Podcasts about since you been gone

The Pagers sign off (for the time being) with a personal retrospective of how this project has changed their lives. We also take questions from the listeners who joined us for the live stream, read the final mail from the Mailbag, and let everyone know what's coming next. Outro music: Since You Been Gone by Rainbow

Russ joins me to discuss his amazing song wriiting carrer, including the hits "New York Groove", "God Gave Rock n Roll To You", "Since You Been Gone", "You Can Do Magic" and more! We also discuss his KISS connection over the years, including his songs covered by Peter Criss!

Graham Bonnet in conversation with David Eastaugh English rock singer. He has recorded and performed as a solo artist and as a member of several rocks bands including Rainbow, Michael Schenker Group, Alcatrazz, and Impellitteri. He is known for his powerful singing voice but is capable of also singing soft melodies. In 1979, Bonnet was approached to join  Sweet to replace Brian Connolly. However, he was chosen by Ritchie Blackmore to replace Ronnie James Dio as the vocalist of hard rock band Rainbow. This was something of a musical departure for Bonnet, who had previously identified himself more as an R&B singer. Bonnet would later credit his time in Rainbow and his collaboration with Blackmore, in particular, as fundamentally changing his musical outlook to a more hard rock focus. He sang on the Down to Earth LP, which would become his most successful album. It spawned two hit singles in 1979 and 1980: "Since You Been Gone" and "All Night Long". During Bonnet's time in the band, Rainbow also headlined the inaugural Monsters of Rock festival at Donington Park, Castle Donington.

In this new podcast, Paul chats with performers Corey Mach (who plays William Shakespeare) and Michael Canu (“Romeo”) about the incredibly high energy and fun jukebox musical “& Juliet” here for a short run. Utilizing the music of Max Martin with songs you will know very well (‘Since You Been Gone' ‘Baby One More Time”, […]

@DJEXODUSOne Of Them Girls - Lee BriceDrinkin' Beer. Talkin' God. Amen. - Chase Rice ft Florida Georgia LineThank God – Kane BrownBut I Got A Beer In My Hand - Luke BryanWait x Last Night (Maybach Mashup) - Morgan WallenLast Night - Morgan WallenHouse Party – Sam HuntLife Is a Highway - Rascal FlattsLife Is A Highway x Ride Wit Me (@DJSkillzMusic Segue EDIT)Ride With Me (Dirty) – NellySave A Horse (Ride A Cowboy) (Intro Clean) - Big & RichSave A Horse x My Neck My Back (Hype Edit) (Maybach Mashup)Country Girl Shake it (@DJSkillzMusic Party Break Blend) - Luke Bryan x Bubba Sparxxx x EminemCountry Girl (Shake It For Me) (Intro Clean) - Luke Bryan5 Foot 9 - Tyler HubbardAw Nah – Chris YoungPlay Something Country - Brooks & DunnHow Country Feels - Randy HouserDancin' In The Country - Tyler HubbardAin't That Some - Morgan Wallen5-1-5-0 - Dierks BentleyLike I Love Country Music - Kane BrownMan! I Feel Like A Woman - Shania TwainTimber - Pitbull ft. KeshaPour me a drink VS Timber Mr Wired Up - Post Malone x KeshaLOW (Cyberkid Party Break) - Flo Rida f. T-PainLow - Flo Rida f. T-PainYou Belong With Me x We Found Love (JM Edit) - Taylor Swift x Rihanna & Calvin Harris & LeondisWe Found Love x S&M (Joe Maz SuperBowl Edit) - Rihanna & Calvin HarrisI Gotta Feeling x Since You Been Gone x Feel So Close x Sweet Child of Mine (Joe Maz REEDIT 2) - Black Eyed Peas x Kelly Clarkson x Calvin Harris x Guns N RosesMiles On It  - Kane Brown & MarshmelloDynamite vs. OUT OUT (Alors On Dance) (Deville Peak Hour Bootleg) Clean No Verse - Taio Cruz, Joel Corry, Jax Jones, Gwen StefaniThat Don't Impress Me Much - Shania TwainThis Girl Seaual Healing (Diggz) - Marvin Gaye vs. KungsWobble (Mister Gray Transition - V.I.C. ft. The Package Store & Frank SkiBack That Thing Up (Deville Party Break Intro) – JuvenileBack That Ass Up – JuvenileShe's Country (@DJSkillzMusic Acapella In & Out) - Jason AldeanA Bar Song (Tipsy) (Dirty Intro) - Shaboozey@DJEXODUS

Send us a Text Message.Welcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes.I will read your scores out on the following episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Prisencolinensinainciusol by Adriano Celentano (1972)Song 1: Ol' Red by Blake Shelton (2001)Song 2: Anarchy in the U.K. by Sex Pistols (1976)Song 3: A Whiter Shade of Pale by Procol Harum (1967)Song 4: Since You're Gone by The Cars (1981)Song 5: Bizarre Love Triangle by New Order (1986)Song 6: Colors by Black Pumas (2019)Song 7: Since U Been Gone by Kelly Clarkson (2004)Song 8: Sucker M.C's (Krush-Groove 1) by Run-D.M.C. (1982)Song 9: The Safety Dance by Men Without Hats (1982)Song 10: Since You Been Gone by Rainbow (1979)

In This Episode: A break-in at Odeon studios clues-in Rosa, Ben and Diego that someone else might also be interested in the lost movie reel, even while Harcourt begins exhibiting odd behavior that worries his closest friends...   The Lovecraft Tapes is a Call of Cthulhu RPG real-play/actual-play podcast with episodes available on all major podcast platforms   Original music provided by composer-in-residence Chris Parker   Find us everywhere at https://linktr.ee/lovecrafttapes

