting black bear and breeding top bear dogs. Men like Ira Jones, Roy Clark, Ray and James Brown and Rodney Burris share their experience with the hunting public in this one of a kind episode. The Plott Historian, John Jackson, shares his views and perspective.  www.americanplottassociation.com  Sponsors: www.wall2wallfab.com www.joypetfood.com www.shopbriarcreek.com www.dogsrtreed.com www.freedomhunters.org www.roughcutcompany.com Learn more about your ad choices. Visit megaphone.fm/adchoices

What makes a bear dog? What traits do bear hunters need in a hound to successfully track, trail and catch the American Black Bear? Chris travels to Greeneville, Tennessee to the American Plott Association's annual Breed Days. Breed Days is held in the heart of bear bear hunting country. Chris calls it the “cradle of Civilization for North American bear hunting”. Greenville is situated at the foot of the Great Smokey Mountains and is in the heart of Appalachia. In this episode listeners will hear from legendary bear hunters. These men have hundreds of years of combined experience in hunting black bear and breeding top bear dogs. Men like Ira Jones, Roy Clark, Ray and James Brown and Rodney Burris share their experience with the hunting public in this one of a kind episode. The Plott Historian, John Jackson, shares his views and perspective. www.americanplottassociation.com Sponsors:www.wall2wallfab.comwww.joypetfood.comwww.shopbriarcreek.comwww.dogsrtreed.comwww.freedomhunters.orgwww.roughcutcompany.com

What makes a bear dog? What traits do bear hunters need in a hound to successfully track, trail and catch the American Black Bear? Chris travels to Greeneville, Tennessee to the American Plott Association's annual Breed Days. Breed Days is held in the heart of bear bear hunting country. Chris calls it the “cradle of Civilization for North American bear hunting”. Greenville is situated at the foot of the Great Smokey Mountains and is in the heart of Appalachia. In this episode listeners will hear from legendary bear hunters. These men have hundreds of years of combined experience in hunting black bear and breeding top bear dogs. Men like Ira Jones, Roy Clark, Ray and James Brown and Rodney Burris share their experience with the hunting public in this one of a kind episode. The Plott Historian, John Jackson, shares his views and perspective. www.americanplottassociation.com Sponsors:www.wall2wallfab.comwww.joypetfood.comwww.shopbriarcreek.comwww.dogsrtreed.comwww.freedomhunters.orgwww.roughcutcompany.com

Welcome to The Old Dog Pack Show. The premiere podcast geared toward the mind, body, soul, and money of the middle-aged man. Episode 19 is another lost episode that was recorded in June 2021. Brian and Craig discuss their recent experience at Outback Steakhouse as compared to their experience at Nick and Sam's. Craig gives his two cents on what to do when pulled over after drinking. Finally, the boys extol the greatness of Roy Clark, Glen Campbell, and Jerry Reed. If you would like to do us a big favor, go on over to Apple Podcasts and leave a 5 star rating and/or a short review. It will help give us a little street cred and will help booking guests that can provide something worth listening to. Click ‘subscribe' while you're there. We'd also appreciate if you would share us with a friend. You can also check us out at olddogpack.com, where you can sign up for The Old Dog Pack newsletter. It may not be great, but it don't cost nothing.  

Texas native Irlene Mandrell is the youngest of the world famous Mandrell sisters. Barbara Mandrell and the Mandrell Sisters aired on NBC and in the UK, with over 40 million viewers.   Texas native Irlene Mandrell is the youngest of the world famous Mandrell sisters. Barbara Mandrell and the Mandrell Sisters aired on NBC and in the UK, with over 40 million viewers.   Irlene has received numerous awards including two Music City News Comedy Act of the Year and most recently received the Swift Award for women in Film, she also holds a NACMAI Award and her own star on the Country Music Walkway of Stars.​ Irlene appeared on numerous television shows like The Tonight Show, The Oprah Winfrey Show and starred in the historical Country variety series Hee - Haw with Roy Clark, Minnie Pearl and Buck Owens for it's last eight years. ​ Irlene has just released an  inspirational book,  "God Rains Miracles" focused on her family.Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.

Lost interview with guitar virtuoso and country music legend, Roy Clark. Stories from his work with Buck Owens on the popular Hee Haw TV variety and comedy show and more. Recorded in 2012 before his show at Buck Owens' Crystal Palace, and his first visit back to Bakersfield in decades. Clark passed away in 2018 at the age of 85. Classic interview. Info: mattomunoz@gmail.com 

Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul".  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. 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/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. 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 used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. 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. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show.  But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes.  But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course.  For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap".  But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime.  The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of  the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used.  Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US.  In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him.  Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot.  So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK.  But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists.