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2 episodes with shake me
2 episodes with shake me
2 episodes with shake me
2 episodes with shake me
3 episodes with shake me
Sintonía: "Oh Mary Don´t You Weep" - The Fisk Jubilee Singers"Up Above My Head" - Sister Rosetta Tharpe & Marie Knight with The Sam Price Trio; "God´s Gonna Gut ´em Down" - The Golden Gate Quartet; "I Want My Crown" - The Pilgrim Travellers; "Get On Board Little Children" - Alphabetical Four; "Climbing Up The Mountain" - Morris Brown Quartet; "Precious Memories" - Sister Rosetta Tharpe & Marie Knight; "Didn´t It Rain" - The Golden Gate Quartet; "Let The Church Roll On" - Capitol City Four; "Standing On The Highway" - The Pilgrim Travellers; "Wake Me, Shake Me, Don´t Let Me Sleep Too Long" - The Wright Brothers Gospel Singers; "Rock Me" - Sister Rosetta Tharpe; "Where Could I Go But To The Lord" - Sister Ernestine Washington with Bunk Johnson´s Jazz Band; "I Heard Zion Mourn" - Southern Sons; "Lonesome Road" - Sister Rosetta Tharpe with Lucky Millinder & His Orchestra; "You´ve Got To Move" - Elder Charles Beck; "Don´t Take Everybody To Be Your Friend" - Sister Rosetta Tharpe & The Sam Price Trio; "Amazing Grace" - Mahalia JacksonTodas las músicas extraídas de la recopilación (2xCD) "Black Gospel" de la serie "As Good As It Gets" del sello Disky Communications (2000).Escuchar audio
Simon Difford once described Alex as being an even better mixologist than his mentor Dick Bradsell, and it was in the pages of Simon's print magazine CLASS than I first came across Alex, first being written about, and then as a writer for CLASS himself. After bartending at the birth of mixology's Second Golden Age in 1990s London, Alex went on to work at one of the world's first cocktail consultancies, IP Bartenders, wrote cocktail book "Blend Me, Shake Me" in 2004, worked as a Grey Goose ambassador and founded his own British amaro brand, Kammerlings, which changed its name to Kamm & Sons. He's now a training manager for the liquor biz as well as operations director at Well & Being, a wellness firm specialising in the hospitality sector. Most importantly, Alex is the true creator of a phrase often attributed to me that involves Campari - listen to the episode for the full story!Buy "Blend Me, Shake Me": https://www.amazon.com/Blend-Me-Shake-101-Cocktails/dp/056348795XAlex on IG: https://www.instagram.com/kammtheman/Alex on LinkedIn: https://www.linkedin.com/in/alex-kammerling-0aa2225?lipi=urn%3Ali%3Apage%3Ad_flagship3_profile_view_base_contact_details%3BHNZKH%2FNkR6y73KPhsIVrsA%3D%3DWell & Being on IG: https://www.instagram.com/wellandbeinglondon/ Get in touch with Duff!Podcast business enquiries: consulting@liquidsolutions.org (PR friends: we're only interested in having your client on if they can talk for a couple of hours about OTHER things than their prepared speaking points or their new thing, whatever that is, for a few hours. They need to be able to hang. Oh, plus we don't edit, and we won't supply prepared or sample questions, or listener or “reach” stats, either.) Retain Philip's consulting firm, Liquid Solutions, specialised in on-trade engagement & education, liquor brand creation and repositioning: philip@liquidsolutions.orgPhilip on Instagram: https://www.instagram.com/philipsduff/ Philip on Facebook: Philip Duff Philip on X/Twitter: Philip Duff (@philipduff) / Twitter Philip on LinkedIn: linkedin.com Old Duff Genever on Instagram: Old Duff Genever (@oldduffgenever) • Instagram photos and videos Old Duff Genever on Facebook: facebook.com Old Duff Genever on X/Twitter: ...
| Get Back Together (Rubber People Remix) | Jeroenski, Alex Vasi | Walk With Me (Original Mix) | T.Markakis | Better (DJ Spen & Gary Hudgins Alternate Soulful House Remix) | Paris Cesvette, Hannah Khemoh | Head Up High (Radio Edit) | Jason Herd | Lifting Me Higher (Sebb Junior Remix) | Claudio Deeper, Matt D, Anna-Marie Johnson | Love Story (Mark Lewis Flow Culture Vocal Remix) | Cee ElAssaad, Montreaa | Unity (Original Mix) | Luis Radio | Shake Me | Coflo, Steve Howerton, Niya Wells | You've Been On My Mind (Main Vocal) | Mo'Cream | Move Your Body (Ross Couch Remix) | Marc Cotterell | Here Comes The Sun (Main Mix) | Jerome O., Bennett Holland, Lee Wilson | About You | Zetbee | It's Alright (Original Mix) | Bonna, Sulene Fleming | I Won't Give Up (Original Mix) | Yooks, Hannah Khemoh | Something Special (DJ Spen & Reelsoul Remix) | Tasha LaRae, Larry Espinosa | Won't You See Me (Mijangos Vocal Mix) | Pete Simpson | Do Better (Cafe 432 Remix) | Lee Wilson | Kool Cat (Smooth Groove Mix) | John Khan | She | Smoke Balls | Chemistry | Ross Couch | In My World (feat. Brutha Basil & Tatiana Owens) (Extended Mix) | Michael Gray | So Long (Original Mix) | Manuel Kane | The Right Time (David Harness & Craig C Remix) | David Harness, Craig C | A Little Bit Of You | Babs Presents & Lornie | I See You | Prefix One, Angenita Blackwood | Born To Dance (Original Mix) | Souxsoul, Venessa Jackson | Wish (Extended Mix) | Seamus Haji, Michael Gray, Audrey Martells | Never Let Go | Dustinho | God & Me | Artwork Sounds, Kemy Chienda
If These Walls Could Talk with Wendy Stuart & Tym MossHosts: WENDY STUART & TYM MOSSSpecial guest: LOTTIE DAHWednesday, February 2nd2pm EST LIVE from PANGEA Restaurant, NYCWatch LIVE on YouTube at Wendy Stuart TVLottie Dah appeared on the music scene in 1983 during the tremendous Latin Hip-Hop era bringing her music to the dance-craving masses of New York City. Her debut came with the group Up Front featuring their mega-hit single “Infatuation,” which went on to sell two hundred fifty thousand copies. From that point on, Lottie was well on her way to introducing herself to the dance-music scene. Lottie Dah Is a well-rounded performer who studied the performing arts in every capacity. This showed in her stage command presence and performances from New York to Florida and abroad; performing in all of the top popular clubs. In late 1985, she helped to form a group called “Leather & Lace” that brought us songs like, “Tender Heart,” “Let Your Body Go,” and “Rock Me, Shake Me.” Leather & Lace became the first Latin female ‘trio' group to introduce the sound of Free-style that later dominated the club-music scene. Lottie Dah is a solid pioneer in the free-style music genre. Her experiences have expanded into another side of the music business where she is now involved with a music production company, “Kaos Music/In 2 Deep Productions.” Lottie helps to guide other artists who dream of becoming a big part of the music industry and also hosted an internet radio show via Von/Fence Radio. In this forum, Lottie promoted and directed numerous showcases. Lottie Dah continues with her vision to help lead others into the music industry along with U5: Entertainment. “It's not only an aspiration in my heart, but it has also been a long desired and awaited journey, where I'm eager to pursue and conquer.” Who else but hosts Wendy Stuart and Tym Moss could “spill the tea” on their weekly show “If These Walls Could Talk” live from Pangea Restaurant on the Lower Eastside of NYC, with their unique style, of honest, and emotional interviews, sharing the fascinating backstories of celebrities, entertainers, recording artists, writers and artists and bringing their audience along for a fantastic ride.Wendy Stuart is an author, celebrity interviewer, model, filmmaker and hosts “Pandemic Cooking With Wendy,” a popular Youtube comedic cooking show born in the era of Covid-19, and TriVersity Talk, a weekly web series with featured guests discussing their lives, activism and pressing issues in the LGBTQ Community.Tym Moss is a popular NYC singer, actor, and radio/tv host who recently starred in the hit indie film “JUNK” to critical acclaim.
Many of us grew up listening to The Coasters, the iconic 1950s band that bridged the gap between doo-wop and R&B, that brought humor and sass to the birth of rock 'n' roll. Remember “Yakety Yak” and “Charlie Brown,” “Along Came Jones” and “Poison Ivy,” “Wake Me, Shake Me” and “Little Egypt”? But before any of those tunes topped the charts, it was a lesser known Coasters cut that grabbed us. Picture it: Hot summer, 1957, and into our shiny new transistor radios The Coasters came sashaying into our ears with a sexy little song that said, yeah, she may go to the baker for cake and to the butcher for steak, but when she wants good lovin'? …well! It was a winking and nodding Jerry Leiber-Mike Stoller composition called “(When She Wants Good Lovin') My Baby Comes to Me.”The song, a minor hit for The Coasters, was resurrected nine years later when a little known group called The Chicago Loop took a rendition of it to No. 37 on the Billboard Hot 100 chart. Rock trivia-lovers like to point out this disc because it features a young Michael Bloomfield on the guitar and Barry Goldberg on keyboards.But in the Floodisphere, we were much more impressed with a different pressing of the song released one year earlier. Favorite folksinger Tom Rush's 1965 self-titled debut Elektra album included a version of the tune, accompanied by bassist Bill Lee along with John Sebastian (of The Lovin' Spoonful) and Fritz Richmond (of The Jim Kweskin Jug Band.) Choosing the song was a rather bold move for Rush at a time when some music purists were trying — in vain — to keep the gap between rock and folk as wide as possible. In his liner notes, Tom pointed out that the song was released on the flip side of “Great Big Idol with the Golden Head,” adding, “I am a great admirer of The Coasters.”It was back in the 1970s that Dave Peyton, Rog Samples and Charlie Bowen started playing around with the song because it definitely had jug band vibe going on. Want to hear a fast and furious take from an August night in 1979 (with our buddy Jack Nuckols just killing it on the spoons)? Click the button below:After that, the song went back to sleep in our consciousness for, oh, a half century or so.Then last winter, Randy Hamilton started singing harmony with Charlie on the chorus and suddenly the song was back, evolving into a fine vehicle for cool solos by Danny Cox, Veezy Coffman and Sam St. Clair. Click here to hear the 2022 version of this early rock classic. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
Midnight Madness Radio Episode 170 with Atack, Shades Of Gray, VAM, The Ormidales, JAH WOBBLE AND THE UKRAINIANS featuring JON KLEIN, The BuGs, Insane, Jimi Adam, Alfredo Gargaro, Nasty n' Loaded, and Shake Me.
On the 31st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1986 hair metal debut album "Night Songs" by Cinderella. Cinderella was formed in Philadelphia by lead singer and guitarist Tom Keifer and bassist Eric Brittingham. They were later joined by guitarist Jeff LaBar and drummer Fred Coury who did not play on the debut album. The album made it to #3 on the US Billboard album charts and is certified triple platinum. The album was produced by the legendary Andy Johns and had contributions from Jon Bon Jovi. The singles, Shake Me, Nobody's Fool and Somebody Save Me were in heavy rotation on MTV. Cinderella was a catalyst for the new so-called "hair metal" even though their music had a harder edge to it. This was the 2nd Shout It Out Loudcast Patreon pick and the guys definitely had some fun with this one. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the cover against the previous 29 albums reviewed on the Album Review Crew. So grab a towel and PUSH PUSH back so you don't get soaked with sweat. For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below: SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
On the 31st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1986 hair metal debut album "Night Songs" by Cinderella.Cinderella was formed in Philadelphia by lead singer and guitarist Tom Keifer and bassist Eric Brittingham. They were later joined by guitarist Jeff LaBar and drummer Fred Coury who did not play on the debut album. The album made it to #3 on the US Billboard album charts and is certified triple platinum.The album was produced by the legendary Andy Johns and had contributions from Jon Bon Jovi. The singles, Shake Me, Nobody's Fool and Somebody Save Me were in heavy rotation on MTV. Cinderella was a catalyst for the new so-called "hair metal" even though their music had a harder edge to it.This was the 2nd Shout It Out Loudcast Patreon pick and the guys definitely had some fun with this one.As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the cover against the previous 29 albums reviewed on the Album Review Crew.So grab a towel and PUSH PUSH back so you don't get soaked with sweat.For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Shop At Our Amazon Store Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network
On the 31st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1986 hair metal debut album "Night Songs" by Cinderella.Cinderella was formed in Philadelphia by lead singer and guitarist Tom Keifer and bassist Eric Brittingham. They were later joined by guitarist Jeff LaBar and drummer Fred Coury who did not play on the debut album. The album made it to #3 on the US Billboard album charts and is certified triple platinum.The album was produced by the legendary Andy Johns and had contributions from Jon Bon Jovi. The singles, Shake Me, Nobody's Fool and Somebody Save Me were in heavy rotation on MTV. Cinderella was a catalyst for the new so-called "hair metal" even though their music had a harder edge to it.This was the 2nd Shout It Out Loudcast Patreon pick and the guys definitely had some fun with this one.As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the cover against the previous 29 albums reviewed on the Album Review Crew.So grab a towel and PUSH PUSH back so you don't get soaked with sweat.For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Shop At Our Amazon Store Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network
On the 31st Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1986 hair metal debut album "Night Songs" by Cinderella. Cinderella was formed in Philadelphia by lead singer and guitarist Tom Keifer and bassist Eric Brittingham. They were later joined by guitarist Jeff LaBar and drummer Fred Coury who did not play on the debut album. The album made it to #3 on the US Billboard album charts and is certified triple platinum. The album was produced by the legendary Andy Johns and had contributions from Jon Bon Jovi. The singles, Shake Me, Nobody's Fool and Somebody Save Me were in heavy rotation on MTV. Cinderella was a catalyst for the new so-called "hair metal" even though their music had a harder edge to it. This was the 2nd Shout It Out Loudcast Patreon pick and the guys definitely had some fun with this one. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the cover against the previous 29 albums reviewed on the Album Review Crew. So grab a towel and PUSH PUSH back so you don't get soaked with sweat. For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below: SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
Hello Basementeers ...Well hear in the Basement we always look for interesting music to play for everybody, and well this show has some neat records we wanted to play for a long time. In this show we have songs from: Bob Seger / Ian Gomm / Tom Petty / Bruce Springsteen / Eric Clapton and Ruth Copeland ....Intro: There's No Business Like Showbusiness-Stanley Black 1. Stuck In The Hole-Caravan2. Running Out-Bongo & Judy3. Walk Away-Del Shannon4. Crawling Back To You-Tom Petty5. Red Sun-Buckingham & McVie6. Love & Rock And Roll Music-The Archies7. Country Dancing-Gene Pitney8. Are You Happy-Iron Butterfly9. No Man's Land-Bob Seger10. The Easiest Way To Fall-Frida Payne11. Green Thoughts-The Smithereens12. Band On The Run-Richie Havens13. You'll Be Coming Down-Bruce Springsteen14. Watch Her Ride-Jefferson Airplane 15. Can't Satisfy-The Impressions16. Lark Day-The Smothers Brothers17. Cross Words-GIT18. Shake Me, Wake Me-The 4 Tops19. Day After Day-Gypsy20. Another World-The Idle Few21. Living With A Heartache-The Beach Boys22. Where Am I Going-Barbra Streisand23. The Way Love Used To Be-The Kinks24. Black & White-Ian Gomm25. What Turns You On-The Golden Breed26. Keep On Running-Stevie Wonder27. Have You Ever Loved Someone-The Hollies28. Walk A Thin Line-Mick Fleetwood29. The Music Box-Ruth Copeland30. Hanging On-Waylon Jennings31. Bottle Of Red Wine-Eric Clapton32. Think It Over-Cheryl Ladd33. High Above My Head-Ray ThomasOutro: There's No Business Like Showbusiness-Stanly Black
Josh and I spoke with Paul Cluff about his life with Parkinson's and how he helps others. PAUL'S LINKS Can't Shake Me - https://www.cantshakeme.org Instagram - https://www.instagram.com/cant_shake_me_csm/ ___ Check out our website: https://www.marked4glory.com Follow us on Facebook: https://www.facebook.com/marked4glory Join our Facebook Group: https://www.facebook.com/groups/marked4glory Follow us on Instagram: https://www.instagram.com/marked4glory #exercise #ParkinsonsDisease #PD #YOPD #disability #Virginia --- Support this podcast: https://podcasters.spotify.com/pod/show/m4gadvocacymedia/support
Something a little bit different this week as we go a little farther into the year 1988. Were in Pittsburgh at the Civic Arena with the USHRA! Monster Truck Time Trial Racing is the forefront of the show with arguably the sports biggest rivalry Bigfoot vs Bearfoot being our main draw. The Mud Racing quite honestly might be the most talked about thing coming out of this show though as Tom Meents brings out the brand new Shake Me to run on the USHRA Circuit! --- Support this podcast: https://anchor.fm/retro-monster-truck-review/support