Fake Britney: What happened to Britney Spears? Has she been replaced on her own social media? Is the media trying to frame her once again or is she just a wackadoo? Jim and Them are on the case. Lady Kills Husband, Writes Children's Book: A Utah mom wanted a huge mansion really, really bad so she killed her husband and then wrote a childrens' book about grief. She would have gotten away with it to, if she wasn't a moron. McDonald's Fights: Don't step to a large McDonald's manager unless you are ready to throw hands. Also another fight that security eggs on too far. SO FUCKING COOL!, PLAY SOME RAP MUSIC!, THE LAST BOY SCOUT!, SINCE YOU BEEN GONE!, RAINBOW!, GUARDIANS OF THE GALAXY VOL. 3!, 69!, FOO FIGHTERS!, JARED LETO JOKER!, EVERLONG!, FAKE BRITNEY SPEARS!, CONSPIRACY!, INSTAGRAM!, CRAZY!, DANCING!, CRAZY EYES!, GREEN SCREEN!, MAKEUP FILTER!, DEEPFAKES!, CHILD STAR!, JUSTIN TIMBERLAKE!, CHRISTINA AGUILERA!, COREY FELDMAN!, CRAZY!, SPINNING!, KNIVES!, TMZ!, DRIVE ALONE!, KEVIN FEDERLINE!, JASON ALEXANDER!, THE MCDLT!, HUSBAND!, WIFE!, MURDER!, CHILDREN'S BOOK!, GRIEF!, POISON!, FENTANYL!, LIFE INSURANCE!, PERSONALITY!, DRUGS!, MANSION!, KORI D RICHINS!, DICK HARD!, DAMN HARD!, MANAGER FIGHT!, DRINK!, THROW!, BEAT!, CRYING!, SORRY!, PLEASE!, HELP!, SATISFYING!, SECURITY!, IN YOUR FACE!, FOOD!, FIGHT!, EGGED ON!, JUMP!, EMBARASSED!, HOMELESS GUY!, SCHOOLED!, UNSANITARY!, HAPPY!, FRESH AIR!, BLOCKING TRAFFIC!, SIX FLAGS!, THEME PARKS!, AMUSEMENT PARKS!, STAR TOURS!, RISE OF THE RESISTANCE!, SMUGGLER'S RUN!, BARSTOOL!, MISSION BREAKOUT!, DAVE PORTNOY!  You can find the videos from this episode at our Discord RIGHT HERE!

The Gamers are back with a fresh look at some new content coming, A prelude to the Drunken Gamer awards and should we wear suits?

Llega un pódcast analizando una película de estreno, en este caso el volumen 3 de Guardianes de la Galaxia, la despedida de James Gunn del MCU. Aunque no entramos en un análisis en profundidad de la producción no queríamos dejar pasar la ocasión de dejaros nuestra opinión. Se juntan mano a mano nuestros FJ's, Francisco Javier Santiago y Javier Muñoz para hablar de sus impresiones después de ver el cierre de la trilogía realizada por James Gunn. Grupo de Telegram: https://t.me/CineActual Nuestro Patreon: https://www.patreon.com/cineactual Suscríbete en iVoox: https://www.ivoox.com/ajx-suscribirse_jh_551662_1.html Canción inicial «Since You Been Gone» de Guardians of the Galaxy Vol. 3 (Epic Version) producida por Epic Geek. Canción final «Ocaso» por cortesía de Laia Salvat, Francisco Javier Santiago y Albert Vilella, bajo licencia CC BY-NC-ND 4.0.

Date: March 15, 2023Name of podcast: Backstage Pass RadioEpisode title and number:  S4: E8: Russ Ballard (Argent) - Masterful Lyricist From WareArtist Bio -Originally coming to prominence as the lead singer and guitarist for the band Argent, Ballard became a songwriter and producer by the late 1970s. His compositions "New York Groove", "You Can Do Magic", "Since You Been Gone", "I Surrender", "Liar", "Winning", "I Know There's Something Going On", "Can't Shake Loose", "So You Win Again" and "God Gave Rock and Roll to You" were hits for other artists during the 1970s and 1980s. He also scored several minor hits under his own name in the early and mid-1980s.Sponsor Link:WWW.ECOTRIC.COMBackstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist Media Handles:Website - www.russballardmusic.comInstagram  - https://www.instagram.com/russballardmusicofficial/Facebook - https://www.facebook.com/russballard.music/Call to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer. Thank you for being a part of Backstage Pass RadioYour Host,Randy Hulsey 

Growing up in Mt. Pulaski Illinois, at the age of 13, Singer and Songwriter John Schlitt joined a local band called "Vinegar Hills Hometown Band Something Different". After graduating from high school, Schlitt enrolled in the University of Illinois, earning a degree in Civil Engineering. However with his main interest in music, he joined the rock band "Head East" in 1972, going on to having such hits as "Since You Been Gone", and "Love Me Tonight". In 1980, John was fired from the band due to his drug dependency, and his career stalled... Until one day receiving a call from guitarist Bob Hartman asking if he'd be interested in becoming the lead singer for the Christian Rock Group "Petra". Over the next three decades, the band went on to release 20 studio albums, as well as two Spanish-language and two live albums, selling nearly 10 million copies while being nominated for 13 Grammy Awards, winning four, and winning 10 Dove Awards. John shares his musical gypsy journey, how he became a Christian, along with his new solo projects he's working, and getting ready for Petra's 50th Anniversary tour. www.johnwschlitt.com © 2023 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2023 Lotta Dogs Productions, LLC, All rights reserved.  

Episode 154: This week we discuss Since You Been Gone by Rainbow. Yes, Rainbow. Not Kelly Clarkson. It's an upbeat breakup song, yadda yadda, did you know Ritchie Blackmore does Ren Fest music now? This was fun.   Deep Cuts Dianne: DOA - Bloodrock Ben: Wish You Were Here - Blackmore's Night     Special THANK YOU Chuck Savage & Eddie Hawkins: Intro music Jeremy Essig: Six Degrees of The Clash   **********   We have a Patreon Page! https://www.patreon.com/rockthecashbar   If you would like to help support Rock the Cash Bar we have some fun perks for becoming a Patreon member!   For $5 a month Patreon members will have a private community, receive some awesome Rock the Cash Bar swag and once a month we draw one Patreon member's name and let them choose a song for us to cover!   We have Merch! https://www.rockthecashbarpodcastmerch.com   Shirts, hats, stickers, mugs and more! Check it out!   Website: https://www.rockthecashbarpodcast.com   PLEASE rate and leave us a review! It really helps!! Thank you!

A pair of The Bad Batch episodes, some Star Wars tv music news, more scary times in The Last of Us, and more! Here's what happens: Strothers is back. Who Got What is lightsaber-oriented. The Bad Batch two-parter was neat. Season 3 of The Mandalorian is getting a new composer. We're super keen on The Last of Us. Video game stuff. WE HAVE MERCH! You can get t-shirts and the like at TeePublic.com and Redbubble.com. Dig the show? Support our podcast on Patreon! Go to patreon.com/thebadmotivators to find out more. Thanks for being awesome. A big thank you Xurxo (@laseraw) for the killer artwork! Our friend Chris Hall (@chrishallartist) is the genius behind some of our best designs. Check his work out at Black Sheep Rebellion and buy some stuff. Help us out! Consider leaving us a 5-star review on iTunes! Robbo said you should. Follow us on Instagram: @badmotivators Follow us on Twitter! The Bad Motivators: @bad_motivatorsEric Strothers: @ericstrothers Check us out Twitch!Luke: @super_cruserEric: @MouseRat2217

Our hosts reflect on Stephen's first Christmas break home from college and how he felt seeing Kristin excited about her new boyfriend. But listeners will quickly learn Season 2 of “Laguna Beach: The Real Orange County,” really isn't about Kristin and Stephen. Instead, we'll see multiple love triangles begin to take shape… Hosted by Kristin Cavallari and Stephen Colletti.   A word from our sponsors: Achieve and maintain your goals this year with Factor. Head to FACTOR75.com/beach60 and use code beach60 to get 60% off your first box.  This episode is sponsored by BetterHelp. If you want to live a more empowered life, therapy can get you there. Visit BetterHelp.com/BEACH10 to get 10% off your first month. Dipsea is an app full of hundreds of short, sexy audio stories designed by women for women. For listeners of the show, Dipsea is offering an extended 30-day free trial when you go to DipseaStories.com/beach. Produced by Dear Media.

Since You Been Gone, there have been a lot of nerd news stories, and this week Mike, Jared, Carlos, and Stephanie from the Screen Sisters brought you up to speed. Topics included WBD/DC shenanigans, HotD, a Fantastic Four director found, and everything else under the sun, as they approached Season 5 of the Racial Draft. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/racial-draft-podcast/support

Carl Kammeyer is a singer/songwriter who sings many styles of music with his powerful voice.   Carl's musical journey started in the 7th grade.  He played by ear and practiced everyday.  Later he learned to read music and self-taught himself to play guitar. He plays an arrangment of instruments. Carl creates powerful songs that are about love and life and his own journeys. Carl's hope is that his music inspires, encourages and touches anyone that listens to it.

John Schlitt is considered to be a legend of rock and roll music, not in a sarcastic or satirical sense but as a master of his craft. He has earned the title.His early years were spent fronting a band called Head East. During the 1970s, the band released six albums and charted three hits including the song “Since You Been Gone", which can still be heard on Classic Rock radio to this day. At the peak of the band's success, in a life-changing experience, he found salvation in Jesus Christ and decided to leave the band.After a few years of finding his post-music footing, he received a call to audition for a band that was emerging as the top rock group in contemporary Christian music … Petra. He spent more than 20 years with them, earning four Grammy Awards, numerous Dove Awards, and garnered two-certified Gold Records.For the last 16 years he has worked primarily as a solo artist and has toured all over the world. Inducted into the Gospel Music Hall of Fame, John was recently named the best rock singer in Christian music history by GospelMusicChannel.com.John joins us on the Crossmap Podcast to walk us through his long standing musical career that spans more than 50 years. Listen as he shares about the changes he has seen in contemporary Christian music since joining Petra in 1986, and his greatest hope for the Christian music industry moving forward.Links to John Schlitt John Schlitt's Website John Schlitt on Facebook John Schlitt on Twitter Links to Crossmap Crossmap Website Crossmap Facebook

Since You Been Gone by Rainbow, since we've been gone...This week we discuss Series 4 | Episode 1 | 28 May 2005. The show returns, Ricky and Stephen are standing in for Adam and Joe. They comment about how nothing has changed, except that the listenership has gone down possibly because each year a few old XFM listeners die, of smack addictions or gout. Ricky unveils some genuinely exciting prizes for Rockbusters, Karl talks about his testicles then gets a champagne cork shot at his head.LISTEN TO THE ORIGINAL XFM SHOWS INCLUDING THIS ONE: https://www.youtube.com/watch?v=1s_efTYLGp4&list=PLyXWmr6hs7HC_-CluC_IB17TyWR21Xfk3RELATED LINKS: A Waste of Offence: Robin Ince's Blog: https://cosmicshambles.com/words/blogs/robinince/a-waste-of-offenceRicky Gervais: SuperNature: https://www.netflix.com/title/80225917Freewebs: https://web.archive.org/web/20160212113844/http://www.freewebs.com/the_k_man/Rickygervais.com: rickygervais.comThe Ricky Gervais Show XFM - Ricky pops a cork onto Karl Pilkington's round head: https://www.youtube.com/watch?v=J_F0mK4fwb8GET IN TOUCH:Twitter: @SpinnersPodcast Email: SpinnersPodcast@gmail.comYouTube: https://bit.ly/3l0sMyYThe De Trout Spinner's Library: https://spoti.fi/2SQs0JDONATE: Patreon: https://bit.ly/3fdc0KSBuy Us a Coffee: https://ko-fi.com/thedetroutspinners Get more De Trout Spinners on Patreon! See acast.com/privacy for privacy and opt-out information.

Nancy Rommelmann and Sarah Hepola hop back into the studio to talk Dallas Cowboy cheerleaders, faking orgasms, crying (women v. men), why young Ben Franklin is hot (electricity!), why Sarah always dated Tom Waits, Nancy's religious experience at a Trail Blazers game, and much more!EPSIODE NOTESFan-cam dancing to "Since You Been Gone" at Spurs game"America's Girls," podcast about the Dallas Cowboys cheerleaders that Sarah Hepola co-created and narratesBlackout: Remembering the Things I Drank to Forget, by Sarah HepolaTo the Bridge: A True Story of Motherhood and Murder, by Nancy Rommelmann"I Always Dated Tom Waits," by Sarah Hepola (Salon)"Blackouts and Sexpots" podcast with Nancy Rommelmann and Sarah Hepola This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit smokeempodcast.substack.com/subscribe

Fan-cam dancing to "Since You Been Gone" at Spurs game"America's Girls," podcast about the Dallas Cowboys cheerleaders that Sarah Hepola co-created and narratesBlackout: Remembering the Things I Drank to Forget, by Sarah HepolaTo the Bridge: A True Story of Motherhood and Murder, by Nancy Rommelmann"I Always Dated Tom Waits," by Sarah Hepola (Salon)"Blackouts and Sexpots" podcast with Nancy Rommelmann and Sarah Hepola

We're back in full force for some beers over discord as we catch you all up on whats been going on for the Drunken Gamers these last 2 months of break!  talk some eldin ring, make fun of playstation, Its a good time

Join Eric & Lloyd as they discuss the wonderful smash hit, "Since You've Been Gone" By Rainbow.

Since You Been Gone by You Mad? It's a Meme!