Episode one hundred and thirty-two of A History of Rock Music in Five Hundred Songs looks at “I Can't Help Myself” by the Four Tops, and is part two of a three-episode look at Motown in 1965. 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 "Colours" by Donovan. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as too many of the songs were by the Four Tops. Amazingly, there are no books on the Four Tops, so I've had to rely on the information in the general Motown sources I use, plus the liner notes for the Four Tops 50th Anniversary singles collection, a collection of the A and B sides of all their Motown singles. That collection is the best collection of the Four Tops' work available, but is pricey -- for a cheaper option this single-disc set is much better value. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This is the second part of a two-part look at the work of Holland, Dozier, and Holland, and part of a three-part look at Motown Records in the mid-sixties. If you've not listened to the last episode, on the Supremes, you might want to listen to that one before this. There's a clip of an old radio comedy show that always makes me irrationally irritated when I hear it, even though I like the programme it's from: [Excerpt of The Mark Steel Lectures, “Aristotle” episode. Transcript: "Which led him back to the problem, what is it that makes something what it is? Is an apple still an apple when it's decomposing? I went to see the Four Tops once and none of the original members were in the band, they were just session musicians. So have i seen the Four Tops or not? I don't know" ] That's the kind of joke that would work with many vocal groups -- you could make the joke about the Drifters or the Ink Spots, of course, and it would even work for, for example, the Temptations, though they do have one original member still touring with them. Everyone knows that that kind of group has a constantly rotating membership, and that people come and go from groups like that all the time. Except that that wasn't true for the Four Tops at the time Mark Steel made that joke, in the late 1990s. The current version of the Four Tops does only have one original member -- but that's because the other three all died. At the time Steel made the joke, his only opportunity to see the Four Tops would have been seeing all four original members -- the same four people who had been performing under that name since the 1950s. Other groups have had longer careers than that without changing members -- mostly duos, like Simon & Garfunkel or the Everly Brothers -- but I can't think of another one that lasted as long while performing together continuously, without taking a break at any point. So today, we're going to look at the career of a group who performed together for forty-four years without a lineup change, a group who were recording together before Motown even started, but who became indelibly associated with Motown and with Holland-Dozier-Holland. We're going to look at the Four Tops, and at "I Can't Help Myself": [Excerpt: The Four Tops, "I Can't Help Myself"] The Four Tops have turned up in the background in several episodes already, even though we're only now getting to their big hits. By the time they became huge, they had already been performing together for more than a decade, and had had a big influence on the burgeoning Detroit music scene even before Berry Gordy had got involved with the scene. The group had started out after Abdul "Duke" Fakir, a teenager in Detroit, had gone to see Lucky Millinder and his band perform, and had been surprised to see his friend Levi Stubbs turn up, get on stage, and start singing with the band in a guest spot. Fakir had never realised before that his friend sang at all, let alone that he had an astonishing baritone voice. Stubbs was, in fact, a regular on the Detroit amateur singing circuit, and had connections with several other performers on that circuit -- most notably his cousin Jackie Wilson, but also Hank Ballard and Little Willie John. Those few singers would make deals with each other about who would get to win at a particular show, and carved things up between them. Stubbs and Fakir quickly started singing together, and by 1953 they had teamed up with two other kids, Obie Benson and Lawrence Payton. The four of them sang together at a party, and decided that they sounded good enough together that they should become a group. They named themselves the Four Aims, and started playing local shows. They got a one-off record deal with a small label called Grady Records, and released their only single under the name "The Four Aims" in 1956: [Excerpt: The Four Aims, "She Gave Me Love"] After that single, they tried teaming up with Jackie Wilson, who had just quit Billy Ward and the Dominoes, but they found that Wilson and Stubbs' voices clashed -- Wilson's then-wife said their voices were too similar, though they sound very different to me. Wilson would, of course, go on to his own massive success, and that success would be in part thanks to Roquel Davis, who was Lawrence Payton's cousin. As we saw in the episode on "Reet Petite", Davis would co-write most of Wilson's hits with Berry Gordy, and he was also writing songs for the Four Aims -- who he renamed the Four Tops, because he thought the Four Aims sounded too much like the Ames Brothers, a white vocal quartet who were popular at the time. They explained to Davis that they were called the Four Aims because they were *aiming* for the top, and Davis said that in that case they should be the Four Tops, and that was the name under which they would perform for the rest of their career. In the early fifties, before Wilson's success, Davis was the person in the group's circle with the most music industry connections, and he got them a deal with Chess Records. I already talked about this back in the episode on Jackie Wilson, but the group's first record on Chess, with Davis as the credited songwriter: [Excerpt: The Four Tops, "Kiss Me Baby"] Sounds more than a little like a Ray Charles record from a couple of years earlier, which Davis definitely didn't write: [Excerpt: Ray Charles, "Kissa Me Baby"] But that wasn't a success, and it would be another four years before they released their next single -- a one-off single on Columbia Records. It turned out that Chess had mostly signed the Four Tops not for the group, but to get Davis as a songwriter, and songs he'd originally written for the Tops ended up being recorded by other acts on Chess, like the Moonglows and the Flamingoes. The group's single on Columbia would also be a flop, they'd wait another two years before another one-off single on Riverside, and then yet another two years before they were signed by Motown. Their signing to Motown was largely the work of Mickey Stevenson, Motown's head of A&R. Of course, Stevenson was responsible, directly or otherwise, for every signing to the label at this point in time, but he had a special interest in the Four Tops. Stevenson had been in the Air Force in the 1950s, when he'd wandered into one of the Detroit amateur shows at which the Four Aims had been performing. He'd been so impressed with them that he immediately decided to quit the air force and go into music himself. He'd joined the Hamptones, the vocal group who toured with Lionel Hampton's band, and he'd also become a member of a doo-wop group called The Classics, who'd had a minor hit with "If Only the Sky Was a Mirror": [Excerpt: The Classics, "If Only the Sky Was a Mirror"] Stevenson had moved into a backroom position with Motown, but it was arguably the most important position in the company other than Gordy's. He was responsible for putting together the Funk Brothers, for signing many of the label's biggest acts, and for co-writing a number of the label's biggest hits, including "Stubborn Kind of Fellow" and "Dancing in the Street". Stevenson had wanted to sign the group from the start -- given that they were the group who were directly responsible for everything that had happened in his career, they were important to him. And Berry Gordy was also a fan of the group, and had known them since his time working with Jackie Wilson, but it had taken several years for everything to fall into place so that the group were able to sign to Motown. When they did, they naturally became a priority. When they were signed to the label, it was initially with the intention of recording them as a jazz group rather than doing the soul pop that Motown was best known for. Their first recordings for Motown were for their subsidiary Workshop Jazz. They recorded an entire album of old standards for the label, titled "Breaking Through": [Excerpt: The Four Tops, "This Can't be Love"] Unfortunately for the group, that album wouldn't be released for thirty-five years -- Workshop Jazz had been founded because Berry Gordy was still a jazz fanatic, but none of the records on it had been very successful (or, frankly, very good -- the Four Tops album was pretty good, but most of the music put out on the label was third rate at best), and so the label closed down before they released the Four Tops album. So the group were at a loose end, and for a while they were put to work as session vocalists on other people's records, adding backing to records by the Supremes: [Excerpt: The Supremes, "Run Run Run"] And even after they started having hits of their own they would appear on records by other people, like "My Baby Loves Me" by Martha and the Vandellas: [Excerpt: Martha and the Vandellas, "My Baby Loves Me"] You'll notice that both of these records were ones where the Four Tops were added to a female group -- and that would also be the case on their own records, once Holland, Dozier, and Holland took over producing them. The sound on the Four Tops' records is a distinctive one, and is actually made up of seven voices. Levi Stubbs, of course, took the lead on the singles, but the combination of backing vocalists was as important as the lead. Unlike several other vocal groups, the Four Tops were never replaced on their records -- Stubbs was always resistant to the idea that he was more important than the rest of his group. Instead, they were augmented -- Motown's normal session singers, the Andantes, joining in with Fakir, Payton, and Benson. The idea was to give the group a distinctive sound, and in particular to set them apart from the Temptations, whose recordings all featured only male vocals. The group's first hit single, "Baby I Need Your Loving", was a song that Holland, Dozier, and Holland had written but weren't too impressed with. Indeed, they'd cut the backing track two years earlier, but been too uninspired by it to do anything with the completed track. But then, two years after cutting the backing, Dozier was hit with inspiration -- the lines "Baby, I need your loving/Got to have all your loving" fit the backing track perfectly. Eddie Holland was particularly excited to work with the Four Tops. Even though he'd somehow managed never to hear the group, despite both moving in the same musical circles in the same town for several years, he'd been hearing for all that time that Levi Stubbs was as good as his rivals Little Willie John and Jackie Wilson -- and anyone that good must be worth working with. When they took the song into the studio, though, Levi Stubbs didn't want to sing it, insisting that the key was wrong for his voice, and that it should be Payton who sang the song. The producers, though, insisted that Stubbs had the perfect voice for the song, and that they wanted the strained tone that came from Stubbs' baritone going into a higher register than he was comfortable with. Eddie Holland, who always coached the lead vocalists while his brother and Lamont Dozier worked with the musicians, would later say that the problem was that Stubbs was unprepared and embarrassed -- they eventually persuaded Stubbs to take the song home and rehearse it over the weekend, and to come in to have a second go at the track the next Monday. On the Monday, Stubbs came in and sang the song perfectly, and Stubbs' baritone leads became the most distinctive sound to come out of Motown in this period: [Excerpt: The Four Tops, "Baby I Need Your Loving"] According to at least one source, Stubbs was still unhappy with his vocal, and wanted to come in again the next day and record it again. Holland, Dozier, and Holland humoured him, but that wasn't going to happen. "Baby I Need Your Loving" became a hit, making number eleven, and so of course the next record was a soundalike. "Without the One You Love (Life's Not Worthwhile)" even started with the line "Baby, I need your good loving". Unfortunately, this time Holland, Dozier, and Holland copied their previous hit a little *too* closely, and people weren't interested. Dozier has later said that they were simply so busy with the Supremes at the time that they didn't give the single the attention it deserved, and thought that cranking out a soundalike would be good enough. Because of this, they weren't given the group's next single -- the way Motown worked at the time, if you came up with a hit for an act, you automatically got the chance to do the follow-up, but if you didn't have a hit, someone else got a chance. Instead, Mickey Stevenson and Ivy Joe Hunter came up with a ballad called "Ask the Lonely", which became a minor hit -- not as big as "Baby I Need Your Loving", but enough that the group could continue to have a career. It would be the next single that would make the Four Tops into the other great Holland-Dozier-Holland act, the one on which their reputation rests as much as it does on the Supremes: [Excerpt: The Four Tops, "I Can't Help Myself"] "I Can't Help Myself" was inspired by Dozier's grandfather, who would catcall women as they passed him on the street -- "Hey, sugar pie! Hi there honey bunch!" Dozier married those words to a chord progression that's almost identical to the one from "Where Did Our Love Go?". Both songs go C-G-Dm-F-G, with the same number of beats between changes: [demonstrates] There's only one tiny change in the progression -- in the last beat of the last bar, there's a passing chord in "I Can't Help Myself", a move to A minor, that isn't there in "Where Did Our Love Go?" Even the melody lines, the syllabics of the words, and their general meanings are very similar. "Where Did Our Love Go?" starts with "Baby baby", "I Can't Help Myself" starts with "Sugar pie, honey bunch". "Baby don't leave me" is syllabically similar to "You know that I love you". The two songs diverge lyrically and melodically after that, but what's astonishing is how a different vocalist and arrangement can utterly transform two such similar basic songs. Compare the opening of "Where Did Our Love Go?": [Excerpt: The Supremes, "Where Did Our Love Go?"] With the opening of "I Can't Help Myself": [Excerpt: The Four Tops, "I Can't Help Myself"] It's a perfect example of how Holland, Dozier, and Holland would reuse musical ideas, but would put a different spin on them and make the records sound very different. Of course, some of the credit for this should go to the Funk Brothers, the session musicians who played on every Motown hit in this period, but there's some question as to exactly how much credit they deserved. Depending on who you believe, either the musicians all came up with their own instrumental lines, and the arrangement was a group effort by the session musicians with minimal interference from the nominal producers, or it was all written by Brian Holland and Lamont Dozier, and the musicians just did what they were told with no creative input at all. The arguments about who did what tend to get quite vicious, with each side pointing out, accurately, that the other needed them. It's true that Holland, Dozier, and Holland didn't do anything like as well as writers and producers after they left Motown. It's also true that the Funk Brothers didn't write or produce any hits themselves, but were reliant on the Motown staff writers and producers for material. I suspect, and it is only a suspicion, that the truth lies between the two, and that it was a collaborative process where Holland and Dozier would go into the studio with a good idea of what they wanted, but that there was scope for interpretation and the musicians were able to make suggestions, which the producers might take up if they were good ones. If Brian Holland sketched out or hummed a rough bassline to James Jamerson, saying something like "play bum-bum-bum-bum", and then Jamerson embellished and improvised around that rough bassline, it would be easy to see how both men could come out of the session thinking they had written the bassline, and having good reason to think so. It's also easy to see how the balance could differ in different sessions -- how sometimes Holland or Dozier could come in with a fully worked out part, and other times they might come in saying "you know the kind of thing I want", and how that could easily become remembered as "I came up with all the parts and the musicians did nothing" or "Us musicians came up with all the parts and the producers just trusted us". Luckily, there's more than enough credit to go around, and we can say that the Four Tops, Holland, Dozier, and Holland, the Funk Brothers, and the Andantes all played an important part in making these classic singles: [Excerpt: The Four Tops, "I Can't Help Myself"] "I Can't Help Myself" knocked the Supremes' "Back in My Arms Again" off the number one spot, but was itself knocked off the top by "Mr. Tambourine Man" -- but then a week later, "I Can't Help Myself" was at number one again, before being knocked off again by "(I Can't Get No) Satisfaction". The success of "I Can't Help Myself" meant that the group's singles on their old labels suddenly had some value. Columbia Records reissued "Ain't That Love", a single the group had originally released four years earlier, in the hope of having some success because of the group's new-found fame. As we saw last time when the Supremes rushed out "Come See About Me" to prevent someone else having the hit with it, there was nothing that Berry Gordy hated more than the idea that someone else could have a hit based on the success of a Motown act. The Four Tops needed a new single *now* to kill the record on Columbia, and it didn't matter that there were no recordings or even songs available to put out. Holland, Dozier, and Holland went into the studio to record a new backing track with the Funk Brothers, essentially just a remake of the backing from "I Can't Help Myself", only very slightly changed. By three o'clock in the afternoon on the day they found out that the Columbia record was being released, they were in the studio, Dozier fine-tuning the melody while Brian Holland rehearsed the musicians and Eddie Holland scribbled lyrics in another corner. By five PM the track had been recorded and mixed. By six PM the master stamper was being driven the ninety miles to the pressing plant so they could start pressing up copies. The next day, DJs started getting copies of the record, and it was in the shops a couple of days later. Of course, the record being made in such a rush meant that it was essentially a remake of their previous hit -- something that was acknowledged in the tongue-in-cheek title: [Excerpt: The Four Tops, "It's the Same Old Song"] "It's the Same Old Song" wasn't as big a hit as "I Can't Help Myself", but it made number five on the charts, a more than respectable follow-up, and quite astonishing given the pressure under which the record was made. The next few singles that Holland, Dozier, and Holland wrote for the group weren't quite as successful -- this was early 1966, and Holland, Dozier, and Holland were in a mini slump -- they'd had a number one with "I Hear a Symphony", as we heard in the last episode, but then they produced two singles for the Supremes that made the top ten, but not number one -- "My World is Empty Without You" and "Love is Like an Itching in My Heart". And as the Four Tops weren't quite as big as the Supremes, so their next two singles, "Something About You" and "Shake Me, Wake Me (When It's Over)", only just scraped into the bottom of the top twenty. Still hits, but not up to Holland, Dozier, and Holland's 1965 standards. And so as was the common practice at Motown, someone else was given a chance to come up with a song for the group. "Loving You is Sweeter Than Ever" was written by Ivy Jo Hunter, a songwriter and producer whose biggest contribution to this point had been co-writing "Dancing in the Street", and Stevie Wonder, a child star who'd had a hit a couple of years earlier but never really followed up on it, and who also played drums on the track: [Excerpt: The Four Tops, "Loving You is Sweeter Than Ever"] Within a few months, Wonder would begin a run of hit singles that would continue for more than a decade, and would become arguably the most important artist on Motown. But that golden period hadn't quite started yet, and "Loving You is Sweeter Than Ever" didn't make the top forty. At this point, it would have been easy for the Four Tops to have been relegated to the same pile as artists like the Contours -- people who'd had a couple of hits on Motown, but had then failed to follow up with a decent career. Motown was becoming ever more willing to drop artists as dead weight, as Gordy was increasingly concentrating on a few huge stars -- Marvin Gaye, Smokey Robinson and especially the Supremes – to the exclusion of everyone else. But then Holland, Dozier, and Holland got back up on top. They came up with two more number ones for the Supremes in quick succession. "You Can't Hurry Love" was recorded around the same time that "Loving You is Sweeter Than Ever" was failing to chart, and quickly became one of the Supremes' biggest ever hits. They followed that with a song inspired by the sound of the breaking news alert on the radio, replicating that sound with the staccato guitars on what was their most inventive production to date: [Excerpt: The Supremes, "You Keep Me Hanging On"] Not only was that a number one record, it was soon followed by a top ten cover version by the heavy rock band Vanilla Fudge: [Excerpt: Vanilla Fudge, "You Keep Me Hanging On"] Holland, Dozier, and Holland were back on top, and they brought the Four Tops back to the top with them. The next single they recorded with the group, "Reach Out, I'll Be There", started with an instrumental introduction that Brian Holland was noodling with on the piano: [Excerpt: The Four Tops, "Reach Out I'll Be There"] Holland was playing that part, over and over, and then suddenly Lamont Dozier was hit with inspiration -- so much so that he literally pushed Holland to one side without saying anything and started playing what would become the verse: [Excerpt: The Four Tops, "Reach