On the 25th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1979 album by Rainbow, "Down To Earth." With Ronnie James Dio out of Rainbow, Guitar God, Ritchie Blackmore brings in Graham Bonnet to handle the vocals on this, his one and only album with Rainbow. The band also brought in old friend, Roger Glover from Deep Purple to produce the album, however Roger ends up writing the lyrics and joining the band as its new bassist. ARC favorite, Don Airey joins as well as the keyboard player. The sole remaining Rainbow member on the album was legendary drummer, Cozy Powell.This forgotten Rainbow album was sandwiched between three Dio led Rainbow albums and three Joe Lynn Turner led Rainbow albums. The album seemed to stray away from the familiar Rainbow sound and lyrics into a more commercial sound, especially with its two singles, All Night Long and their biggest hit, Since You Been Gone.This was Zeus' pick and as usual the guys breakdown the tracks and rank the songs. The boys then rank the album and album cover against the previous 23 albums reviewed on the Album Review Crew Episodes.So don't cut your hair, lose the sunglasses and grab your favorite tube top and let's start Makin' Love ..... OoooooooooPlease 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 25th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1979 album by Rainbow, "Down To Earth." With Ronnie James Dio out of Rainbow, Guitar God, Ritchie Blackmore brings in Graham Bonnet to handle the vocals on this, his one and only album with Rainbow. The band also brought in old friend, Roger Glover from Deep Purple to produce the album, however Roger ends up writing the lyrics and joining the band as its new bassist. ARC favorite, Don Airey joins as well as the keyboard player. The sole remaining Rainbow member on the album was legendary drummer, Cozy Powell. This forgotten Rainbow album was sandwiched between three Dio led Rainbow albums and three Joe Lynn Turner led Rainbow albums. The album seemed to stray away from the familiar Rainbow sound and lyrics into a more commercial sound, especially with its two singles, All Night Long and their biggest hit, Since You Been Gone. This was Zeus' pick and as usual the guys breakdown the tracks and rank the songs. The boys then rank the album and album cover against the previous 23 albums reviewed on the Album Review Crew Episodes. So don't cut your hair, lose the sunglasses and grab your favorite tube top and let's start Makin' Love ..... Oooooooooo 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 25th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1979 album by Rainbow, "Down To Earth." With Ronnie James Dio out of Rainbow, Guitar God, Ritchie Blackmore brings in Graham Bonnet to handle the vocals on this, his one and only album with Rainbow. The band also brought in old friend, Roger Glover from Deep Purple to produce the album, however Roger ends up writing the lyrics and joining the band as its new bassist. ARC favorite, Don Airey joins as well as the keyboard player. The sole remaining Rainbow member on the album was legendary drummer, Cozy Powell. This forgotten Rainbow album was sandwiched between three Dio led Rainbow albums and three Joe Lynn Turner led Rainbow albums. The album seemed to stray away from the familiar Rainbow sound and lyrics into a more commercial sound, especially with its two singles, All Night Long and their biggest hit, Since You Been Gone. This was Zeus' pick and as usual the guys breakdown the tracks and rank the songs. The boys then rank the album and album cover against the previous 23 albums reviewed on the Album Review Crew Episodes.So don't cut your hair, lose the sunglasses and grab your favorite tube top and let's start Makin' Love ..... Oooooooooo 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 25th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1979 album by Rainbow, "Down To Earth." With Ronnie James Dio out of Rainbow, Guitar God, Ritchie Blackmore brings in Graham Bonnet to handle the vocals on this, his one and only album with Rainbow. The band also brought in old friend, Roger Glover from Deep Purple to produce the album, however Roger ends up writing the lyrics and joining the band as its new bassist. ARC favorite, Don Airey joins as well as the keyboard player. The sole remaining Rainbow member on the album was legendary drummer, Cozy Powell. This forgotten Rainbow album was sandwiched between three Dio led Rainbow albums and three Joe Lynn Turner led Rainbow albums. The album seemed to stray away from the familiar Rainbow sound and lyrics into a more commercial sound, especially with its two singles, All Night Long and their biggest hit, Since You Been Gone. This was Zeus' pick and as usual the guys breakdown the tracks and rank the songs. The boys then rank the album and album cover against the previous 23 albums reviewed on the Album Review Crew Episodes. So don't cut your hair, lose the sunglasses and grab your favorite tube top and let's start Makin' Love ..... Oooooooooo 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

Deyson is a dad now! he tells us the storys and the high responsibilities he has now which also now makes Josh and honorary uncle. Jake Paul may have a new opponent soon and we're excited to see if it plays out and talk about the possible matchup. DEYSON DOESN'T KNOW THE SONG MR BRIGHTSIDE. We do a Karaoke bracket to see which song tops them all with some heavy hitters including; Bohemian Rhapsody, Since You Been Gone and even Hey Jude. Make sure you follow us on all social media where we post the links to find the podcast on Instagram and twitter. Instagram: @officialbrosinrobes Twitter: @BrosinRobes We also post highlights on tiktok and you can catch the whole episode on YouTube as well. TikTok: @officialbrosinrobes YouTube: Bros in Robes New episodes every Monday and we can't wait to catch ya in the next one. Bye

Hugo Egon Balder erzählt Geschichten und Anekdoten rund um einen Lieblingshit und seine Entstehung: "Since you been gone" von Rainbow. Von Hugo Egon Balder.

AND WE'RE BACK!!! This episode of the podcast we discuss what we've missed this long break of ours, tried playing a new game, talked, olympics, and closed out the podcast with a performance by local artist ZADKIEL!!!For all things ZADKIEL you can find him on the following:Youtubehttps://www.youtube.com/channel/UC1lWDtN8IwbOLuLjEa6NztAInstagramhttps://www.instagram.com/zadkielstuart/For all things NO SOLUTIONS you can visit the following link:https://linktr.ee/nosolutionspodcastFor questions, comments, or concerns, you can contact us via email:nosolutionspodcast@gmail.com

A real positive end to 2020 with a Christmas Eve Podcast featuring Ian and Sven in lengthy conversation with none other than Russ Ballard himself at his home in Hertfordshire. This is part one of three Podcasts, the others to follow in early 2021 and will include a World Exclusive.... hear for the time anywhere..... a brand new Russ song. In this Podcast we play some of Russ's most famous hits including “Hold Your Head Up”, God Gave Rock And Roll To You”, “Since You Been Gone” and “You Can Do Magic”. We start with the early days and his audition at age 16 for Adam Faith's Roulettes (where he never even got to demonstrate his guitar skills!) before progressing to anecdotes about amongst others, Elton John, Santana, Rainbow, Three Dog Night and America. Russ closes the Podcast with a special Christmas message to all his fans all over the world. Al Gallico (Legendary New York Music Publisher, talking about Russ's ability in the recording studio) “Russ don't make demos, he makes masters!) Russ Ballard on Elton John “He told us that “In Deep” was his favourite album” Originally released on 24th of December 2020

An unprecedented 23 records pack this hour to the brim. Ska, Soul, R&B, Garage, British Mod Beat and so much more. Thrilling beats that'll curl your toes and send shivers up your spine... we can all use a little thrill these days, wouldn't you say? ALL LINKS: linktr.ee/mod.marty ----------------------------------------------- The Playlist Is: "Slop Time" The Sherrys - Guyden "What 'cha Gonna Do" The Ikettes - Phi-Dan "Big Boss Man" Erma Franklin - Shout "Shake And Jerk" Billy Lamont - Bang "Little John" Sammie John - Stateside "Monkey Man" Baby Huey & the Babysitters - Satellite "Shake" Shadows Of Knight - Team "When I Come Home" The Spencer Davis Group - Fontana "I'm Not Losing Sleep" David Bowie - Pye "Buzzsaw" The Turtles - White Whale "I Surender" Fontella Bass - Checker "Since You Been Gone" The Ravenettes - Josie "Tomorrow Is Another Day" Doris Troy - Atlantic "Really Together" Billy Vera & Judy Clay - Atlantic "Get Down With It" Trade Winds 5 Incorporated - Franklin "Searchin'" The Emperors - Mala "Back On My Feet Again" The Foundations - Pye "I Can't Make It" The Small Faces - Decca "Up And Down" The McCoys - Bang "No Knowledge In College" Prince Buster - Blue Beat "Stagger Lee" Jackie Edwards - Sue "Red Sea" Big Charlie - Blue Beat "Do It Right Now" Jimmy (Soul) Clark - Karen

Joe and Randy bring you this weeks odd news from around the world and show you just how stupid some people can be!!!Fucked Up News1. BJ Hero - 1:162. Tuna Smells Fishy - 10:063. Momsicle - 16:294. Since You Been Gone - 24:175. Falling Creeper - 29:076. Scream - 36:01Trapped In Joe's Mind - 42:46We Don't Really Know...Well1. Man with Florida tattoo on face calls 911 for ride home - 42:462. Paedophile claimed he downloaded 8,800 sick images of children by accident - 46:09Missed Opportunities - 48:09Check out all the story links at our websitehttps://chillnspillpod.wixsite.com/oddnewsFollow us on Facebookhttps://www.facebook.com/chillnspillCheck out our Instagramhttps://www.instagram.com/chillin_n_spillinpodcast/See our Twitter https://twitter.com/NSpillinYou can also find us at https://chillnspill.buzzsprout.com/Don't forget to like and subscribe!!!