Out I'll Be There"] The interesting thing about that track is that it shows how the different genres that were charting at the time would have more influence on each other than it might appear from this distance, where we put them all into neat little boxes named "folk-rock" or "Motown". Because Lamont Dozier was very specifically being influenced by Bob Dylan and "Like a Rolling Stone", when it came to how the song was phrased. Now, this is not something that I would ever in a million years have thought of, but once you know it, the influence is absolutely plain -- the way the melody stresses and elongates the last syllable of each line is pure Dylan. To show this, I am afraid I'm going to have to do something that I hoped I'd never, ever, have to do, which is do a bad Bob Dylan impression. Everyone thinks they can impersonate Dylan, everyone's imitations of Dylan are cringeworthy, and mine is worse than most. This will sound awful, but it *will* show you how Dozier was thinking when he came up with that bit of melody: [demonstrates] Let us never speak of that again. I think we'd better hear how Levi Stubbs sang it again, hadn't we, to take that unpleasant sound away: [Excerpt: The Four Tops, "Reach Out I'll Be There"] That became the group's second and last number one single, and also their only UK number one. Unfortunately, Holland, Dozier, and Holland were so hot at this point that they ended up competing with themselves. Norman Whitfield, one of the other Motown songwriter-producers, had wanted for a while to produce the Temptations, whose records were at this point mostly written and produced by Smokey Robinson. He called on Eddie Holland to help him write the hit that let him take over from Robinson as the Temptations' producer, "Ain't Too Proud to Beg": [Excerpt: The Temptations, "Ain't Too Proud to Beg"] Dozier and Brian Holland were fine with Eddie working with another writer -- they all did that kind of thing on occasion -- until the date of the BMI Awards. The previous two years, the trio had been jointly given BMI's award for most successful songwriter of the year. But that year, Eddie Holland got the award on his own, for having written more hits than anyone else (he'd written eight, Dozier and Brian Holland had written six. According to a contemporary issue of Billboard, John Sebastian was next with five, then Lennon/McCartney and Jagger/Richards with four each.) Holland felt bad that he'd inadvertently prevented his collaborators from winning the award for a third year in a row, and from this point on he'd be much more careful about outside collaborations. Holland, Dozier, and Holland wrote two more classic singles for the Four Tops, "Standing in the Shadows of Love", and "Bernadette". That latter had been inspired by a coincidence that all three of Holland, Dozier, and Holland had at one time or another dated or felt unrequited love for different girls called Bernadette, but it proved extremely difficult to record. When the trio wrote together, Eddie Holland would always sing the songs, and the melodies were constructed around his tenor vocal range. Stubbs was a baritone, and sometimes couldn't hit some of the higher notes in the melodies, and he was having that problem with "Bernadette". Eddie Holland eventually solved the problem by inviting in a few fans who had been hanging around outside hoping for autographs. Stubbs being a performer wasn't going to make himself look bad in front of an audience, and sang it perfectly: [Excerpt: The Four Tops, "Bernadette"] "Bernadette" made the top five, and it was followed by a couple more top twenty hits with lesser Holland/Dozier/Holland songs, but then the writer-producers quit Motown, for reasons we'll look at in a few months when we take our last look at the Supremes. This left the Four Tops stranded -- they were so associated with their producers that nobody else could get hits with them. For a while, Motown turned to an interesting strategy with them. It had been normal Motown practice to fill albums up with cover versions of hits of the day, and so the label put out some of this album filler as singles, and surprisingly had some chart success with cover versions of the Left Banke's baroque pop hit "Walk Away Renee": [Excerpt: The Four Tops, "Walk Away Renee"] and of Tim Hardin's folk ballad "If I Were a Carpenter": [Excerpt: The Four Tops, "If I Were a Carpenter"] And so for a while many of the singles the group released, both in the US and elsewhere, were covers of songs that were very far from the normal Motown style -- the Jimmy Webb ballad "Do What You Gotta Do" made the UK top twenty, their cover of another Jimmy Webb song, "MacArthur Park", made the lower reaches of the US top forty, their version of the old standard "It's All in the Game" made number twenty-four, and they released a version of "River Deep, Mountain High", teaming up with the Supremes, that became more successful in the US than the original, though still only just made the top forty. But they were flailing. Motown had no idea what to do with them other than release cover versions, and any time any of Motown's writing and production teams tried to come up with something new for the group it failed catastrophically. In 1972 they signed to ABC/Dunhill, and there they had a few hits, including a couple that made the top ten, but soon the same pattern emerged -- no-one could reliably get hits with the group, and they spent much of the seventies chasing trends and failing to catch them. They had one more big US hit in 1981, with "When She Was My Girl", which made number eleven, and which went to number one on the R&B charts: [Excerpt: The Four Tops, "When She Was My Girl"] But from that point on they were essentially a nostalgia act, though they carried on releasing records through the eighties. The group's career nearly came to a premature end in 1988. They were in the UK to promote their single "Loco in Acapulco", co-written by Lamont Dozier and Phil Collins, from the soundtrack of Collins' film Buster: [Excerpt: The Four Tops, "Loco in Acapulco"] That was a UK top ten hit, but it nearly led to the group's death -- they were scheduled to fly out of the UK on Pan Am flight 103 to Detroit on the twenty-first of December 1988. But the group were tired after recording an appearance on Top of the Pops the night before, slept in, and missed the flight. The flight fell victim to a terrorist bombing -- the Lockerbie bombing -- and everyone on it died. The group carried on performing together after that, but their last new single was released in 1989, and they only recorded one more album, a Christmas album in 1995. They performed together, still in their original lineup, until 1997 when Lawrence Payton died from cancer. At first the group continued as a trio, retiring the Four Tops name and just performing as The Tops, but eventually they got in a replacement. By the turn of the century, Levi Stubbs had become too ill to perform as well -- he retired in 2000, though he came back for a one-off performance for the group's fiftieth anniversary in 2004, and he died in 2008. Obie Benson continued performing with the group until three months before his death in 2005. A version of the Four Tops continues to perform, led by Abdul Fakir, and also featuring Lawrence Payton's son Roquel, named after Roquel Davis, who performs under the name Lawrence Payton Jr. The Four Tops were one of those groups that never quite lived up to their commercial potential, thanks in large part to Holland, Dozier, and Holland leaving Motown at precisely the wrong moment, and one has to wonder how many more hits they could have had under other circumstances. But the hits they did have included some of the greatest records of the sixties, and they managed to continue working together, without any public animosity, until their deaths. Given the way the careers of more successful groups have tended to end, perhaps it's better this way.
Parkinson's warrior and advocate Paul Cluff shares his inspirational story and how he is staying healthy and strong despite being diagnosed with early onset Parkinson's. Paul is the CEO of Can't Shake Me, a nonprofit organization dedicated to raising awareness about early onset Parkinson's. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/simplyreal/message
Phil, Jake and Jason are joined by new guest Christina to gussy-up the List of Every Damn Thing by ranking the fictional princess Cinderella, the 80s glam-metal band Cinderella, and the hip-hop trailblazer Spinderella.If you have something to add to the list, email it to list@everydamnthing.net (or get at us on Twitter and Instagram). You can view the full list at everydamnthing.netSHOW NOTES: RIP to Shock G. of Digital Underground, who died not long before we recorded this episode. Jessica Rabbit is considered to be a Disney Princess by us. The character of Cinderella is so unremarkable in the 1950 Disney movie that they don’t even include her as an ingredient in this official trailer. Charles Perrault, who wrote the Cinderella story best-known in contemporary culture, is pretty much the father of the “fairy tale” genre. His works-- derived from folk stories-- also include Little Red Riding Hood, Puss In Boots and Sleeping Beauty. As we discuss in this episode, Brandy played Cinderella in the 1997 Rogers & Hammerstein’s Cinderella TV movie. Phil didn't mention it but when his wife listens to "The Boy Is Mine" she agrees that the boy is Brandy's. Jake, however, knows the boy is Monica’s. Jason didn’t mention that Drew Barrymore’s air fryer is part of a Wal-Mart Collection. We mention Princess Diana. You can get the Di-themed Beanie Baby for just $50k on eBay. I Was A Rat by Phillip Pullman is just fantastic. Phil recommends it. Songs (and music videos) of Cinderella’s that we discuss include “Don’t Know What You Got Till It’s Gone” (partly shot in Bodie State Historic Park), “Nobody’s Fool”, “Somebody Save Me”, “Shake Me” and “Gypsy Road”. We also discuss their unremarkable deep-cut “Winds of Change” (not to be confused with “Wind of Change” by Scorpions). We engage in a bit of a hot-or-not session with metal guys, including Tom Keifer, Dee Snider, Stephen Pearcy (aka the guy from Ratt),Kevin DuBrow (aka the guy from Quiet Riot), Vince Neil, Brett Micheals, Slash and Jon Bon Jovi. Here's Michael Bivins (of Bell Biv DeVoe) in the video for “Motown Philly” by Boys II Men. Here’s a clip featuring the real voice of Gilbert Gottfried. The video for “Fresh” by Kool & The Gang is maybe the best interpretation of the Cinderella story and features the best K & the G song too. That's not our opinion, that's a fact. This trailer for the 1977 Cinderella erotic fairy tale movie that Phil saw as a kid acknowledges the foot fetish aspect of the story. The poster art for the movie is pretty great. Jake mentions that Salt-N-Pepa make an appearance in Coming 2 America. Spinderella does not. It looks like Hurby “Luv Bug” Azor was, in fact, in a relationship with Salt for a while in the 80’s. Jake should really know who Wendy Williams is. Jack Kirby continues to be Phil's example of someone who did work-for-hire in a creative field and didn't get paid. Jake was wrong: Spinderella is credited as a one of the producers on some of Salt-N-Pepa’s albums. But he was right when he guessed that she’s not even a performer on the album that features “Push It”. Here’s a clip from the Salt-N-Pepa Lifetime movie. We talk about the NWA song “I Ain’t Tha 1” (written and performed by Ice Cube). The lyrics are troublesome, but tame in comparison to some of his later more misogynistic songs. ALSO DISCUSSED IN THIS EPISODE:Brittany Murphy * Dolly Parton * the Brothers Grimm * Ever After (1998 movie) * Quentin Tarantino’s foot fetish * Meghan Markle * social mobility * step-mothers * sheeple * Jenny McCarthy * Barry Bonds, the home run king of all time * Bridgerton * Steve Jobs * toe shoes * Bon Jovi * the word “moist” * wind chimes * MTV’s My Super Sweet 16 * kefir * ShakiraBelow are the Top Ten and Bottom Top items on List of Every Damn Thing as of this episode (for the complete up-to-date list, go here):TOP TEN:1. Dolly Parton - person2. interspecies animal friends - idea3. Clement Street in San Francisco - location4. Prince - person5. It’s-It - food6. Cher - person7. Pee-Wee Herman - fictional character8. Donald Duck - fictional character9. Hank Williams - person10. air - substanceBOTTOM TEN:134. Lincoln Logs - toy135. broken glass - substance136. Jenny McCarthy - person137. Jon Voight - person138. Hank Williams, Jr - person139. McRib - food140. war - idea141. cigarettes - drug142. QAnon - idea143. transphobia - ideaTheme song by Jade Puget. Graphic design by Jason Mann. This episode was edited by Jake MacLachlan, with audio help from Luke Janela. Show notes by Jake MacLachlan & Phil Green.Our website is everydamnthing.net and we're also on Twitter and Instagram.Email us at list@everydamnthing.net.
La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Cinderella fue una banda estadounidense de hard rock. Su formación original estaba compuesta por Tom Keifer (voz y guitarra), Eric Brittingham (bajo), Michael Smerick (guitarra) y Tony Destra (batería). El sonido de la banda tiene claras influencias del rock & roll de AC/DC, la fusión del blues y el rock de bandas como Led Zeppelin y Rolling Stones, además de toques de rock sureño. La banda surgió a mediados de la década de 1980 con una serie de álbumes multiplatino y exitosos sencillos cuyos vídeos musicales recibieron una fuerte rotación en el canal MTV. A mediados de la década de 1990, la popularidad de la banda disminuyó severamente debido a reveses personales, rupturas y cambios en la industria de la música. Después de un breve paréntesis, Cinderella se reunió en 1996 y continuó tocando en vivo en los siguientes 20 años, pero nunca lanzó ningún material de estudio después de su álbum de 1994 Still Climbing. La agrupación vendió 15 millones de discos en todo el mundo según el sitio web oficial de Tom Keifer. Según Tom Keifer, Cinderella fue descubierta por Gene Simmons, líder de Kiss, quien les recomendó por primera vez a la discográfica PolyGram, pero en aquella ocasión fueron rechazados. Ya en 1985, Jon Bon Jovi conoció a Cinderella cuando los escuchó tocar en el Empire Rock Club de Filadelfia, este quedó tan impresionado por la actuación que le pidió a su agente discográfico, Derek Shulman, que escuchase a la banda. PolyGram seguía manteniendo cierto excepticísmo hacia Cinderella, pero ante la insistencia de Jon Bon Jovi, accedieron a verles tocar en una actuación privada dedicada a productores. Tras la actuación, y aún sin demasiado entusiasmo, decidieron darles una oportunidad y les firmaron un contrato de prueba de seis meses, no sin antes obligarles a sustituir al guitarrista y al batería, pues según los productores no daban la talla. Tras ese tiempo Cinderella logró convencer a PolyGram y estos les firmaron su primer gran contrato. Debutaron en 1986 con Night Songs, de estilo glam metal, que vendió tres millones de copias y alcanzó el tercer puesto en las listas estadounidenses. Entre sus temas destacados están "Shake Me" y la balada "Nobody's Fool". En 1988, repitieron el gran éxito del primer disco con Long Cold Winter, de un sonido más bluesero y de influencias setenteras. La balada "Don't Know What You Got (Till It's Gone)", el medio tiempo "Coming Home" y las roqueras "The Last Mile" y "Gypsy Road" fueron la clave del impulso comercial del álbum. Con Heartbreak Station (1990), continuaron en la misma senda musical, que tuvo como arreglista a John Paul Jones, bajista y tecladista de Led Zeppelin. Este disco no alcanzó el éxito esperado. Sus sencillos más destacados fueron la balada "Heartbreak Station" y "Shelter Me", Tiempo después, Fred Coury se marchó de la banda, y en 1994 publicaron Still Climbing, que pasó desapercibido en un momento en que el grunge y el rock alternativo estaban en alza. Luego de estos inconvenientes decidieron separarse. Sin embargo, años más tarde se dio la tan esperada reunión, haciendo giras para recordar viejos tiempos y satisfacer al público que gusta de su música. En el verano de 2006 completaron un tour junto a la banda de glam metal Poison. Ambas bandas celebraban el vigésimo aniversario de sus discos debut, Night Songs y Look What the Cat Dragged In. La gira fue un éxito, convirtiéndose en una de las más exitosas de ese año. Cinderella confirmó en su sitio web que la banda saldría de gira en 2010 con dos fechas previas confirmadas.3 Se anunció el 22 de febrero que Cinderella formaría parte de los festivales Rocklahoma y Sweden Rock Festival en 2010. En julio de 2010 la banda subió al escenario para abrir para Bret Michaels durante el Common Ground Music Festival, con la alineación original compuesta por Tom Keifer, Eric Brittingham, Jeff LaBar y Fred Coury. Luego abrieron algunos conciertos para la banda alemana Scorpions en su gira Get Your Sting and Blackout, En 2011, Cinderella emprendió una gira mundial por su 25º aniversario. Veinte shows fueron confirmados desde abril hasta julio. Durante la gira, encabezaron la primera edición del Festival "Shout It Out Loud" en Alemania. En el verano de 2012 la banda hizo una gira por los Estados Unidos con el excantante de Skid Row, Sebastian Bach. En marzo de 2013 hizo parte del Monsters of Rock Cruise 2013 junto a Tesla, Kix y Queensrÿche. En noviembre de 2017, Keifer declaró que Cinderella no tiene planes de reunirse, afirmando que "los problemas entre los miembros de la banda son irreparables"
Led Zeppelin - Presence On this episode, Eric RMCP Jordan joins us to review an underrated album from a band everyone ought to know. We also talk about blues and at least one of us makes criticisms about some stuff. Our tracks of the week are Freddy Lindquist’s “Sundae Sellers”, Soundgarden’s “Live To Rise” and Cobra Spell’s “Shake Me.” Remember to stir your food properly when you cook. Cheers! #ledzep #Classicrock
Many of us grew up listening to The Coasters, the iconic 1950s band that bridged the gap between doowop and R&B, that brought humor and sass to the birth of rock ’n’ roll. “Yakety Yak” and “Charlie Brown,” “Along Came Jones” and “Poison Ivy,” “Wake Me, Shake Me” and “Little Egypt.” But, you know, before any of those tunes topped the charts, it was a lesser known Coasters cut that grabbed us. Picture it: Hot summer, 1957, and into our new transistor radios, The Coasters came sashaying into our ears with a sexy little song that said, yeah, she may go to the baker for cake and to the butcher for steak, but when she wants good lovin’? …well! Now, back in The Flood’s beginnings in the ‘70s, Dave Peyton, Rog Samples and Charlie Bowen started playing around with this Jerry Leiber / Mike Stoller composition because it definitely had jug band vibe going on, but the song’s been asleep in our consciousness, well, until this winter when it started popping up again at our practice sessions. Here then, from a rehearsal just a few weeks ago, with Doug and Veezy trading riffs between the verses, it’s “(When She Wants Good Lovin’) My Baby Comes to Me.”
Justice was only four months old when he was killed by his mother's boyfriend in January 2007. The much-loved baby boy with his deep blue eyes and hearty laugh left behind a devastated family. Despite their overwhelming grief, the family was determined to do something good in honor of baby Justice and his memory. For years they worked desperately to change Maryland's law to increase the maximum sentence for the conviction of child abuse leading to death. Justice's Law, which passed in 2016 and was part of a criminal justice reform bill, increased the law to 40 years to life. They also established a fundraising effort with the annual Rock Me Don't Shake Me concert which benefits mothers and children. On this episode of The Human Condition with Lisa Gregory we talk to Justice's mother, Ashley Rutherford, and his grandparents, Dee and Nink Myers, about their "biggie boy" as they lovingly called him and how they turned loss and pain into hope. All in the name of Justice.
387 w/ Chris Jericho - Cinderella - Shake Me: Chris Jericho joins Chris, Nick, and Andy on his birthday to break down Cinderella's "Shake Me" from their 1986 album Night Songs.