Episode 106 of A History of Rock Music in Five Hundred Songs looks at “Louie Louie” by the Kingsmen, and the story of how a band that had already split up accidentally had one of the biggest hits of the sixties and sparked a two-year FBI investigation. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on “It’s My Party” by Lesley Gore. 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The single biggest resource I used in this episode was Dave Marsh’s book on Louie Louie. Information on Richard Berry also came from Marv Goldberg’s page, specifically his articles on the Flairs and Arthur Lee Maye and the Crowns.  This academic paper on the song is where I learned what the chord Richard Berry uses instead of the V is. The Coasters by Bill Millar also had some information about Berry. Love That Louie: The Louie Louie Files has the versions of the song by the Kingsmen, Berry, Rockin’ Robin Roberts, and Paul Revere and the Raiders, plus many more, and also has the pre-“Louie” “Havana Moon” and “El Loco Cha Cha Cha” The Ultimate Flairs has twenty-nine tracks by the Flairs under various names. Yama Yama! The Modern Recordings 1954-56 contains twenty-eight tracks Richard Berry recorded for Modern Records in the mid-fifties, including the Etta James duets. And Have “Louie” Will Travel collects Berry’s post-Modern recordings, including “Louie Louie” itself. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to look at what is arguably the most important three-chord rock and roll record ever made, a song written by someone who’s been a bit-part player in many episodes so far, but who never had any success with it himself, and performed by a band that had split up before the record started to chart. We’re going to look at how a minor LA R&B hit was picked up by garage rock bands in the Pacific Northwest and sparked a two-and-a-half-year FBI investigation, and was recorded by everyone from Barry White to Iggy Pop, from Motorhead to the Beach Boys, from Julie London to Frank Zappa. We’re going to look at “Louie Louie” by the Kingsmen:   [Excerpt: The Kingsmen, “Louie Louie”] The story of “Louie Louie” begins with Richard Berry. We’ve seen Berry pop up here and there in several episodes — most recently in the episode on the Crystals, where we looked at how he’d been involved in the early career of the Blossoms, but the only time he’s been a signficant part of the story was in the episode on “The Wallflower”, back in March 2019, and even there he wasn’t the focus of the episode, so I should start by talking about his career. Some of this will be familiar from other episodes from a year or two ago, but here we’re looking at Berry specifically. Richard Berry was one of the many, many, great musicians of the fifties to go to Jefferson High School in Los Angeles, and was very involved in music at that school. When he arrived in the school, he had an aggressive attitude, formed by a need to defend himself — he walked with a limp, and had first started playing music at a camp for disabled kids, and he didn’t want people to think he was soft because of his disability. But as soon as he found out that you had to behave well in order to join the school a capella choir he became a changed character — he needed to be involved in music. And he soon was. He joined a group named The Flamingos, who were all students at Jefferson and proteges of Jesse Belvin, who was a couple of years older than them. That group consisted of Cornell Gunter on lead vocals, Gaynel Hodge on first tenor, Joe Jefferson on second tenor, Curtis Williams on baritone, and Berry on bass — though Berry was one of those rare vocalists who could sing equally well in the bass and tenor ranges, and in every style from gritty blues to Jesse Belvin style crooning. But as we’ve seen before, the membership of these groups was ever changing, and soon Curtis Williams left, first to join the Hollywood Flames, and then to join the Penguins. He was replaced, but Gunter and Berry left soon afterwards, and the remaining members of the band renamed themselves to The Platters. Berry and Gunter joined another group, the Debonairs, which was originally led by Arthur Lee Maye, with whom Berry would make many records over the years in the off-season — Maye was a major-league baseball player, and couldn’t record in the months his main career was taking up his time. Maye soon left the group, and in 1952 The Debonairs, with a lineup of Berry, Gunter, Young Jessie, Thomas Fox and Beverly Thompson, visited John Dolphin and made their first record, for Dolphins of Hollywood. The A-side featured Gunter on lead: [Excerpt: The Hollywood Blue Jays, “I Had a Love”] While the B-side featured Berry: [Excerpt: The Hollywood Blue Jays, “Tell Me You Love Me”] The group were disappointed when the record came out to discover that it wasn’t credited to the Debonairs, but instead to the Hollywood Blue Jays, a name Dolphin had also used for other groups. The record didn’t have any success, and so the group started looking for other labels that might record them. Cornell Gunter sat down with a pile of records and looked for ones with a label in LA. They decided to go with Modern Records, and ended up signed to Flair records, one of Modern’s subsidiaries. The label suggested they change their name to The Flairs, and they eagerly agreed, thinking that if their band had the same name as the label, the label would be more likely to promote them. Their first single for their new label was produced by Leiber and Stoller. One side was a remake of their first single, in better quality, with Gunter again singing lead, while the B-side was another Richard Berry song, “She Wants to Rock”: [Excerpt: The Flairs, “She Wants to Rock”] Apparently in 1953, when that came out, the title was still considered racy enough that the DJ Hunter Hancock insisted on them going on his radio show and explaining that by “rock” they merely meant to dance, and not anything more suggestive. Over the next couple of years, the Flairs would record and release tracks under all sorts of names — as well as many Flairs records they also released tracks as by The Hunters: [Excerpt: The Hunters, “Rabbit on a Log”] as Young Jessie solo records: [Excerpt: Young Jessie, “Lonesome Desert”] And as the Chimes. Several of these records were produced by Ike Turner, who by this point had moved on from working with Sam Phillips and was now working for the Bihari brothers, who owned Modern Records. Berry also released solo recordings, and recorded with a group led by Arthur Lee Maye, first as the Five Hearts (though there were only three of them at the time), then as the Rams, before the group settled down to become Arthur Lee Maye and the Crowns: [Excerpt: Arthur Lee Maye and the Crowns, “Set My Heart Free”] At one point in 1954, Berry was in three groups at the same time. He was in the Flairs, the Crowns, and the Dreamers — the group who became the Blossoms, who we talked about two weeks ago. And on top of that he was also recording a lot of sessions both as a solo singer, and as a duo with Jenell Hawkins, who also sometimes sang with the Dreamers: [Excerpt: Rickey and Jenelle, “Each Step”] The reason Berry was working on so many records wasn’t just that he loved singing, though he did, but because he’d learned from Jesse Belvin that it didn’t matter what the contract said, you were never going to get any royalties when you made records. So he sang on as many sessions as he could, pocketed his fifty-dollar fee, and then tried to get on another session. The Flairs eventually got sick of Berry working on so many other people’s records and singing with so many groups, and so he was out of the group — but he just formed his own new group, the Pharaohs, and carried on. The Flairs continued for years, though one at a time they left for other groups — Thomas Fox joined the Cadets, who had a hit with “Stranded in the Jungle”, and most famously, Cornell Gunter went on to join the classic lineup of the Coasters. But Berry actually sang on a Coasters record even before Gunter. As we saw, the first Coasters album was padded out with several singles by the Robins, credited to the Coasters, and one of the sessions that Berry had sung on was the Robins’ “Riot in Cell Block #9”, where Leiber and Stoller had asked him to sing lead, subbing for the Robins’ normal bass singer Bobby Nunn: [Excerpt: The Robins, “Riot in Cell Block #9”] The Bihari brothers were annoyed when they recognised Berry’s voice on that record — he was meant to be under contract to them, and even though he protested that it wasn’t him, they knew better. But they got Berry to start a solo career with a sequel to “Riot”, “The Big Break”, which he wrote himself: [Excerpt: Richard Berry, “The Big Break”] And for the next few years, Berry was promoted as a solo artist, recording songs like the Little Richard knockoff “Yama Yama Pretty Mama”: [Excerpt: Richard Berry, “Yama Yama Pretty Mama”] But of course that didn’t stop him from working with everyone else he could. Most famously, he was Henry on Etta James’ “The Wallflower”, which we looked at eighteen months ago: [Excerpt: Etta James and the Peaches, “The Wallflower”] Berry