THIS EPISODE IS A RANDOM CONVERSATION ABOUT COMMUNICATION IN RELATIONSHIPS! IG: @goldmouth_tommy, @the_streeetsistalkin Check out the new single "Shake ME" https://open.spotify.com/album/4G6ZWHvzQNYfxfYSujCKje?si=J-z9XLOJR9GKFkzIOEmWbw --- Send in a voice message: https://anchor.fm/copasetic-entertainment/message Support this podcast: https://anchor.fm/copasetic-entertainment/support
Hailing from Essex, the young singer-songwriter crafts her unique vintage-pop sound from her love for classic rock, pop and soul. Taking her cues from the silky production of acts like Lana del Rey, and incorporating elements of synth, indie and alternative – Elle Novella's music is deeply inspired by household names like Kate Bush and Fleetwood Mac. Following the release of her debut single ‘Shake Me', Elle has already received BBC Essex airplay and was featured on talkRADIO where she performed live and was interviewed by host Bob Mills. She has played as a guest act for Open Mic UK and her debut single was also added to Liberty London's in-store playlist. Elle Novella returns bigger and better than ever with the release of ‘Poison', dropping May 15th. Elle recorded her debut EP 'Visions' with rising producer Anthony Trueman and engineer Felix Davis (Lana Del Rey, Youngr). An English Literature graduate, Elle has always had an interest in art and storytelling. This is visible through her unique and poetic lyrics. Elle changes identities and narrative point of view with every song. As a writer she masters the craft of shedding her own ego, diving into the soul of another person and experiencing the world from that point of view. IG: @elle.novella Hosts IG: @ambitious1k, @qdroppindope, @youcantsitwithusradio, @thresholdbrace facebook:@you can't sit with us twitter@Y.C.S.W.U. radio --- Support this podcast: https://anchor.fm/ycswu/support
The Lunar Saloon Every Friday from 10P - 12A PST 99.1 FM Long Beach Streaming at KLBP.org/listen Air date : June 10, 2019 -=-=-=-=-=-=-=-=-=- Robson Jorge & Lincoln Olivetti, No Bom Sentido, Robson Jorge & Lincoln Olivetti Joan Bibiloni, Sobrevivir, Silencio Roto Brisko The Kidd, Big Foot Boogie, Big Foot Boogie AKA, Shake Me, Those Shocking Shaking Days: Indonesian Hard, Psychedelic, Progressive Rock And Funk: 1970 - 1978 Konk, Alien Jam, Love Attack Kiki Gyan, Disco Dancer, Feeling So Good Cloud One Featuring Margo Williams, Don't Let My Rainbow Pass Me By (Club 12" Mix), Don't Let My Rainbow Pass Me By Black Devil, One To Choose, Disco Club Raja Zahr, A Drummer and a Dancer, Drums of Lebanon - Single Jovino Dos Santos, Bo Ta Cool, Synthesize the Soul: Astro-Atlantic Hypnotica from the Cape Verde Islands 1973-1988 Rising Sound, Don't Forget To Live, Live And Love (Instrumental) Yuji Ohno, Made In Y.o.: Track 16, Made In Y.o. Amedeo Tommasi, Pesci, Zodiac Dan Lacksman Association, The Flamenco Moog, Flamenco Moog Miguel Angel Fuster, Dame De Comer, Venezuela 70 Joyeux De Cocotie, Pina Colada Coco Loco, Digital Zandoli 2 Bernard Wright, Spinnin', 'Nard China Burton, You Don't Care (About Our Love) (Joey Negro Edit), Backstreet Brit Funk Kikuchi Momoko, Seishun No Ijiwaru = 青春のいじわる, Ocean Side (菊池桃子) Raven Kane & Klause Netzle, Updated, Silicon Valley Quando Quango, Genius, Genius / Rebel George & Jonathan, Sludge Mansion, The Best Music Blawan, Why They Hide Their Bodies Under My Garage, His He She & She Tornado Wallace, Insect Overlords, Underground Sugar Caves Looky Looky, Hemlock Hello, Hemlock Hello Kendra, Helping Myself (Instrumental), Helping Myself Doctor's Cat, Feel The Drive (Instrumental), Feel The Drive Salta & Roma, Doing It, Voices Aril, Magic Light, Plaza De Toros Yellow Magic Orchestra, Rap Phenomena, BGM The Android Sisters, Barking Up The Wrong Tree, RUBY: The Galactic Gumshoe William Strickland, Insistence 2, An Electronic Visit to the Zoo/Sound Hypnosis Zed, Kwizatz Haderach, Visions Of Dune
Episode sixty-eight of A History of Rock Music in Five Hundred Songs looks at “Searchin'” by The Coasters, and at the group’s greatest success and split, and features discussion of racism, plagiarism, STDs and Phil Spector. 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 “Tears on My Pillow” by Little Anthony and the Imperials. —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I’ve used multiple sources to piece together the information here. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. Yakety Yak, I Fought Back: My Life With the Coasters by Carl and Veta Gardner is a self-published, rather short, autobiography, which gives Gardner’s take on the formation of the Coasters. Those Hoodlum Friends is a Coasters fansite, with a very nineties aesthetic (frames! angelfire domain name! Actual information rather than pretty, empty, layouts!) The Coasters by Bill Millar is an excellent, long out-of-print, book which provided a lot of useful information. And The Definitive Coasters is a double-CD set that has the A- and B-sides of all the group’s hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last left the Coasters, they’d just taken on two new singers — Cornell Gunter and Dub Jones — to replace Leon Hughes and Bobby Nunn. The classic lineup of the Coasters had finally fallen into place, but it had been a year since they had had a hit — for most of 1957, their writing and production team, Jerry Leiber and Mike Stoller, had been concentrating on more lucrative work, with Elvis Presley among others. Leiber and Stoller had a rather unique setup, which very few other people in the business had at that point. They were independent writer/producers — an unusual state in itself in the 1950s — but they were effectively under contract to two different labels, whose markets and audiences didn’t overlap very much. They were contracted to RCA to work with white pop stars — not just Elvis, though he was obviously important to them, but people like Perry Como, who were very far from Leiber and Stoller’s normal music. That contract with RCA produced a few hits outside Elvis, but didn’t end up being comfortable for either party, and ended after a year or so, but it was still remarkable that they would be working as producers for a major label while remaining independent contractors. And at the same time, they were also attached to Atlantic, where they were recording almost exclusively with the black performers that they admired, such as Ruth Brown, LaVern Baker, and the Drifters. And it was, of course, also at Atlantic that they were working with the Coasters, who unlike those other artists were Leiber and Stoller’s own personal project, and the one with whom they were most identified, and for whom they were about to write the group’s biggest hit: [Excerpt: The Coasters, “Yakety Yak”] For the most part, Leiber and Stoller had the classic songwriting split of one lyricist and one composer. Leiber had started out as a songwriter who couldn’t play an instrument or write music — he’d just written lyrics down and remembered the tune in his head — while Stoller was already an accomplished and sophisticated jazz pianist by the time the two started collaborating. But they wrote together, and so occasionally one would contribute ideas to the other’s sphere. Normally, we don’t know exactly how much each contributed to the other’s work, because they didn’t go into that much detail about how they wrote songs, but in the case of “Yakety Yak” we know exactly how the song was written — everyone who has had a certain amount of success in the music business tends to have a store of anecdotes that they pull out in every interview, and one of Leiber and Stoller’s was how they wrote “Yakety Yak”. According to the anecdote, they were in Leiber’s house, in a writing session, and Stoller started playing a piano rhythm, with the idea it might be suitable for the Coasters, while Leiber was in the kitchen. Leiber heard him playing and called out the first line, “Take out the papers and the trash!”, and Stoller immediately replied “Or you don’t get no spending cash”. They traded off lines and had the song written in about ten minutes. “Yakety Yak” featured a new style for the Coasters’ records. Where their earlier singles had usually alternated between a single lead vocalist — usually Carl Gardner — on the verses, and the group taking the chorus, with occasional solo lines by the other members, here the lead vocal was taken in unison by the two longest-serving members of the group, Gardner and Billy Guy, with Cornell Gunter harmonising with them. Leiber and Stoller, in their autobiography, actually call it a duet between Gardner and Guy, but I’m pretty sure I hear three voices on the verses, not two, although Gardner’s voice is the most prominent. Then, at the end of each verse, there’s the chorus line, where the group sing “Yakety Yak”, and then Dub Jones takes the single line “Don’t talk back”: [Excerpt: The Coasters, “Yakety Yak”] This formula would be one they would come back to again and again — and there was one more element of the record that became part of the Coasters’ formula — King Curtis’ saxophone part: [Excerpt: The Coasters, “Yakety Yak”] While “Yakety Yak” seems in retrospect to be an obvious hit record, it didn’t seem so at the time, at least to Jerry Leiber. Mike Stoller was convinced from the start that it would be a massive success, and wanted to put another Leiber and Stoller song on the B-side, so they’d be able to get royalties for both sides when the record became as big as he knew it would. Leiber, though, thought they needed a proven song for the B-side — something safe for if “Yakety Yak” was a flop. They went with Leiber’s plan, and the B-side was a version of the old song “Zing! Went the Strings of My Heart”, performed as a duet by Dub Jones and Cornell Gunter: [Excerpt: The Coasters, “Zing! Went the Strings of My Heart”] Leiber shouldn’t have worried — “Yakety Yak” was, of course, a number one hit single. The song was successful enough that it spawned a few answer records, including one by Cornell Gunter’s sister Gloria, which Cornell sang backing vocals on: [Excerpt: Gloria Gunter, “Move on Out”] With the new lineup of the group in place, they quickly settled into a hit-making machine. Everyone had a role to play. Leiber and Stoller would write the songs and take them into the studio. Stoller would write the parts for the musicians and play the piano, while Leiber supervised in the control room. Cornell Gunter would work out the group’s vocal arrangements, Dub Jones would always take his bass solo lines, and either Carl Gardner or Billy Guy would take the lead vocal — but when they did, they’d be copying, as exactly as they could, a performance they’d been shown by Leiber. From the very start of Leiber and Stoller’s career, Leiber had always directed the lead vocalist and told them how to sing his lines — you may remember from the episode on “Hound Dog”, one of the very first songs they wrote, that Big Mama Thornton was annoyed at him for telling her how to sing the song. When Leiber and Stoller produced an artist, whether it was Elvis or Ruth Brown or the Coasters or whoever, they would get them to follow Leiber’s phrasing as closely as possible. And this brings me to a thing that we need to deal with when talking about the Coasters, and that is the criticism that is often levelled against their records that they perpetuate racist stereotypes. Johnny Otis, in particular, would make this criticism of the group’s records, and it’s one that must be taken seriously — though of course Otis had personal issues with Leiber and Stoller, resulting from the credits on “Hound Dog”. But other people, such as Charlie Gillett, have also raised it. It’s also a charge that, genuinely, I am not in any position to come to a firm conclusion on. I’m a white man, and so my instincts as to what is and isn’t racist are likely to be extremely flawed. What I’d say is this — the Coasters’ performances, and *especially* Dub Jones’ vocal parts, are very clearly rooted in particular traditions of African-American comedy, and the way that that form of comedy plays with black culture, and reappropriates stereotypes of black people. If black people were performing, just like this, songs just like this that they had written themselves, there would be no question — it wouldn’t be racist. Equally, if white people were performing these songs, using the same arrangements, in the same voices, it would undoubtedly be racist — it would be an Amos and Andy style audio blackface performance, and an absolute travesty. The problem comes with the fact that the Coasters were black people, but they were performing songs written for them by two white people — Jerry Leiber and Mike Stoller — and that Leiber and Stoller were directing how they should perform those songs. To continue the Amos ‘n’ Andy analogy, is this like when Amos and Andy transferred from the radio to the TV, and the characters were played by black actors imitating the voices of the white comedians who had created the characters? I can’t answer that. Nor can I say if it makes a difference that Leiber and Stoller were Jewish, and so were only on the borders of whiteness themselves at the time, or that they were deeply involved in black culture themselves — though that said, they also claimed on several occasions that they weren’t writing about black people in particular in any of their songs. Leiber said of “Riot in Cell Block #9” “It was inspired by the Gangbusters radio drama. Those voices just happened to be black. But they could have been white actors on radio, saying, “Pass the dynamite, because the fuse is lit.”” [Excerpt: The Robins, “Riot in Cell Block #9”] That may be the case as well — their intent may not have been to write about specifically black experiences at all. And certainly, the Coasters’ biggest hits seem to me to be less about black culture, and more about generic teenage concerns. But still, it’s very obvious that a large number of people did interpret the Coasters’ songs as being about black experiences specifically — and about a specific type of black experience. Otis said of Leiber and Stoller, “They weren’t racist in the true sense of the word, but they dwelled entirely on a sort of street society. It’s a very fine point — sure, the artist who performed and created these things, that’s where he was. He wasn’t a family person going to a gig, he was in the alleys, he was out there in the street trying to make it with his guitar. But while it might be a true reflection of life, it’s not invariably a typical reflection of the typical life in the black community”. The thing is, as well, a lot of this isn’t in the songwriting, but in the performance — and that performance was clearly directed by Leiber. I think it makes a difference, as well, that the Coasters had two different audiences — they had an R&B audience, who were mostly older black people, and they had a white teenage audience. Different audiences preferred different songs, and again, there’s a difference between black performers singing for a black audience and singing for a white one. I don’t have any easy answers on this one. I don’t think that whether something is racist or not is a clear binary, and I’m not the right person to judge whether the Coasters’ music crosses any lines. But I thought it was important that I at least mention that there is a debate to be had there, and not just leave the subject alone as being too difficult. The song Johnny Otis singled out in the interview was “Charlie Brown”, which most people refer to as the follow-up to “Yakety Yak”. In fact, after “Yakety Yak” came a blues song called “The Shadow Knows”, based on the radio mystery series that starred Orson Welles. While Leiber and Stoller often talked about the inspiration that radio plays gave them for their songs for the group, that didn’t translate to chart success — several online discographies even fail to mention the existence of “The Shadow Knows”. It’s a more adult record than “Yakety Yak”, and seems to have been completely ignored by the Coasters’ white teenage audience — and in Leiber and Stoller’s autobiography, they skip over it completely, and talk about “Charlie Brown” as being immediately after “Yakety Yak”. “Charlie Brown” took significantly longer to come up with than the ten minutes that “Yakety Yak” had taken — while Stoller came up with some appropriate music almost straight away, it took Leiber weeks of agonising before he hit on the title “Charlie Brown”, and came up with the basic idea for the lyric — which, again, Stoller helped with. It’s clear, listening to it, that they were trying very deliberately to replicate the sound of “Yakety Yak”: [Excerpt: The Coasters, “Charlie Brown”] “Charlie Brown” was almost as big a hit as “Yakety Yak”, reaching number two on the pop charts, so of course they followed it with a third song along the same lines, “Along Came Jones”. This time, the song was making fun of the plethora of Western TV series: [Excerpt: The Coasters, “Along Came Jones”] While that’s a fun record, it “only” reached number nine in the pop charts – still a big success, but nowhere near as big as “Charlie Brown” or “Yakety Yak”. Possibly “Along Came Jones” did less well than it otherwise would have because The Olympics had had a recent hit with a similar record, “Western Movies”: [Excerpt: The Olympics, “Western Movies”] Either way, the public seemed to tire of the unison-vocals-and-honking-sax formula — while the next single was meant to be a song called “I’m a Hog For You Baby” which was another iteration of the same formula (although with a more bluesy feel, and a distinctly more adult tone to the lyrics) listeners instead picked up on the B-side, which became their biggest hit among black audiences, becoming their fourth and final R&B number one, as well as their last top ten pop hit. This one was a song called “Poison Ivy”, and it’s frankly amazing that it was even released, given that it’s blatantly about sexually transmitted diseases — the song is about a woman called “Poison Ivy”, and it talks about mumps, measles, chicken pox and more, before saying that “Poison Ivy will make you itch” and “you can look but you’d better not touch”. It’s hardly subtle: [Excerpt: The Coasters, “Poison Ivy”] Shortly after that, Adolph Jacobs left the group. While he’d always been an official member, it had always seemed somewhat strange that the group had one non-singing instrumental member — and that that member wasn’t even a particularly prominent instrumentalist on the records, with Mike Stoller’s piano and King Curtis’ saxophone being more important to the sound of the records. “Poison Ivy” would be the group’s last top ten hit, and it seemed to signal Leiber and Stoller getting bored with writing songs aimed at an audience of teenagers. From that point on, most of the group’s songs would be in the older style that they’d used with the Robins — songs making social comments, and talking about adult topics. The next single, “What About Us?”, which was a protest song about how rich (and by implication) white people had an easy life while the singers didn’t have anything, “only” reached number seventeen, and there seems to have been a sort of desperate flailing about to try new styles. They released a single of the old standard “Besame Mucho”, which extended over two sides — the second side mostly being a King Curtis saxophone solo. That only went to number seventy. Then they released the first single written by a member of the group — “Wake Me, Shake Me”, which was written by Billy Guy. That was backed by the old folk song “Stewball”, and didn’t do much better, reaching number fifty-one on the charts. The song after that was an attempt at yet another style, and that did even worse in the charts, but it’s now considered one of the Coasters’ great classics. “Clothes Line (Wrap It Up)” was a comedy blues song written by a singer called Kent Harris and performed by him under the name Boogaloo and His Solid Crew, and it seems to have been modelled both on the early Robins songs that Leiber and Stoller had written, and on Chuck Berry’s “No Money Down”: [Excerpt: Boogaloo and His Solid Crew: “Clothes Line (Wrap it Up)”] Leiber and Stoller told various different stories over the years about how the Coasters came to record what they titled “Shopping For Clothes”, but the one they seem to have settled on was that Billy Guy vaguely remembered hearing the original record, and knew about half the lyrics, and they’d reconstructed the song from what he remembered. They’d been unable to find out who had written it, so had just credited it to “Elmo Glick”, a pseudonym they sometimes used. The new version of the song was reworked significantly, and in particular it became a dialogue, with Billy Guy playing the shopper and Dub Jones playing the sales assistant: [Excerpt: The Coasters, “Shopping For Clothes”] The record only reached number eighty-three on the charts, and of course Kent Harris sued and was awarded joint writing credit with Leiber and Stoller. While it didn’t chart, it is usually regarded as one of the Coasters’ very best records. It’s also notable for being the first Coasters record to feature a young session musician that Leiber and Stoller were mentoring at the time. Lester Sill, who had been Leiber and Stoller’s mentor in their early years, had partnered with them in several business ventures, and was currently the Coasters’ manager, phoned them up out of the blue one day, and told them about a kid he knew who’d had a big hit with a song called “To Know Him Is To Love Him”, which he’d written for his group the Teddy Bears: [Excerpt: The Teddy Bears, “To Know Him Is To Love Him”] That record had been released on Trey Records, a new label that Sill had set up with another producer, Lee Hazlewood. Sill said that the kid in question was a huge admirer of Leiber and Stoller, and wanted to learn from them. Would they give him some kind of job with them, so he could be like an apprentice? So, as a favour to Sill, and even though they found they disliked the kid once he got to New York, they signed him to a publishing contract, gave him jobs as a session guitarist, and even let him sleep in their office or in Leiber’s spare room for a while. We’ll be hearing more about how their collaboration with Phil Spector worked out in future episodes. Around the time that “Shopping For Clothes” came out, the group became conscious that their time as a pop chart act with a teenage fanbase was probably close to its end, and they decided to do something that Carl Gardner had wanted to do for a while, and try to transition into the adult white market — the kind of people who were buying records by Tony Bennett or Andy Williams. Gardner had wanted, from the start, to be a big band singer, and his friend Johnny Otis had always encouraged him to try to sing the material he really loved, rather than the stuff he was doing with the Coasters. So eventually it was agreed that the group would do their first proper album — something recorded with the intention of being an LP, rather than a collection of singles shoved together. This record was to be titled “One By One”, and would have the group backed by an orchestra, singing old standards. Each song would have a single lead vocalist, with the others relegated to backing vocal parts. Gardner took lead on four songs, and seems to have believed that this would be his big chance to transition into being a solo singer, but it didn’t work out like that. The album wasn’t a particular success, either commercially or critically, but to the extent that anyone noticed it at all, they mostly commented on how good Cornell Gunter sounded. Gunter had always been relegated to backing roles in the group — he was an excellent singer, and a very strong physical comedian, but his sweeter voice didn’t really suit being lead on the material that made the group famous. Gunter had always admired the singer Dinah Washington, and he used to do imitations of her in the group’s shows. Getting the chance to take a solo lead on three songs, he shone with his imitation of her style: [Excerpt: The Coasters, “Easy Living”] For comparison, this is Washington’s version of the same song: [Excerpt: Dinah Washington, “Easy Living”] Despite the record showing what strong vocalists the group were, it did nothing, and by this time the group’s commercial fortunes seemed to be in terminal decline. Looking at their releases around this period, it’s noticeable as well that the Coasters stop being produced exclusively by Leiber and Stoller — several of their recordings are credited instead to Sill and Hazlewood as producers. There could be several explanations for this — it could be that Leiber and Stoller were bored of working with the Coasters, or it could be that they thought that getting in another production team might give the group a boost — after all, Sill and Hazlewood had recently had a few hits of their own, producing records like “Rebel Rouser” by Duane Eddy: [Excerpt: Duane Eddy, “Rebel Rouser”] But nothing they produced for the group had any great commercial success either. The group’s last top thirty hit was another Leiber and Stoller song — one that once again shows the more adult turn their writing for the group had taken: [Excerpt: The Coasters, “Little Egypt”] “Little Egypt” was originally the stage name for three different belly-dancers, two of whom performed in Chicago in the mid-1890s and introduced the belly dance to the American public, and another who performed in New York a few years later and was the subject of a scandal when a party she was performing at was raided and it was discovered she planned to perform nude. These dancers had been so notorious that as late as the early 1950s — nearly sixty years after their careers — there was a highly fictionalised film supposedly based on the life of one of them. Whether Leiber and Stoller were inspired by the film, or just by the many exotic dancers who continued using variations of the name, their song about a stripper would be the last time the Coasters would have a significant hit. Shortly after its release, Cornell Gunter decided to leave the group and take up an opportunity to sing in Dinah Washington’s backing group. He was replaced by Earl “Speedo” Carroll, who had previously sung with a group called the Cadillacs, whose big hit was “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Carroll, according to Leiber and Stoller, was so concerned about job security that he kept his day job as a school janitor after joining the Coasters. Unfortunately, Gunter was soon sacked by Dinah Washington, and he decided to form his own group, and to call it the Coasters. A more accurate name might have been the Penguins, since the other three members of his new group had been members of the Penguins previously — Gunter had come out of the same stew of vocal groups as the Penguins had, and had known them for years. Gunter’s group weren’t allowed to record as the Coasters, so they made records just under Gunter’s own name, or as “Cornell Gunter and the Cornells”: [Excerpt: Cornell Gunter, “In a Dream of Love”] But while he couldn’t make records as the Coasters, his group could tour under that name — and they were cheaper than the other group. Gunter was friends with Dick Clark, and so Clark started to book Gunter’s version of the group, rather than the version that was in the studio. Not that the group in the studio was exactly the same as the group you’d see live, even if you did go and see the main group. Billy Guy decided he wanted to try a solo career, but unlike Gunter he didn’t quit the group. Instead, he had a replacement go out on the road for him, but still sang with them in the studio. None of Guy’s solo records did particularly well, and several of them ended up getting reissued under the Coasters name, even though no other Coasters were involved: [Excerpt: Billy Guy, “It Doesn’t Take Much”] The band membership kept changing, and the hits stopped altogether. Over the next few decades, pretty much everyone who’d been involved with the Coasters started up their own rival version of the group. Carl Gardner apparently retained the legal rights to the name “the Coasters”, and would sue people using it without his permission, but that didn’t stop other members performing under names like “Cornel Gunter’s Coasters”, which isn’t precisely the same. Sadly, several people associated with the Coasters ended up dying violently. King Curtis was stabbed to death in the street in 1971, outside his apartment building. Two people were making a drug deal outside his door, and he asked them to move, as he was trying to carry a heavy air-conditioning unit in. They refused, a fight broke out, and he ended up dead, aged only thirty-seven. One of Cornell Gunter’s Coasters was murdered by Gunter’s manager in 1980, after threatening to expose some of the manager’s criminal activities. And finally Gunter himself was shot dead in 1990, and his killer has never been found. These days there are three separate Coasters groups touring. “Cornell Gunter’s Coasters” is a continuation of the group that Gunter led before his death. “The Coasters” is managed by Carl Gardner’s widow. And Leon Hughes, who is the only surviving original member of the Coasters but was gone by the time of “Yakety Yak”, tours as “Leon Hughes and His Coasters”. The Coasters are now all gone, other than Hughes, but their records are still remembered. They created a sound that influenced many, many, other groups, but has never been replicated by anyone. They were often dismissed as just a comedy group, but as anyone who has ever tried it knows, making music that is both funny and musically worthwhile is one of the hardest things you can do. And making comedy music that’s still enjoyable more than sixty years later? No-one else in rock and roll has ever done that.
Episode sixty-eight of A History of Rock Music in Five Hundred Songs looks at “Searchin'” by The Coasters, and at the group’s greatest success and split, and features discussion of racism, plagiarism, STDs and Phil Spector. 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 “Tears on My Pillow” by Little Anthony and the Imperials. —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I’ve used multiple sources to piece together the information here. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. Yakety Yak, I Fought Back: My Life With the Coasters by Carl and Veta Gardner is a self-published, rather short, autobiography, which gives Gardner’s take on the formation of the Coasters. Those Hoodlum Friends is a Coasters fansite, with a very nineties aesthetic (frames! angelfire domain name! Actual information rather than pretty, empty, layouts!) The Coasters by Bill Millar is an excellent, long out-of-print, book which provided a lot of useful information. And The Definitive Coasters is a double-CD set that has the A- and B-sides of all the group’s hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last left the Coasters, they’d just taken on two new singers — Cornell Gunter and Dub Jones — to replace Leon Hughes and Bobby Nunn. The classic lineup of the Coasters had finally fallen into place, but it had been a year since they had had a hit — for most of 1957, their writing and production team, Jerry Leiber and Mike Stoller, had been concentrating on more lucrative work, with Elvis Presley among others. Leiber and Stoller had a rather unique setup, which very few other people in the business had at that point. They were independent writer/producers — an unusual state in itself in the 1950s — but they were effectively under contract to two different labels, whose markets and audiences didn’t overlap very much. They were contracted to RCA to work with white pop stars — not just Elvis, though he was obviously important to them, but people like Perry Como, who were very far from Leiber and Stoller’s normal music. That contract with RCA produced a few hits outside Elvis, but didn’t end up being comfortable for either party, and ended after a year or so, but it was still remarkable that they would be working as producers for a major label while remaining independent contractors. And at the same time, they were also attached to Atlantic, where they were recording almost exclusively with the black performers that they admired, such as Ruth Brown, LaVern Baker, and the Drifters. And it was, of course, also at Atlantic that they were working with the Coasters, who unlike those other artists were Leiber and Stoller’s own personal project, and the one with whom they were most identified, and for whom they were about to write the group’s biggest hit: [Excerpt: The Coasters, “Yakety Yak”] For the most part, Leiber and Stoller had the classic songwriting split of one lyricist and one composer. Leiber had started out as a songwriter who couldn’t play an instrument or write music — he’d just written lyrics down and remembered the tune in his head — while Stoller was already an accomplished and sophisticated jazz pianist by the time the two started collaborating. But they wrote together, and so occasionally one would contribute ideas to the other’s sphere. Normally, we don’t know exactly how much each contributed to the other’s work, because they didn’t go into that much detail about how they wrote songs, but in the case of “Yakety Yak” we know exactly how the song was written — everyone who has had a certain amount of success in the music business tends to have a store of anecdotes that they pull out in every interview, and one of Leiber and Stoller’s was how they wrote “Yakety Yak”. According to the anecdote, they were in Leiber’s house, in a writing session, and Stoller started playing a piano rhythm, with the idea it might be suitable for the Coasters, while Leiber was in the kitchen. Leiber heard him playing and called out the first line, “Take out the papers and the trash!”, and Stoller immediately replied “Or you don’t get no spending cash”. They traded off lines and had the song written in about ten minutes. “Yakety Yak” featured a new style for the Coasters’ records. Where their earlier singles had usually alternated between a single lead vocalist — usually Carl Gardner — on the verses, and the group taking the chorus, with occasional solo lines by the other members, here the lead vocal was taken in unison by the two longest-serving members of the group, Gardner and Billy Guy, with Cornell Gunter harmonising with them. Leiber and Stoller, in their autobiography, actually call it a duet between Gardner and Guy, but I’m pretty sure I hear three voices on the verses, not two, although Gardner’s voice is the most prominent. Then, at the end of each verse, there’s the chorus line, where the group sing “Yakety Yak”, and then Dub Jones takes the single line “Don’t talk back”: [Excerpt: The Coasters, “Yakety Yak”] This formula would be one they would come back to again and again — and there was one more element of the record that became part of the Coasters’ formula — King Curtis’ saxophone part: [Excerpt: The Coasters, “Yakety Yak”] While “Yakety Yak” seems in retrospect to be an obvious hit record, it didn’t seem so at the time, at least to Jerry Leiber. Mike Stoller was convinced from the start that it would be a massive success, and wanted to put another Leiber and Stoller song on the B-side, so they’d be able to get royalties for both sides when the record became as big as he knew it would. Leiber, though, thought they needed a proven song for the B-side — something safe for if “Yakety Yak” was a flop. They went with Leiber’s plan, and the B-side was a version of the old song “Zing! Went the Strings of My Heart”, performed as a duet by Dub Jones and Cornell Gunter: [Excerpt: The Coasters, “Zing! Went the Strings of My Heart”] Leiber shouldn’t have worried — “Yakety Yak” was, of course, a number one hit single. The song was successful enough that it spawned a few answer records, including one by Cornell Gunter’s sister Gloria, which Cornell sang backing vocals on: [Excerpt: Gloria Gunter, “Move on Out”] With the new lineup of the group in place, they quickly settled into a hit-making machine. Everyone had a role to play. Leiber and Stoller would write the songs and take them into the studio. Stoller would write the parts for the musicians and play the piano, while Leiber supervised in the control room. Cornell Gunter would work out the group’s vocal arrangements, Dub Jones would always take his bass solo lines, and either Carl Gardner or Billy Guy would take the lead vocal — but when they did, they’d be copying, as exactly as they could, a performance they’d been shown by Leiber. From the very start of Leiber and Stoller’s career, Leiber had always directed the lead vocalist and told them how to sing his lines — you may remember from the episode on “Hound Dog”, one of the very first songs they wrote, that Big Mama Thornton was annoyed at him for telling her how to sing the song. When Leiber and Stoller produced an artist, whether it was Elvis or Ruth Brown or the Coasters or whoever, they would get them to follow Leiber’s phrasing as closely as possible. And this brings me to a thing that we need to deal with when talking about the Coasters, and that is the criticism that is often levelled against their records that they perpetuate racist stereotypes. Johnny Otis, in particular, would make this criticism of the group’s records, and it’s one that must be taken seriously — though of course Otis had personal issues with Leiber and Stoller, resulting from the credits on “Hound Dog”. But other people, such as Charlie Gillett, have also raised it. It’s also a charge that, genuinely, I am not in any position to come to a firm conclusion on. I’m a white man, and so my instincts as to what is and isn’t racist are likely to be extremely flawed. What I’d say is this — the Coasters’ performances, and *especially* Dub Jones’ vocal parts, are very clearly rooted in particular traditions of African-American comedy, and the way that that form of comedy plays with black culture, and reappropriates stereotypes of black people. If black people were performing, just like this, songs just like this that they had written themselves, there would be no question — it wouldn’t be racist. Equally, if white people were performing these songs, using the same arrangements, in the same voices, it would undoubtedly be racist — it would be an Amos and Andy style audio blackface performance, and an absolute travesty. The problem comes with the fact that the Coasters were black people, but they were performing songs written for them by two white people — Jerry Leiber and Mike Stoller — and that Leiber and Stoller were directing how they should perform those songs. To continue the Amos ‘n’ Andy analogy, is this like when Amos and Andy transferred from the radio to the TV, and the characters were played by black actors imitating the voices of the white comedians who had created the characters? I can’t answer that. Nor can I say if it makes a difference that Leiber and Stoller were Jewish, and so were only on the borders of whiteness themselves at the time, or that they were deeply involved in black culture themselves — though that said, they also claimed on several occasions that they weren’t writing about black people in particular in any of their songs. Leiber said of “Riot in Cell Block #9” “It was inspired by the Gangbusters radio drama. Those voices just happened to be black. But they could have been white actors on radio, saying, “Pass the dynamite, because the fuse is lit.”” [Excerpt: The Robins, “Riot in Cell Block #9”] That may be the case as well — their intent may not have been to write about specifically black experiences at all. And certainly, the Coasters’ biggest hits seem to me to be less about black culture, and more about generic teenage concerns. But still, it’s very obvious that a large number of people did interpret the Coasters’ songs as being about black experiences specifically — and about a specific type of black experience. Otis said of Leiber and Stoller, “They weren’t racist in the true sense of the word, but they dwelled entirely on a sort of street society. It’s a very fine point — sure, the artist who performed and created these things, that’s where he was. He wasn’t a family person going to a gig, he was in the alleys, he was out there in the street trying to make it with his guitar. But while it might be a true reflection of life, it’s not invariably a typical reflection of the typical life in the black community”. The thing is, as well, a lot of this isn’t in the songwriting, but in the performance — and that performance was clearly directed by Leiber. I think it makes a difference, as well, that the Coasters had two different audiences — they had an R&B audience, who were mostly older black people, and they had a white teenage audience. Different audiences preferred different songs, and again, there’s a difference between black performers singing for a black audience and singing for a white one. I don’t have any easy answers on this one. I don’t think that whether something is racist or not is a clear binary, and I’m not the right person to judge whether the Coasters’ music crosses any lines. But I thought it was important that I at least mention that there is a debate to be had there, and not just leave the subject alone as being too difficult. The song Johnny Otis singled out in the interview was “Charlie Brown”, which most people refer to as the follow-up to “Yakety Yak”. In fact, after “Yakety Yak” came a blues song called “The Shadow Knows”, based on the radio mystery series that starred Orson Welles. While Leiber and Stoller often talked about the inspiration that radio plays gave them for their songs for the group, that didn’t translate to chart success — several online discographies even fail to mention the existence of “The Shadow Knows”. It’s a more adult record than “Yakety Yak”, and seems to have been completely ignored by the Coasters’ white teenage audience — and in Leiber and Stoller’s autobiography, they skip over it completely, and talk about “Charlie Brown” as being immediately after “Yakety Yak”. “Charlie Brown” took significantly longer to come up with than the ten minutes that “Yakety Yak” had taken — while Stoller came up with some appropriate music almost straight away, it took Leiber weeks of agonising before he hit on the title “Charlie Brown”, and came up with the basic idea for the lyric — which, again, Stoller helped with. It’s clear, listening to it, that they were trying very deliberately to replicate the sound of “Yakety Yak”: [Excerpt: The Coasters, “Charlie Brown”] “Charlie Brown” was almost as big a hit as “Yakety Yak”, reaching number two on the pop charts, so of course they followed it with a third song along the same lines, “Along Came Jones”. This time, the song was making fun of the plethora of Western TV series: [Excerpt: The Coasters, “Along Came Jones”] While that’s a fun record, it “only” reached number nine in the pop charts – still a big success, but nowhere near as big as “Charlie Brown” or “Yakety Yak”. Possibly “Along Came Jones” did less well than it otherwise would have because The Olympics had had a recent hit with a similar record, “Western