collaborated with James on the sequel, “Hey! Henry”, which was less successful: [Excerpt: Etta James, “Hey! Henry”] And he wrote “Good Rockin’ Daddy” for her, which made the R&B top ten: [Excerpt: Etta James, “Good Rockin’ Daddy”] This is all just scratching the surface. Between 1952 and the early sixties, Berry was on literally hundreds of records, under many names, and it’s likely we will never accurately know all of them. A fair number of them were classics of the genre, many more were derivative hackwork — quick knockoffs of the latest hit by Chuck Berry or Fats Domino, with the serial numbers not filed off all that well — and more than a few managed to be derivative hackwork *and* classics of the genre. Berry’s most famous song, “Louie Louie”, was both. There is nothing original about “Louie Louie”, yet it had an incalculable effect on popular music history, and Berry’s original version is a genuinely great record. The song had its genesis in a piece that Berry heard played as an instrumental by a group he was singing with at a gig one night, the Rhythm Rockers. When he asked them what the song was, he found out it was “El Loco Cha Cha Cha”, originally recorded by Rene Touzet. Berry loved the intro for the song, and immediately decided to rip it off: [Excerpt: Rene Touzet, “El Loco Cha Cha Cha”] That song is based around the same three-chord Latin groove as “La Bamba”, “Twist and Shout”, and roughly a million other songs, and so in keeping with the Latin feel of the song, Berry turned to another record as a model for his song. “Havana Moon” by Chuck Berry was the B-side to “You Can’t Catch Me”, and Richard Berry took its vocal melody, its lyrical theme of someone drinking while waiting for a ship to arrive and missing a girl who the narrator will see at the end of the boat journey, and its attempt at imitating Caribbean speech patterns by saying things like “Me stand and wait for boat to come”: [Excerpt: Chuck Berry, “Havana Moon”] Of course, nothing is original, and the Chuck Berry track itself was almost certainly inspired by Nat “King” Cole’s “Calypso Blues”: [Excerpt: Nat “King” Cole, “Calypso Blues”] Richard Berry took these influences, and turned them into “Louie Louie”, which he originally intended to have a Latin feel. But the owners of his record label wanted something more straight-ahead R&B, so that’s what they got: [Excerpt: Richard Berry and the Pharaohs, “Louie Louie”] While Berry’s inspiration had been based on the I-IV-V-IV chord sequence that you get in “La Bamba”, “Louie Louie” didn’t actually use that precise sequence. I’m going to get into some music-theory stuff here, which I know some of you like and some of you detest, and so if you dislike that stuff skip forward a couple of minutes. If you take just the “Louie Louie” riff, and play it with the standard I-IV-V-IV chords, you get “Wild Thing”: [Excerpt: “Wild Thing” riff, piano] But Berry, in his arrangement, incorporated a second melody part, a little standard motif you get in a lot of blues stuff, the fifth, sixth, flattened seventh, and sixth of the scale, repeating: [Excerpt: motif, piano] The problem is that the normal way to use that motif is over a single chord. Berry was using it over three chords, and the flattened seventh note clashes with the V chord — if you’re playing in C, you’ve got a G chord, which is the notes G, B, and D, but that little motif has a B-flat note. So you get a B and a B-flat played together, which doesn’t sound great: [Excerpt: tonal clash, piano] Now, if you’re a rock guitarist from the late sixties onwards, the way you’d resolve that problem is to play power chords — power chords have just the root and fifth note, no third, so in this case you wouldn’t be playing the B. Problem solved. But this was the 1950s, and while there were a handful of records using power chords, when Berry was making his record in 1957, they weren’t particularly common. Also, Berry was a piano player rather than a guitarist, and so he went for a different option. Instead of playing the normal V chord, he used the I chord, with a seventh — so if you were to play it in the key of C, it would be C7 — but he played it in the second inversion, with the dominant in the bass. So if you were playing it in the key of C, the notes would be G-Bflat-C-E. So the bass riff is still the I-IV-V-IV riff, but the chords sound like this: [Excerpt: “Louie Louie” chords, piano] That wouldn’t be the solution that many later cover versions would use, but it worked for Berry’s record, which was released as the B-side to a version of “You Are My Sunshine”, and became a minor local hit: [Excerpt: Richard Berry and the Pharaohs, “Louie Louie”] By this time, Berry had left Modern Records, and “Louie Louie” was on a small label, Flip Records. Berry was twenty-one, he’d been a professional musician since he was sixteen and was thinking of getting married, and he was making so little money from his music that he took a day job, working at a record-pressing plant, smashing returned records. When “Louie Louie” started getting played on local radio, people started giving him a hard time at work, asking why he needed that job when he had a hit record, not understanding that he was making no money from it. He ended up being treated so badly that he quit that job And Flip Records started pressuring him to make follow-ups to “Louie Louie” rather than do anything new. He did come up with a great follow-up, “Have Love Will Travel”, but that wasn’t a hit: [Excerpt: Richard Berry and the Pharaohs, “Have Love Will Travel”] He got a few big gigs for a while off the back of his local hit, but he ended up working at the docks with his father — but he eventually had to quit that because his disability made it impossible for him to do it. In 1959, in order to pay for his wedding, he sold his songwriting rights to “Louie Louie” and several of his other songs to the owner of Flip Records, for $750 — he wanted to hold out for a full thousand, but he ended up settling for a lower amount. From that point on, he would still get paid his BMI royalties when the song was played on the radio — you couldn’t sell those rights — but he wouldn’t receive anything from record sales or sheet music sales, or use in films, or anything like that. But that didn’t matter. A song like “Louie Louie”, a three-chord B-side to a flop single from two years earlier, was hardly going to earn any real money, and seven hundred and fifty dollars was a lot of money. Berry was a working man who needed money, and anyway he was moving into soul music. “Louie Louie” was just another song he’d written, no more important than “Look Out Miss James” or “Rockin’ Man”, and while R&B fans in LA loved it (if you listen to the later version by the Beach Boys, or to Frank Zappa’s riffs on the song, you can tell they grew up listening to Berry’s original, not the later versions) it wasn’t going to ever be heard outside those people. And that would have been true, if it hadn’t been for Ron Holden. We’ve not talked about the Pacific Northwest’s music scene in the podcast so far, but it had one of the most vibrant and interesting music scenes in the US in the late fifties and early sixties, and much of the music that gets labelled garage rock or frat rock comes from that area. The closest parallel I can think of is Liverpool — another place where mostly-white musicians were performing their own versions of music made by Black musicians, and performing it on electric guitars. But anyone who became big from the area immediately moved somewhere else and became “an LA musician” or “a New York musician”, and the scene as a whole has never really had the attention it deserves. Ron Holden was one of the few Black musicians in that scene. In fact, he was a second-generation musician — his father, Oscar Holden, was known as “the father of Seattle jazz”, and had played with both Louis Armstrong and Jelly Roll Morton. Ron Holden led the most popular band in the Seattle area, the Thunderbirds, and in 1960, he had a top ten hit with a song called “Love You So”: [Excerpt: Ron Holden, “Love You So”] He didn’t have any follow-up hits, but as every musician from Seattle who had any success did, he moved away. He moved to LA, where he signed to Keen Records, where he recorded an entire album of songs written and produced by Keen’s new staff producer Bruce Johnston, including “Gee, But I’m Lonesome”, a song which was coincidentally also recorded around that time by Richard Berry’s old collaborators the Blossoms: [Excerpt: Ron Holden, “Gee But I’m Lonesome”] Holden was also the MC for the Ritchie Valens Memorial Concert which was the Beach Boys’ first major professional live performance. But before he left Seattle, he had introduced “Louie Louie” to the music scene there — he’d heard it on the radio in 1957 and worked up an arrangement with his band, and it had been a highlight of his shows. Once he left the city, so he wasn’t performing the song there, all the white bands in Seattle, and in nearby Tacoma, picked up on the song and added Holden’s arrangement of the song to their own sets. Holden — or rather his saxophone player Carlos Ward, who did the Thunderbirds’ arrangements — had made a crucial change to “Louie Louie”, one that made it simpler to play on the guitar, and thus suitable for the guitar-heavy music that was starting to predominate in the Pacific Northwest. Remember that Richard Berry had that second-inversion major seventh chord in there? [Excerpt: “Louie Louie” chords, piano] Ward changed that chord for a simpler minor V chord, just flattening the third so there was no clash there: [Excerpt: “Louie Louie” chords, Pacific Northwest version] That would be how almost every version of “Louie Louie” from this point on would be performed, because it was how they played it in the Pacific Northwest, because it was how Ron Holden and the Thunderbirds played it, and few of those bands had heard Richard Berry’s original record, just Ron Holden’s live performances of the song. But one band who based their version on Holden’s did listen to the original record — once Holden had brought the song to their attention. The Wailers — who are often referred to as “the Fabulous Wailers” to distinguish them from Bob Marley’s later, more famous group — were a group from Tacoma, which had a strong instrumental guitar band scene — most famously, the Ventures came from Tacoma, and a lot of the bands in the area sounded like that.  