Movies”: [Excerpt: The Olympics, “Western Movies”] Either way, the public seemed to tire of the unison-vocals-and-honking-sax formula — while the next single was meant to be a song called “I’m a Hog For You Baby” which was another iteration of the same formula (although with a more bluesy feel, and a distinctly more adult tone to the lyrics) listeners instead picked up on the B-side, which became their biggest hit among black audiences, becoming their fourth and final R&B number one, as well as their last top ten pop hit. This one was a song called “Poison Ivy”, and it’s frankly amazing that it was even released, given that it’s blatantly about sexually transmitted diseases — the song is about a woman called “Poison Ivy”, and it talks about mumps, measles, chicken pox and more, before saying that “Poison Ivy will make you itch” and “you can look but you’d better not touch”. It’s hardly subtle: [Excerpt: The Coasters, “Poison Ivy”] Shortly after that, Adolph Jacobs left the group. While he’d always been an official member, it had always seemed somewhat strange that the group had one non-singing instrumental member — and that that member wasn’t even a particularly prominent instrumentalist on the records, with Mike Stoller’s piano and King Curtis’ saxophone being more important to the sound of the records. “Poison Ivy” would be the group’s last top ten hit, and it seemed to signal Leiber and Stoller getting bored with writing songs aimed at an audience of teenagers. From that point on, most of the group’s songs would be in the older style that they’d used with the Robins — songs making social comments, and talking about adult topics. The next single, “What About Us?”, which was a protest song about how rich (and by implication) white people had an easy life while the singers didn’t have anything, “only” reached number seventeen, and there seems to have been a sort of desperate flailing about to try new styles. They released a single of the old standard “Besame Mucho”, which extended over two sides — the second side mostly being a King Curtis saxophone solo. That only went to number seventy. Then they released the first single written by a member of the group — “Wake Me, Shake Me”, which was written by Billy Guy. That was backed by the old folk song “Stewball”, and didn’t do much better, reaching number fifty-one on the charts. The song after that was an attempt at yet another style, and that did even worse in the charts, but it’s now considered one of the Coasters’ great classics. “Clothes Line (Wrap It Up)” was a comedy blues song written by a singer called Kent Harris and performed by him under the name Boogaloo and His Solid Crew, and it seems to have been modelled both on the early Robins songs that Leiber and Stoller had written, and on Chuck Berry’s “No Money Down”: [Excerpt: Boogaloo and His Solid Crew: “Clothes Line (Wrap it Up)”] Leiber and Stoller told various different stories over the years about how the Coasters came to record what they titled “Shopping For Clothes”, but the one they seem to have settled on was that Billy Guy vaguely remembered hearing the original record, and knew about half the lyrics, and they’d reconstructed the song from what he remembered. They’d been unable to find out who had written it, so had just credited it to “Elmo Glick”, a pseudonym they sometimes used. The new version of the song was reworked significantly, and in particular it became a dialogue, with Billy Guy playing the shopper and Dub Jones playing the sales assistant: [Excerpt: The Coasters, “Shopping For Clothes”] The record only reached number eighty-three on the charts, and of course Kent Harris sued and was awarded joint writing credit with Leiber and Stoller. While it didn’t chart, it is usually regarded as one of the Coasters’ very best records. It’s also notable for being the first Coasters record to feature a young session musician that Leiber and Stoller were mentoring at the time. Lester Sill, who had been Leiber and Stoller’s mentor in their early years, had partnered with them in several business ventures, and was currently the Coasters’ manager, phoned them up out of the blue one day, and told them about a kid he knew who’d had a big hit with a song called “To Know Him Is To Love Him”, which he’d written for his group the Teddy Bears: [Excerpt: The Teddy Bears, “To Know Him Is To Love Him”] That record had been released on Trey Records, a new label that Sill had set up with another producer, Lee Hazlewood. Sill said that the kid in question was a huge admirer of Leiber and Stoller, and wanted to learn from them. Would they give him some kind of job with them, so he could be like an apprentice? So, as a favour to Sill, and even though they found they disliked the kid once he got to New York, they signed him to a publishing contract, gave him jobs as a session guitarist, and even let him sleep in their office or in Leiber’s spare room for a while. We’ll be hearing more about how their collaboration with Phil Spector worked out in future episodes. Around the time that “Shopping For Clothes” came out, the group became conscious that their time as a pop chart act with a teenage fanbase was probably close to its end, and they decided to do something that Carl Gardner had wanted to do for a while, and try to transition into the adult white market — the kind of people who were buying records by Tony Bennett or Andy Williams. Gardner had wanted, from the start, to be a big band singer, and his friend Johnny Otis had always encouraged him to try to sing the material he really loved, rather than the stuff he was doing with the Coasters. So eventually it was agreed that the group would do their first proper album — something recorded with the intention of being an LP, rather than a collection of singles shoved together. This record was to be titled “One By One”, and would have the group backed by an orchestra, singing old standards. Each song would have a single lead vocalist, with the others relegated to backing vocal parts. Gardner took lead on four songs, and seems to have believed that this would be his big chance to transition into being a solo singer, but it didn’t work out like that. The album wasn’t a particular success, either commercially or critically, but to the extent that anyone noticed it at all, they mostly commented on how good Cornell Gunter sounded. Gunter had always been relegated to backing roles in the group — he was an excellent singer, and a very strong physical comedian, but his sweeter voice didn’t really suit being lead on the material that made the group famous. Gunter had always admired the singer Dinah Washington, and he used to do imitations of her in the group’s shows. Getting the chance to take a solo lead on three songs, he shone with his imitation of her style: [Excerpt: The Coasters, “Easy Living”] For comparison, this is Washington’s version of the same song: [Excerpt: Dinah Washington, “Easy Living”] Despite the record showing what strong vocalists the group were, it did nothing, and by this time the group’s commercial fortunes seemed to be in terminal decline. Looking at their releases around this period, it’s noticeable as well that the Coasters stop being produced exclusively by Leiber and Stoller — several of their recordings are credited instead to Sill and Hazlewood as producers. There could be several explanations for this — it could be that Leiber and Stoller were bored of working with the Coasters, or it could be that they thought that getting in another production team might give the group a boost — after all, Sill and Hazlewood had recently had a few hits of their own, producing records like “Rebel Rouser” by Duane Eddy: [Excerpt: Duane Eddy, “Rebel Rouser”] But nothing they produced for the group had any great commercial success either. The group’s last top thirty hit was another Leiber and Stoller song — one that once again shows the more adult turn their writing for the group had taken: [Excerpt: The Coasters, “Little Egypt”] “Little Egypt” was originally the stage name for three different belly-dancers, two of whom performed in Chicago in the mid-1890s and introduced the belly dance to the American public, and another who performed in New York a few years later and was the subject of a scandal when a party she was performing at was raided and it was discovered she planned to perform nude. These dancers had been so notorious that as late as the early 1950s — nearly sixty years after their careers — there was a highly fictionalised film supposedly based on the life of one of them. Whether Leiber and Stoller were inspired by the film, or just by the many exotic dancers who continued using variations of the name, their song about a stripper would be the last time the Coasters would have a significant hit. Shortly after its release, Cornell Gunter decided to leave the group and take up an opportunity to sing in Dinah Washington’s backing group. He was replaced by Earl “Speedo” Carroll, who had previously sung with a group called the Cadillacs, whose big hit was “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Carroll, according to Leiber and Stoller, was so concerned about job security that he kept his day job as a school janitor after joining the Coasters. Unfortunately, Gunter was soon sacked by Dinah Washington, and he decided to form his own group, and to call it the Coasters. A more accurate name might have been the Penguins, since the other three members of his new group had been members of the Penguins previously — Gunter had come out of the same stew of vocal groups as the Penguins had, and had known them for years. Gunter’s group weren’t allowed to record as the Coasters, so they made records just under Gunter’s own name, or as “Cornell Gunter and the Cornells”: [Excerpt: Cornell Gunter, “In a Dream of Love”] But while he couldn’t make records as the Coasters, his group could tour under that name — and they were cheaper than the other group. Gunter was friends with Dick Clark, and so Clark started to book Gunter’s version of the group, rather than the version that was in the studio. Not that the group in the studio was exactly the same as the group you’d see live, even if you did go and see the main group. Billy Guy decided he wanted to try a solo career, but unlike Gunter he didn’t quit the group. Instead, he had a replacement go out on the road for him, but still sang with them in the studio. None of Guy’s solo records did particularly well, and several of them ended up getting reissued under the Coasters name, even though no other Coasters were involved: [Excerpt: Billy Guy, “It Doesn’t Take Much”] The band membership kept changing, and the hits stopped altogether. Over the next few decades, pretty much everyone who’d been involved with the Coasters started up their own rival version of the group. Carl Gardner apparently retained the legal rights to the name “the Coasters”, and would sue people using it without his permission, but that didn’t stop other members performing under names like “Cornel Gunter’s Coasters”, which isn’t precisely the same. Sadly, several people associated with the Coasters ended up dying violently. King Curtis was stabbed to death in the street in 1971, outside his apartment building. Two people were making a drug deal outside his door, and he asked them to move, as he was trying to carry a heavy air-conditioning unit in. They refused, a fight broke out, and he ended up dead, aged only thirty-seven. One of Cornell Gunter’s Coasters was murdered by Gunter’s manager in 1980, after threatening to expose some of the manager’s criminal activities. And finally Gunter himself was shot dead in 1990, and his killer has never been found. These days there are three separate Coasters groups touring. “Cornell Gunter’s Coasters” is a continuation of the group that Gunter led before his death. “The Coasters” is managed by Carl Gardner’s widow. And Leon Hughes, who is the only surviving original member of the Coasters but was gone by the time of “Yakety Yak”, tours as “Leon Hughes and His Coasters”. The Coasters are now all gone, other than Hughes, but their records are still remembered. They created a sound that influenced many, many, other groups, but has never been replicated by anyone. They were often dismissed as just a comedy group, but as anyone who has ever tried it knows, making music that is both funny and musically worthwhile is one of the hardest things you can do. And making comedy music that’s still enjoyable more than sixty years later? No-one else in rock and roll has ever done that.
Episode sixty-eight of A History of Rock Music in Five Hundred Songs looks at "Searchin'" by The Coasters, and at the group's greatest success and split, and features discussion of racism, plagiarism, STDs and Phil Spector. 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 "Tears on My Pillow" by Little Anthony and the Imperials. ----more---- Resources As always, I've created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists -- part one, part two. I've used multiple sources to piece together the information here. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. Yakety Yak, I Fought Back: My Life With the Coasters by Carl and Veta Gardner is a self-published, rather short, autobiography, which gives Gardner's take on the formation of the Coasters. Those Hoodlum Friends is a Coasters fansite, with a very nineties aesthetic (frames! angelfire domain name! Actual information rather than pretty, empty, layouts!) The Coasters by Bill Millar is an excellent, long out-of-print, book which provided a lot of useful information. And The Definitive Coasters is a double-CD set that has the A- and B-sides of all the group's hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last left the Coasters, they'd just taken on two new singers -- Cornell Gunter and Dub Jones -- to replace Leon Hughes and Bobby Nunn. The classic lineup of the Coasters had finally fallen into place, but it had been a year since they had had a hit -- for most of 1957, their writing and production team, Jerry Leiber and Mike Stoller, had been concentrating on more lucrative work, with Elvis Presley among others. Leiber and Stoller had a rather unique setup, which very few other people in the business had at that point. They were independent writer/producers -- an unusual state in itself in the 1950s -- but they were effectively under contract to two different labels, whose markets and audiences didn't overlap very much. They were contracted to RCA to work with white pop stars -- not just Elvis, though he was obviously important to them, but people like Perry Como, who were very far from Leiber and Stoller's normal music. That contract with RCA produced a few hits outside Elvis, but didn't end up being comfortable for either party, and ended after a year or so, but it was still remarkable that they would be working as producers for a major label while remaining independent contractors. And at the same time, they were also attached to Atlantic, where they were recording almost exclusively with the black performers that they admired, such as Ruth Brown, LaVern Baker, and the Drifters. And it was, of course, also at Atlantic that they were working with the Coasters, who unlike those other artists were Leiber and Stoller's own personal project, and the one with whom they were most identified, and for whom they were about to write the group's biggest hit: [Excerpt: The Coasters, "Yakety Yak"] For the most part, Leiber and Stoller had the classic songwriting split of one lyricist and one composer. Leiber had started out as a songwriter who couldn't play an instrument or write music -- he'd just written lyrics down and remembered the tune in his head -- while Stoller was already an accomplished and sophisticated jazz pianist by the time the two started collaborating. But they wrote together, and so occasionally one would contribute ideas to the other's sphere. Normally, we don't know exactly how much each contributed to the other's work, because they didn't go into that much detail about how they wrote songs, but in the case of "Yakety Yak" we know exactly how the song was written -- everyone who has had a certain amount of success in the music business tends to have a store of anecdotes that they pull out in every interview, and one of Leiber and Stoller's was how they wrote "Yakety Yak". According to the anecdote, they were in Leiber's house, in a writing session, and Stoller started playing a piano rhythm, with the idea it might be suitable for the Coasters, while Leiber was in the kitchen. Leiber heard him playing and called out the first line, "Take out the papers and the trash!", and Stoller immediately replied "Or you don't get no spending cash". They traded off lines and had the song written in about ten minutes. "Yakety Yak" featured a new style for the Coasters' records. Where their earlier singles had usually alternated between a single lead vocalist -- usually Carl Gardner -- on the verses, and the group taking the chorus, with occasional solo lines by the other members, here the lead vocal was taken in unison by the two longest-serving members of the group, Gardner and Billy Guy, with Cornell Gunter harmonising with them. Leiber and Stoller, in their autobiography, actually call it a duet between Gardner and Guy, but I'm pretty sure I hear three voices on the verses, not two, although Gardner's voice is the most prominent. Then, at the end of each verse, there's the chorus line, where the group sing "Yakety Yak", and then Dub Jones takes the single line "Don't talk back": [Excerpt: The Coasters, "Yakety Yak"] This formula would be one they would come back to again and again -- and there was one more element of the record that became part of the Coasters' formula -- King Curtis' saxophone part: [Excerpt: The Coasters, "Yakety Yak"] While “Yakety Yak” seems in retrospect to be an obvious hit record, it didn't seem so at the time, at least to Jerry Leiber. Mike Stoller was convinced from the start that it would be a massive success, and wanted to put another Leiber and Stoller song on the B-side, so they'd be able to get royalties for both sides when the record became as big as he knew it would. Leiber, though, thought they needed a proven song for the B-side -- something safe for if "Yakety Yak" was a flop. They went with Leiber's plan, and the B-side was a version of the old song "Zing! Went the Strings of My Heart", performed as a duet by Dub Jones and Cornell Gunter: [Excerpt: The Coasters, "Zing! Went the Strings of My Heart"] Leiber shouldn't have worried -- "Yakety Yak" was, of course, a number one hit single. The song was successful enough that it spawned a few answer records, including one by Cornell Gunter's sister Gloria, which Cornell sang backing vocals on: [Excerpt: Gloria Gunter, "Move on Out"] With the new lineup of the group in place, they quickly settled into a hit-making machine. Everyone had a role to play. Leiber and Stoller would write the songs and take them into the studio. Stoller would write the parts for the musicians and play the piano, while Leiber supervised in the control room. Cornell Gunter would work out the group's vocal arrangements, Dub Jones would always take his bass solo lines, and either Carl Gardner or Billy Guy would take the lead vocal -- but when they did, they'd be copying, as exactly as they could, a performance they'd been shown by Leiber. From the very start of Leiber and Stoller's career, Leiber had always directed the lead vocalist and told them how to sing his lines -- you may remember from the episode on "Hound Dog", one of the very first songs they wrote, that Big Mama Thornton was annoyed at him for telling her how to sing the song. When Leiber and Stoller produced an artist, whether it was Elvis or Ruth Brown or the Coasters or whoever, they would get them to follow Leiber's phrasing as closely as possible. And this brings me to a thing that we need to deal with when talking about the Coasters, and that is the criticism that is often levelled against their records that they perpetuate racist stereotypes. Johnny Otis, in particular, would make this criticism of the group's records, and it's one that must be taken seriously -- though of course Otis had personal issues with Leiber and Stoller, resulting from the credits on "Hound Dog". But other people, such as Charlie Gillett, have also raised it. It's also a charge that, genuinely, I am not in any position to come to a firm conclusion on. I'm a white man, and so my instincts as to what is and isn't racist are likely to be extremely flawed. What I'd say is this -- the Coasters' performances, and *especially* Dub Jones' vocal parts, are very clearly rooted in particular traditions of African-American comedy, and the way that that form of comedy plays with black culture, and reappropriates stereotypes of black people. If black people were performing, just like this, songs just like this that they had written themselves, there would be no question -- it wouldn't be racist. Equally, if white people were performing these songs, using the same arrangements, in the same voices, it would undoubtedly be racist -- it would be an Amos and Andy style audio blackface performance, and an absolute travesty. The problem comes with the fact that the Coasters were black people, but they were performing songs written for them by two white people -- Jerry Leiber and Mike Stoller -- and that Leiber and Stoller were directing how they should perform those songs. To continue the Amos 'n' Andy analogy, is this like when Amos and Andy transferred from the radio to the TV, and the characters were played by black actors imitating the voices of the white comedians who had created the characters? I can't answer that. Nor can I say if it makes a difference that Leiber and Stoller were Jewish, and so were only on the borders of whiteness themselves at the time, or that they were deeply involved in black culture themselves -- though that said, they also claimed on several occasions that they weren't writing about black people in particular in any of their songs. Leiber said of "Riot in Cell Block #9" "It was inspired by the Gangbusters radio drama. Those voices just happened to be black. But they could have been white actors on radio, saying, “Pass the dynamite, because the fuse is lit.”" [Excerpt: The Robins, “Riot in Cell Block #9”] That may be the case as well -- their intent may not have been to write about specifically black experiences at all. And certainly, the Coasters' biggest hits seem to me to be less about black culture, and more about generic teenage concerns. But still, it's very obvious that a large number of people did interpret the Coasters' songs as being about black experiences specifically -- and about a specific type of black experience. Otis said of Leiber and Stoller, "They weren't racist in the true sense of the word, but they dwelled entirely on a sort of street society. It's a very fine point -- sure, the artist who performed and created these things, that's where he was. He wasn't a family person going to a gig, he was in the alleys, he was out there in the street trying to make it with his guitar. But while it might be a true reflection of life, it's not invariably a typical reflection of the typical life in the black community". The thing is, as well, a lot of this isn't in the songwriting, but in the performance -- and that performance was clearly directed by Leiber. I think it makes a difference, as well, that the Coasters had two different audiences -- they had an R&B audience, who were mostly older black people, and they had a white teenage audience. Different audiences preferred different songs, and again, there's a difference between black performers singing for a black audience and singing for a white one. I don't have any easy answers on this one. I don't think that whether something is racist or not is a clear binary, and I'm not the right person to judge whether the Coasters' music crosses any lines. But I thought it was important that I at least mention that there is a debate to be had there, and not just leave the subject alone as being too difficult. The song Johnny Otis singled out in the interview was "Charlie Brown", which most people refer to as the follow-up to "Yakety Yak". In fact, after "Yakety Yak" came a blues song called "The Shadow Knows", based on the radio mystery series that starred Orson Welles. While Leiber and Stoller often talked about the inspiration that radio plays gave them for their songs for the group, that didn't translate to chart success -- several online discographies even fail to mention the existence of "The Shadow Knows". It's a more adult record than "Yakety Yak", and seems to have been completely ignored by the Coasters' white teenage audience -- and in Leiber and Stoller's autobiography, they skip over it completely, and talk about "Charlie Brown" as being immediately after "Yakety Yak". "Charlie Brown" took significantly longer to come up with than the ten minutes that "Yakety Yak" had taken -- while Stoller came up with some appropriate music almost straight away, it took Leiber weeks of agonising before he hit on the title "Charlie Brown", and came up with the basic idea for the lyric -- which, again, Stoller helped with. It's clear, listening to it, that they were trying very deliberately to replicate the sound of "Yakety Yak": [Excerpt: The Coasters, "Charlie Brown"] "Charlie Brown" was almost as big a hit as "Yakety Yak", reaching number two on the pop charts, so of course they followed it with a third song along the same lines, "Along Came Jones". This time, the song was making fun of the plethora of Western TV series: [Excerpt: The Coasters, "Along Came Jones"] While that's a fun record, it “only” reached number nine in the pop charts – still a big success, but nowhere near as big as “Charlie Brown” or “Yakety Yak”. Possibly "Along Came Jones" did less well than it otherwise would have because The Olympics had had a recent hit with a similar record, "Western Movies": [Excerpt: The Olympics, "Western Movies"] Either way, the public seemed to tire of the unison-vocals-and-honking-sax formula -- while the next single was meant to be a song called "I'm a Hog For You Baby" which was another iteration of the same formula (although with a more bluesy feel, and a distinctly more adult tone to the lyrics) listeners instead picked up on the B-side, which became their biggest hit among black audiences, becoming their fourth and final R&B number one, as well as their last top ten pop hit. This one was a song called "Poison Ivy", and it's frankly amazing that it was even released, given that it's blatantly about sexually transmitted diseases -- the song is about a woman called "Poison Ivy", and it talks about mumps, measles, chicken pox and more, before saying that "Poison Ivy will make you itch" and "you can look but you'd better not touch". It's hardly subtle: [Excerpt: The Coasters, "Poison Ivy"] Shortly after that, Adolph Jacobs left the group. While he'd always been an official member, it had always seemed somewhat strange that the group had one non-singing instrumental member -- and that that member wasn't even a particularly prominent instrumentalist on the records, with Mike Stoller's piano and King Curtis' saxophone being more important to the sound of the records. "Poison Ivy" would be the group's last top ten hit, and it seemed to signal Leiber and Stoller getting bored with writing songs aimed at an audience of teenagers. From that point on, most of the group's songs would be in the older style that they'd used with the Robins -- songs making social comments, and talking about adult topics. The next single, "What About Us?", which was a protest song about how rich (and by implication) white people had an easy life while the singers didn't have anything, "only" reached number seventeen, and there seems to have been a sort of desperate flailing about to try new styles. They released a single of the old standard "Besame Mucho", which extended over two sides -- the second side mostly being a King Curtis saxophone solo. That only went to number seventy. Then they released the first single written by a member of the group -- "Wake Me, Shake Me", which was written by Billy Guy. That was backed by the old folk song "Stewball", and didn't do much better, reaching number fifty-one on the charts. The song after that was an attempt at yet another style, and that did even worse in the charts, but it's now considered one of the Coasters' great classics. "Clothes Line (Wrap It Up)" was a comedy blues song written by a singer called Kent Harris and performed by him under the name Boogaloo and His Solid Crew, and it seems to have been modelled both on the early Robins songs that Leiber and Stoller had written, and on Chuck Berry's "No Money Down": [Excerpt: Boogaloo and His Solid Crew: "Clothes Line (Wrap it Up)"] Leiber and Stoller told various different stories over the years about how the Coasters came to record what they titled "Shopping For Clothes", but the one they seem to have settled on was that Billy Guy vaguely remembered hearing the original record, and knew about half the lyrics, and they'd reconstructed the song from what he remembered. They'd been unable to find out who had written it, so had just credited it to "Elmo Glick", a pseudonym they sometimes used. The new version of the song was reworked significantly, and in particular it became a dialogue, with Billy Guy playing the shopper and Dub Jones playing the sales assistant: [Excerpt: The Coasters, "Shopping For Clothes"] The record only reached number eighty-three on the charts, and of course Kent Harris sued and was awarded joint writing credit with Leiber and Stoller. While it didn't chart, it is usually regarded as one of the Coasters' very best records. It's also notable for being the first Coasters record to feature a young session musician that Leiber and Stoller were mentoring at the time. Lester Sill, who had been Leiber and Stoller's mentor in their early years, had partnered with them in several business ventures, and was currently the Coasters' manager, phoned them up out of the blue one day, and told them about a kid he knew who'd had a big hit with a song called "To Know Him Is To Love Him", which he'd written for his group the Teddy Bears: [Excerpt: The Teddy Bears, "To Know Him Is To Love Him"] That record had been released on Trey Records, a new label that Sill had set up with another producer, Lee Hazlewood. Sill said that the kid in question was a huge admirer of Leiber and Stoller, and wanted to learn from them. Would they give him some kind of job with them, so he could be like an apprentice? So, as a favour to Sill, and even though they found they disliked the kid once he got to New York, they signed him to a publishing contract, gave him jobs as a session guitarist, and even let him sleep in their office or in Leiber's spare room for a while. We'll be hearing more about how their collaboration with Phil Spector worked out in future episodes. Around the time that "Shopping For Clothes" came out, the group became conscious that their time as a pop chart act with a teenage fanbase was probably close to its end, and they decided to do something that Carl Gardner had wanted to do for a while, and try to transition into the adult white market -- the kind of people who were buying records by Tony Bennett or Andy Williams. Gardner had wanted, from the start, to be a big band singer, and his friend Johnny Otis had always encouraged him to try to sing the material he really loved, rather than the stuff he was doing with the Coasters. So eventually it was agreed that the group would do their first proper album -- something recorded with the intention of being an LP, rather than a collection of singles shoved together. This record was to be titled "One By One", and would have the group backed by an orchestra, singing old standards. Each song would have a single lead vocalist, with the others relegated to backing vocal parts. Gardner took lead on four songs, and seems to have believed that this would be his big chance to transition into being a solo singer, but it didn't work out like that. The album wasn't a particular success, either commercially or critically, but to the extent that anyone noticed it at all, they mostly commented on how good Cornell Gunter sounded. Gunter had always been relegated to backing roles in the group -- he was an excellent singer, and a very strong physical comedian, but his sweeter voice didn't really suit being lead on the material that made the group famous. Gunter had always admired the singer Dinah Washington, and he used to do imitations of her in the group's shows. Getting the chance to take a solo lead on three songs, he shone with his imitation of her style: [Excerpt: The Coasters, "Easy Living"] For comparison, this is Washington's version of the same song: [Excerpt: Dinah Washington, "Easy Living"] Despite the record showing what strong vocalists the group were, it did nothing, and by this time the group's commercial fortunes seemed to be in terminal decline. Looking at their releases around this period, it's noticeable as well that the Coasters stop being produced exclusively by Leiber and Stoller -- several of their recordings are credited instead to Sill and Hazlewood as producers. There could be several explanations for this -- it could be that Leiber and Stoller were bored of working with the Coasters, or it could be that they thought that getting in another production team might give the group a boost -- after all, Sill and Hazlewood had recently had a few hits of their own, producing records like "Rebel Rouser" by Duane Eddy: [Excerpt: Duane Eddy, "Rebel Rouser"] But nothing they produced for the group had any great commercial success either. The group's last top thirty hit was another Leiber and Stoller song -- one that once again shows the more adult turn their writing for the group had taken: [Excerpt: The Coasters, "Little Egypt"] "Little Egypt" was originally the stage name for three different belly-dancers, two of whom performed in Chicago in the mid-1890s and introduced the belly dance to the American public, and another who performed in New York a few years later and was the subject of a scandal when a party she was performing at was raided and it was discovered she planned to perform nude. These dancers had been so notorious that as late as the early 1950s -- nearly sixty years after their careers -- there was a highly fictionalised film supposedly based on the life of one of them. Whether Leiber and Stoller were inspired by the film, or just by the many exotic dancers who continued using variations of the name, their song about a stripper would be the last time the Coasters would have a significant hit. Shortly after its release, Cornell Gunter decided to leave the group and take up an opportunity to sing in Dinah Washington's backing group. He was replaced by Earl "Speedo" Carroll, who had previously sung with a group called the Cadillacs, whose big hit was "Speedoo": [Excerpt: The Cadillacs, "Speedoo"] Carroll, according to Leiber and Stoller, was so concerned about job security that he kept his day job as a school janitor after joining the Coasters. Unfortunately, Gunter was soon sacked by Dinah Washington, and he decided to form his own group, and to call it the Coasters. A more accurate name might have been the Penguins, since the other three members of his new group had been members of the Penguins previously -- Gunter had come out of the same stew of vocal groups as the Penguins had, and had known them for years. Gunter's group weren't allowed to record as the Coasters, so they made records just under Gunter's own name, or as "Cornell Gunter and the Cornells": [Excerpt: Cornell Gunter, “In a Dream of Love”] But while he couldn't make records as the Coasters, his group could tour under that name -- and they were cheaper than the other group. Gunter was friends with Dick Clark, and so Clark started to book Gunter's version of the group, rather than the version that was in the studio. Not that the group in the studio was exactly the same as the group you'd see live, even if you did go and see the main group. Billy Guy decided he wanted to try a solo career, but unlike Gunter he didn't quit the group. Instead, he had a replacement go out on the road for him, but still sang with them in the studio. None of Guy's solo records did particularly well, and several of them ended up getting reissued under the Coasters name, even though no other Coasters were involved: [Excerpt: Billy Guy, "It Doesn't Take Much"] The band membership kept changing, and the hits stopped altogether. Over the next few decades, pretty much everyone who'd been involved with the Coasters started up their own rival version of the group. Carl Gardner apparently retained the legal rights to the name "the Coasters", and would sue people using it without his permission, but that didn't stop other members performing under names like "Cornel Gunter's Coasters", which isn't precisely the same. Sadly, several people associated with the Coasters ended up dying violently. King Curtis was stabbed to death in the street in 1971, outside his apartment building. Two people were making a drug deal outside his door, and he asked them to move, as he was trying to carry a heavy air-conditioning unit in. They refused, a fight broke out, and he ended up dead, aged only thirty-seven. One of Cornell Gunter's Coasters was murdered by Gunter's manager in 1980, after threatening to expose some of the manager's criminal activities. And finally Gunter himself was shot dead in 1990, and his killer has never been found. These days there are three separate Coasters groups touring. "Cornell Gunter's Coasters" is a continuation of the group that Gunter led before his death. "The Coasters" is managed by Carl Gardner's widow. And Leon Hughes, who is the only surviving original member of the Coasters but was gone by the time of "Yakety Yak", tours as "Leon Hughes and His Coasters". The Coasters are now all gone, other than Hughes, but their records are still remembered. They created a sound that influenced many, many, other groups, but has never been replicated by anyone. They were often dismissed as just a comedy group, but as anyone who has ever tried it knows, making music that is both funny and musically worthwhile is one of the hardest things you can do. And making comedy music that's still enjoyable more than sixty years later? No-one else in rock and roll has ever done that.
09/04/2007 ×× #01. Sugababes - Easy #02. Deegrees of Motion - Shine on #03. 84 King Street - Are You Lovin Somebody #04. Funkerman And Fedde Le Grand - Wheels In Motion #05. M-Factor - Open Your Eyes #06. Dallas Superstar - Fine day #07. Evermore - Its Too Late #08. Depeche Mode - Just Cant get enough #09. Erick Morillo Feat. P. Diddy - Dance I Said #10. Vendom - Take Me, Shake Me #11. Johnny Crockett - E For Electro #12. Dim Chris - Feel Me
14/05/2007 ×× #01. Remo feat Chelonis R Jones - Empire #02. No Dolls - Nothing Like The Original #03. Evermore - Its Too Late #04. M-Factor - Open Your Eyes #05. Switch Vs Pink Floyd - A Bit Proper Education Patchy #06. Ns Connexxion - Freak U Up #07. Chic Flowerz presents Patrice Strike - Girl #08. Psycosomatic feat. Francesca - Get On Da Move #09. JJ Flores & Steve Smooth - Deep Inside These Walls #10. Fedde Le Grand - Put your hands up for detroit #11. Vendom - Take Me, Shake Me
14/02/2007 ×× #01. Mandy feat Booka Shade - Body Language #02. Porno - Music Power #03. Yanou feat Liz - King of my castle #04. Fedde Le Grand - Put your hands up for Detroit #05. David Guetta vs The Egg - Love don't let me go #06. Psycosomatic feat Francesca - Get on da move #07. Wonderland Avenue - White horse #08. Ns Connexxion - Freak U Up #09. Sugiurumn - Star Baby #10. Alan & Angel - Hot Boulevard #11. T-Funk feat Inaya Day - The glamorous life #12. Degrees Of Motion - Shine on #13. Till West & dj Delicious - Same Man #14. Chocolate Puma - Always and Forever #15. Evermore vs Dirty South - It's too late #16. Vendom - Take Me, Shake Me #17. Chab vs Yazoo - Closer To Me 2006
Huey Lewis and keyboardist Sean Hopper started their career with a jazz-funk band called Clover in San Francisco in 1972. After spending some time in the UK and working with Thin Lizzy, Lewis joined with Hopper and members of another San Francisco band called Soundhole to become "Huey Lewis & The American Express." The name was changed to Huey Lewis & The News when Chrysalis records brought up concerns about trademark infringement from the credit card company.Fore! is the fourth studio album from Huey Lewis and the News, and continued the band's string of hit singles from their third album called "Sports." Huey Lewis himself was a bit of a celebrity at this point, and made a cameo in "Back to the Future" where he judged Marty McFly's band as they auditioned with a hard rock version of Huey Lewis and the News' "The Power of Love."We hope you enjoy this journey into the throwback do-wop rock of Huey Lewis and the News!Jacob's LadderThe first track on the album was written by Bruce and John Hornsby, and went to number 1 in 1987. The imagery contrasts getting through life one day at a time against the televangelist caricature.Whole Lotta Lovin’This is a deep cut off the album, about being on the road and away from the one you love. The lyrics are pretty funny.NaturallyBruce's favorite song on the album us another deep cut, this time a cappella. If you sang in groups of any type during the 80’s, you know this song.Hip To Be SquareThis is one of the hits off the album that represents the time very well. Lewis intended this to be ironic, not an anthem for squares around the world, but the band did have a clean cut, conservative image. They were a little older than many of the superstar groups and didn’t tend to trash every hotel they stayed in. Still, Lewis was the child of beatniks, and bristles a little with the idea that he relishes squareness. Members of the San Francisco 49ers are singing backup here, including Joe Montana and Ronnie Lott. ENTERTAINMENT TRACK:”Ruthless People” by Mick JaggerThis track was the theme to a comedy film with lots of stars and lots of plot twists, and the song was moving up the charts.STAFF PICKS:"Tuff Enuff" by The Fabulous ThunderbirdsBrian features the Texas based group with Stevie Ray's brother Jimmy Vaughan on guitar. This song peaked at #10 on the Billboard Hot 100."Shake Me" by CinderellaWayne comments that the hair bands were making their mark on the rock scene at the time. This is Cinderella's first single off their album “Night Songs”"Welcome to the Boomtown" by David & DavidRob's staff pick walks the alternative rock path. This storytelling song references the allure of riches and drugs - “all that money makes such a succulent sound.”"The Hunter" by GTR Bruce's staff pick features a one-album supergroup composed of guitarist Steve Hackett of Genesis and Steve Howe of Asia and Yes. INSTRUMENTAL TRACK:"Bass Case" by Quiet RiotWe finish off this week's podcast with a rare bass solo piece.
Hellooo Basementeers once again.... It get's hard to explain all shows sometimes, but I don't mind giving you hints of what we will play on this episode of SFTB. Today we will play trax from: Kim Weston / Casey Kelly & Leslie Ellis / Diane Reney / Beach Boys / Paul McCartney / Bob Dylan and Eric Clapton and many more. So let's get spinning.... Intro: No Bizz Like Showbiz-Stanley Black 1. If Whishes Were Horses-Sweeny Todd 2. It's Lookin' Good-The Rutles 3. The Company You Keep-Diane Reney 4. Feather Balloon-The Sugar Bears 5. I'm Just A Dreamer-Casey Kelly & Leslie Ellis 6. Diane From Manchester Square-Tommy Roe 7. Thursday Morning-Jon & Robbin 8. The Final Hour-The Vagrants 9. Mother Of Love-Nitty Gritty Dirt Band 10. Take These Chains-10cc 11. With A Little More love-Lola Dee 12. One Night With You-Gina Vannelli 13. Say Goodby To Hollywood-Nigel Olson 14. Save My Loving For A Rainy Day-The Undisputed Truth 15. One Last Kiss-The J. Geils Band 16. Silver Threads & Golden Needles-Linda Ronstadt 17. Someone To Love-Kathy Young 18. Fool For Your Love-Leo Sayer 19. Doll House-Donnie Brooks 20. All I Wanna Do-The Beach Boys 21. Never Had It So Good-B.J. Thomas 22. What Are We Doing In Love-Kenny Rogers & Dottie west 23. Feel Alright Tonight-Kim Weston 24. I've Lost You-Jackie Wilson 25. Somebody Who Cares-Paul McCartney 26. Nothings Too Good For My Baby-Stevie Wonder 27. Shake Me, Wake Me-Al Wilson 28. Just As Long As You Need Me-The 4 Tops 29. Love Will Give Us Wings-Gene & Debbie 30. What Have I Done To You-Freddy & The Dreamers 31. Obviously 5 Belivers-Bob Dylan 32. Lucky Lady Bug-The 4 Seasons 33. Opposites-Eric Clapton 34. When It Comes-The Edgar Winter Group 35. On The Street Where You Live-Bobby Day 36. Wonder Boy-Leslie Gore Outro: Logos-Tangerine Dream
This episode originally aired on 8-04-19. I hope you like it. Please consider becoming a supporter on Anchor so we can keep putting great shows out. Also if you "Like" Blues Therapy Radio on Facebook we'll give you a shoutout on the next show. Cheers (Check out the playlist below) Biggdaddy Ray Blues Therapy Radio #730 8-04-19 Joanne Shaw Taylor…”Bad Love”…(Reckless Heart) Joanne Shaw Taylor…”The Best Thing”…(Reckless Heart) Billy Branch & the Sons of Blues…”It’s Too Late Brother”…(Roots and Branches) Billy Branch & the Sons of Blues…”You’re So Fine”…(Roots and Branches) Tab Benoit…”The Blues is Here to Stay”…(Legacy-The Best of Tab Benoit) Tab Benoit…”Medicine”…(Legacy-The Best of Tab Benoit) Kerry Kearney Band…”Wake Me, Shake Me, Bake Me”…(Smokehouse Serenade) Kerry Kearney Band…”Creole Woman”…(Smokehouse Serenade) Kerry Kearney Band…”Pretty Baby”…(Smokehouse Serenade) George Benson…”Rockin’ Chair”…(Walking to New Orleans) George Benson…”You Can’t Catch Me”…(Walking to New Orleans) Reverend Freakchild…”Dial it in!”…(Road Dog Dharma) Reverend Freakchild…”Jesus Just Left Chicago”…(Road Dog Dharma) The Reverend Shawn Amos…”Whatcha Gonna Do”…(Kitchen Table Blues Vol2) The Reverend Shawn Amos…”Mama, He Treats Your Daughter Mean”…(Kitchen Table Blues Vol2) The Texas Horns…”Guitar Town”…(Get Home Quick) The Texas Horns…”I’m Doin’ Alright, at Least for Tonight”…(Get Home Quick) Harpdog Brown…”Reefer Lovin’ Woman”…(For Love & Money) Harpdog Brown…”Vicious Vodka”…(For Love & Money) Kelly’s Lot…”All I Ever Want is the Blues”…(Can’t Take My Soul) Kelly’s Lot…”Can’t Take My Soul”…(Can’t Take My Soul) Peter Ward…”The Luther Johnson Thing”…(Train to Key Biscayne) Peter Ward…”When You are Mine”…(Train to Key Biscayne) Bad Influence…”Lid Flippin’ Short”…(Got What You Need) Bad Influence…”Male Men”…(Got What You Need) Barbara Healey with Groove Too…”Four Alarm Fire”…(Live) Barbara Healey with Groove Too…”Old Woman Blues ”…(Live) Joanne Shaw Taylor…”Creepin”…(Reckless Heart) Blues Therapy Radio is hosted by official Blues Hall of Fame broadcaster Biggdaddy Ray Hansen. This weekly radio program is heard on FM radio in multiple cities as well as via online audio stream. Each show is rebroadcast twice a week on KCOR (www.kconlineradio.com) (Kansas City, KS) and every Sunday on Radio Pradijs (Amsterdam. Netherlands). Podcasts can be heard on multiple services by following this gateway sen/episodes/Blues-Therapy-Radio-703-e32jc5. Sponsorships of this podcast are appreciated. We report our original playlist to Radio Direct, Roots Music Report and to Living Blues. Blues Therapy Radio is a 14-time finalist for Best Blues Radio Show (Spokane IEBS Awards). We accept all submissions for consideration. --- Support this podcast: https://anchor.fm/ray-l-hansen/support
Playlist: Delbert McClinton & Self Made Me, If I Hock My Guitar,Eric Reed, Crumbling Down,Scorch Sisters, Still Remember,Grady Champion, Down Home Blues,Justine and the Unclean, Monosyllabic Man,JP Reali, My Baby Loves To Boogie,Terry Robb, Still On, Trombeatz, Something New,Harpdog Brown, No Eyes For Me,Kate Lush Band, Jackson, Ellis Mano Band, Georgia,John Clifton, Keep It Clean,The Cash Box Kings, Back Off,Christone “Kingfish” Ingram, Trouble,Ross Osteen Band, Broom,The BB King Blues Band, Hey There Pretty Woman,Tony Campanella, My Motor’s Running,Kenny “Beedyeyes” Smith, What In The World,Joanne Shaw Taylor, All My Love,Michele D’Amour & The Love Dealers, Cradle To The Hearse,Jon Gindick, Baby’s Got The Blues,Albert Castiglia, Catch My Breath,Bob Corritore & Friends, Trying To Make A Living,Bonita & The Blues Shacks, That’s My Baby,Will Jacobs, Groove Thang,Kerry Kearney Band, Wake Me, Shake Me, Bake Me,Meg Williams, Sometimes I Need You Too,Laura Rain and the Caesars, Hi Fidelity Man,Anthony Gomes, White Trash Princess,Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: 41 Bridge Street Live: Saturday, Christine Ohlman & Rebel Montez w/ Lovelace/Lesiw; Collinsville. The Ridgefield Playhouse: Friday, Trombone Shorty & Orleans Avenue Opening: Funky Dawgz Brass Band; Ridgefield. (203) 438-5795 FTC Stage One: Saturday, Gary Hoey; Wednesday, Satan and Adam: Films that Rock; Fairfield. (203) 319-1404 The Bijou Theatre: Saturday, Allman Brothers Tribute - Brothers of the Road Band; Bridgeport. Black-eyed Sally's: Friday, Laura Rain & the Caesars; Saturday, Anthony Gomes Band; -Hartford. (860) 278 7427 BRYAC: Sunday, Sunday, Erin Harpe & the Messers (5 pm); Bridgeport. The Crabshell: Friday, Big Chief and the Midnight Groove; Stamford. The SeaGrape: Saturday, Chris Mahoney; Fairfield. Grey Goose: Saturday, Fake ID; Southport. Murphy's: Doug Wahlberg Band (Benefit for VFW 308); Newtown. Redding Roadhouse: Mental Health Band; Redding. Captain’s Cove: Monday, Eight to the Bar (3:30 pm); Bridgeport. Bill's Seafood: Saturday, Kathy Thompson Band; Monday, Johnny & The East Coast Rockers; Westbrook. Katharine Hepburn Cultural Arts Center: Saturday, Sacred Fire - Tribute To Santana; Old Saybrook. (860)-510-0473 Infinity Music Hall: Monday, Memorial Day BBQ Buffet; Norfolk. Mattabesett Canoe Club: Sunday, Vitamin B-3 (3 pm); Middletown. The Tautug Tavern: Friday, Fake ID Acoustic Duo; Bridgeport. Mulligans: Friday, Sara Ashleigh Band; Torrington. Hanq's: Friday, Orb Mellon Dave Robbins & Mark Hennessy; Torrington. Note Kitchen & Bar: Wednesday, Artie Tobia Duo; Bethel. Rizutto's Oyster Bar: Saturday, Otis and the Hurricanes; Westport. Bill's Crossroads: Sunday, Otis and the Hurricanes; Fairfield. Pearl at Longshore: Friday, Fake ID (6 pm); Westport. The Old Lyme Inn: Wednesday, Dan Stevens (6 pm); Old Lyme. Scotch Plains Tavern: Friday, Blues on the Rocks; Saturday, Katie Perkins; Sunday, Dan Stevens (3 pm), Essex. The Back Porch: Friday, Michael Cleary Band; Saturday, The Bernadettes; Old Saybrook (860)-510-0282. Café 9: Sunday, Memorial Day BBQ w/George Baker Band; New Haven. (203)-789-8281 Best Video: Friday, Bluegrass & Blues: Frog Hollow; Hamden. Owenego Inn: Friday, Eight to the Bar; Branford. Hog River Brewing Co: Sunday, Shawn Taylor (2 pm); Hartford. 860 206-2119 Lenny's Indian Head Inn: Thursday, Cobalt Rhythm Kings (6 pm); Branford. Foxwoods Atrium Bar Lounge: Thursday, Slow Hands: The Music of Eric Clapton; Mashentucket. Carmine's Bar, Grill & Stage: Saturday, Cobalt Express; East Hartford. Still Hill Brewery: Friday, Dan Stevens (5 pm); Rocky Hill. Senior Panchos: Thursday, Murray The Wheel Acoustic Duo; Thomaston. The Brass Horse Café: Sunday, Six Pack of Blues (3 pm); Barkhamsted. Cambridge Brew House: Saturday, Rich Badowski Band; Granby. 860-653-2738 Chippanee Golf Club: Saturday, Eran Troy Danner, solo acoustic; Bristol. Five Churches Brewing: Thursday, Orb Mellon (6 pm); New Britain. Old Platform 6: The Boogie Boys; Oakville. The Hops Company: Sunday, Eran Troy Danner, solo acoustic, (2 pm); Derby. Daddy Jack’s: Saturday, Dave Fields; New London. The Steak Loft: Friday, Johnny and The East Coast Rockers; Mystic. (860)-536-2661 Giants Neck Beach: Saturday, The Second Chance (5 pm); Niantic. The Stomping Ground: Friday, The Peter Parcek Band; Saturday, The Infinite Groove; Wednesday, James Keyes; Putnam. (860) 928-7900 The Windham Club: Friday, Patty Tuite Group (6 pm); North Windham. 860-456-1971 Daryl's House: Friday, The The Band Band: Bob Dylan Birthday Bash; Saturday, Acoustic Brunch: Nellybombs (12 pm); Saturday, Kim Simmonds & Savoy Brown; Pawling, NY (845) 289-0185 The Turning Point: Friday, Adam Falcon; Saturday, The THE BAND Band Levon Helm Birthday Celebration; Piermont, NY The Falcon Underground: Friday, Vito Petroccitto & Little Rock; Marlboro, NY Towne Crier Café: Friday, Chris O'Leary Band; Beacon, NY Iron Horse: Friday, Jeff Pitchell & Texas Flood; Northampton, MA Theodores': Friday, Michelle Willson; Saturday, Laura Rain & the Caesars; Springfield. (413) 736-6000 The Knickerbocker Café: Saturday, Knickerbocker All Stars; Westerly. (401) 315-5070 Wormtown Trading Co:.StrangeCreek Campout 2019 w/ Creamery Station (May 24 - May 27); Greenfield, MA Narragansett Café: Sunday, Cee Cee & the Riders; Narragansett, RI Perks & Corks: Saturday, Dan Stevens; Westerly. RI Plainridge Park Casino: Sunday, The Barley Hoppers (4 pm); Plainville, MA https://itunes.apple.com/us/podcast/id502316055
This week Sonny and I scream “SHAKE ME” at the top of our lungs all night as we both pick our Top 5 Cinderella songs. We barely avoid an all-out brawl on mic when we both claim a song as our favorite, deciding in the end to let technology pick the true winner of the favorite song sweepstakes. I remember seeing Cinderella in the 90's, long after their “heyday.” With rock considered passe at the time, I was psyched to be able to see a band I dug in a small club at an affordable price. Cinderella blew the roof off the place that night, and I remember thinking, "Here is a rock band that, in an arena or small club, delivers kick-ass music to the roar of a crowd" and I have never forgotten that fact. Sonny and I both decided we have somewhat of a love/hate relationship with this band, but both of us agree it's more love than hate. There are certainly more than enough killer songs to go around and make it a very tough task to decide which are our Top 5 Cinderella songs at the moment we happened to record this episode of the Growin’ Up Rock Podcast. Make sure you go to our Facebook page, Podchaser, or our website and share your thoughts on the band, your top 5 favorites and what you think of this episode. Everyone’s got a Rock N Roll story to tell, so tell us yours @growinuprock.com Like us and leave us a review on our FaceBook page - @growinuprock and @Podchaser Follow us on Twitter - @growinuprock Subscribe to our Podcast at the platform of your choice and leave us a review Support Music / Artist / and Your Favorite Podcast You can help out the Podcast by doing all of your shopping at Amazon using our link below. Click on the Amazon banner below and it takes you to the Amazon site where you shop as normal. It cost you exactly the same, but the podcast gets a very small fee as a partner which help us pay to get our shows out each and every week. Growin’ Up Rock Amazon Store Cinderella Dream Child KISS A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website
This week's episode of The Worm Turns with Jimmy Callaway is brought to you by the Number of the Beast! Yes, it's an all-star tribute to our dark lord Satan, so come on, gang, TARNISH your soul! SUBMIT to vice! PRAISE be to the king of rock and roll, always and forever, amen! Song list: The Mighty Mighty Bosstones--“Devil's Night Out” The Dwarves--“Satan” Davila 666--“El Lobo” The Satans--“Lines and Squares” Zeke--“Eyes of Satan” The Germs--“Lexicon Devil” Damnation--“Fuel-Injected Priest” The Ozark Mountain Daredevils--“If You Wanna Get to Heaven” The Misfits--“Speak of the Devil” The Dantes--“Can't Get Enough of Your Love” Mephiskapheles--“Doomsday” Slayer--“Altar of Sacrifice” Satan's Little Helpers--“I'm in Love” Jimmy Minor--“Satan's Chauffeur” Roky Erickson--“Don't Shake Me, Lucifer” Necronomikids--“Bete Noire” Satan and Satan's Roses--“I'm a Devil” The Supersuckers--“Born with a Tail”
Well, you can rock it, you can roll it, you can stop it, and you can stroll it at the dance party episode of The Worm Turns with Jimmy Callaway! KICK off the Sunday shoes! LET'S twist again! LEAVE room for the Holy Ghost! Let's get sweaty in a way that's only somewhat sexual! Song list: The Checkerlads--"Shake Yourself Down" The Makers--"Lover Lover" Screamin' Joe Neal--"Rock and Roll" The Ugly Beats--"Bee Line" The Specials--"Monkey Man" Unnatural Helpers--"Medication" The Castaways--"Liar, Liar" The Rumors--"Hold Me Now" The Omens--"Searching" The Royal Pendeltons--"Sore Loser" Chris Howard and the Third World--"I Just Want to Rest" Archie and the Bunkers--"I'm Not Really Sure What I'm Gonna Do" The Ghastly Ones--"Spooky" Digital Leather--"Trash" The Triumphs--"Surfside Date" The Goodnight Loving--"Doesn't Shake Me"
In 2008 I started a series of radio shows with fellow Freak and host, Jonny Rock. The original format was based around vinyl. Digital started to creep in, then CD's, then YouTube rips, and so on. But the idea remained the same, that we were sharing our discoveries with an audience. Fast forwarding a couple of years and expanding on the original concept, I will once again be playing dance music that you may or may not have heard, but this time said music will be readily available, if pointed in the right direction of course. The idea is for you to use me as your selector slash shop assistant in a virtual record store. Not only will I be shouting about both old and new music, but I will also be following it up with a series of compilations to be released on my label, Classic throughout the year. I will be your slightly odd, slightly off-centre, guide. But ultimately and most importantly, your friendly on-line record shop assistant. Tracklisting: 01. Burnt Friedman and Dodd Ellis 'Skies Okay Blue' (Nonplace Records) 02. Masemenos 'Follow Me' (Sound of Masemos) 03. Mike Shannon 'Barryonic Lensing' (Cynosure) 04. That Man Monkz 'Got 2 Get 2' (Shadeleaf) 05. Monty Luke and Tasho 'Paranoid' (Mothership) 06. Shaun J Wright and Alinka 'Wait for Love' (Eli Escobar Remix) (Twirl) 07. Jimmy Edgar 'Burn' (Ultramajic) 08. Fritz and Lang 'I Need Space' (Dan Beaumont Dub) (Classic) 09. Missive 'Missive' (Neville Watson Remix) (Club Mod) 10. Push Pull 'Tribal Rhythm' (Rush Hour) 11. Luke Solomon feat Sam Lynham and Nick Maurer 'Shake Me' (Demo mix) (Classic) 12. M.A.S.H 'Jazz Madicine' 13. Clark 'Clip' (Planet E) 14. Lazare '4 Danillo' (Hoche Records)
Opening - Briner’s Mangled Face - Shake Me by Kevin Foster on iTunes - Heavy Hearts by Kevin Foster on iTunes The JerkShirt - Article from Thrillist - JerkShirt - Scary Movie Strong Hand Penis Transplant -
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Cinderella - Live At The Mohegan Sun Треклист: 1. Intro 1:36 2. Night Songs 3:16 3. The Last Mile 3:16 4. Somebody Save Me 3:40 5. Heartbreak Station 5:18 6. Coming Home 5:29 7. Shelter Me 5:42 8. Nobodys Fool 6:35 9. Gypsy Road 4:31 10. Dont Know What You Got (Till Its Gone) 6:14 11. Shake Me 6:25 12. Falling Apart At The Seams 5:10 13. Push Push 2:51 14. Still Climbing 4:27 15. Drum Solo 3:41
Andy Brewer of Taddy Porter introduces us to his band and talks about their self-titled debut album. He describes his new experience in the music business, tells us about his favorite tracks and what inspires him to write music.
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