In 1959, the Wailers recorded a self-penned instrumental, “Tall Cool One”, which made the top forty: [Excerpt: The Wailers, “Tall Cool One”] They didn’t have any other hits, but soon after recording that, they got in a local singer, Rockin Robin Roberts, who became one of the band’s three lead singers. The group had a residence at a local venue, the Spanish Castle, and a live recording of one of their sets there, released as the “Live at the Castle” album, shows that they were a hugely exciting live band: [Excerpt: The Fabulous Wailers, “Since You Been Gone”] The shows at that venue were so good that several years later one of the regular audience members, Jimi Hendrix, would commemorate them in the song “Spanish Castle Magic”: [Excerpt: The Jimi Hendrix Experience, “Spanish Castle Magic”] But it was their version of “Louie Louie” that became the template for almost every version that ever followed. For contractual reasons, it was released as a Rockin’ Robin Roberts solo record, but it was the full Wailers playing on the track. No-one else in the Pacific Northwest knew what the lyrics were — they’d all learned it from Ron Holden’s live performances, but Roberts had actually tracked down a copy of the Richard Berry record and learned the words. Which, if you look at what happened later, is rather ironic. Their version of the song came out on their own label, and had few sales outside their home area, but it would be one of the most influential records ever, because everyone else in the Pacific Northwest started copying their version, right down to Roberts’ ad-libbed shout as they go into the guitar solo: [Excerpt: Rockin’ Robin Roberts, “Louie Louie”] The Wailers struggled on for a few more years, but never had any more commercial success. Rockin’ Robin Roberts went on to become an associate professor of biochemistry, before dying far too young in a car crash in 1967. But while their version of “Louie Louie” wasn’t a hit, a few copies made their way a couple of hours’ drive south, to Oregon. Here the story becomes a little difficult, because different people had different recollections of what happened. I’m going to tell one version of the story, but there are others. The story goes that one copy made its way into a jukebox at a club called the Pypo Club, in Seaside, Oregon, a club frequented by surfers. And one day in the early sixties — people seem to disagree whether it was summer 1961 or 62, two local bands played that club. During the intermission, the audience danced to the music on the jukebox — indeed, they danced to just one record on the jukebox, over and over. They just kept playing “Louie Louie” by Rockin’ Robin Roberts, no other records. Both bands immediately added the song to their sets, and it became a highlight of both band’s shows. By far the bigger of the two bands was Paul Revere and the Raiders. The Raiders actually came from Idaho, and had had a top forty hit with “Like, Long Hair” a novelty surf-rock version of a Rachmaninoff piece that Kim Fowley had produced: [Excerpt: Paul Revere and the Raiders, “Like, Long Hair”] But their career had stalled and they had moved to Oregon, because Revere, the group’s piano player and leader, had been drafted, and while he was allowed not to serve in the military because of his Mennonite faith, he had to do community service work there for two years instead. The Raiders were undoubtedly the best and most popular band in the Oregon area at the time, and their showmanship was on a whole other level from any other band — they were one of the first bands to smash their instruments on stage, except they weren’t smashing guitars — Revere would buy cheap second-hand pianos and smash *those* on stage. A local DJ, Roger Hart, had become the group’s manager, and he was going to start up his own label, and he wanted them to record “Louie Louie” as the label’s first single. Revere wasn’t keen — he didn’t like the song much, but Roger Hart insisted. He was sure it could be the hit that would restore the Raiders to the charts. So in April 1963, Paul Revere and the Raiders went into Northwest Recorders in Portland and recorded this: [Excerpt: Paul Revere and the Raiders, “Louie Louie”] Hart paid for the recording session and put the single out on his small label, Sande. It was soon picked up by Columbia Records, who put it out nationally. It started to get a bit of airplay, and started rising up the charts — it didn’t break the Hot One Hundred straight away, but it was clearly heading in the right direction. The Raiders signed to Columbia, and with Hart as their manager and occasional songwriter, and Terry Melcher as their producer, they became one of the biggest bands in the US, and had a string of hits stretching from 1965 to 1971. We won’t be doing a full episode on them, but they became an integral part of the LA music scene in the sixties, and they’re sure to turn up as background characters in future episodes. But note that I said their run of hits started in 1965. Because there had been two bands playing the Pypo Club, and they had both added “Louie Louie” to their set. And they’d both recorded versions of it in the same studio, in the same week. The Kingsmen were… not as big as the Raiders. They were a bunch of teenagers who had formed a group a few years earlier, and even on a good day they were at best the second-best band in Portland, with the Raiders far, far, ahead. The core of the group was based around the friendship of Jack Ely, the group’s lead singer, and Lynn Easton, the drummer, whose parents were friends — both families were Christian Scientists and actively involved in their local church — and they had grown up together. Ely’s parents didn’t encourage the duo’s music — Ely’s biological father had been a professional singer, but when the father died and Ely’s mother remarried, his stepfather didn’t want him to have anything to do with music — but Easton’s did, and Easton’s father became the group’s manager. Easton’s mother even went to the local courthouse to register the group’s name for them. Easton’s father was replaced as their manager by Ken Chase, the owner of the radio station where Roger Hart was the most popular DJ, and they started pressuring him to make a record with them. Eventually he did — and he booked them into the same studio as the Raiders, the same week. Different people have different stories about which was first and which was second, but there is no doubt that they were only two days or so apart. And there’s also no doubt that they were very different in terms of professionalism.  The Kingsmen did their best to copy the Rockin’ Robin Roberts version, right down to his shout of “Let’s give it to them right now!” but it was shockingly amateurish. The night before, they’d done a live show which consisted of a single ninety-minute-long performance of “Louie Louie” with no breaks, and Ely’s voice was shot. The mic was positioned too high for him and he had to strain his throat, and his braces were also making him slur the words. At one point early in the song, Easton clicks his drumsticks together by accident, and yells an obscenity loud enough to be captured on the tape: [Excerpt: The Kingsmen, “Louie Louie”] After the solo, Ely comes back in, wrongly thinks he’s come in in the wrong place, and stops, leaving Easton to quickly improvise a drum fill before they pick up again: [Excerpt: The Kingsmen, “Louie Louie”] The difference with the Raiders can be summed up most succinctly by what happened next — the Raiders’ manager paid for their session, but when the engineer at this session asked who was paying, and the Kingsmen pointed to their manager, he said “No, I’m not. I’ve not got any money”, and the members of the group had to dig through their pockets to get together the fifty dollars themselves. It’s incompetent teenagers, who have no idea what they’re doing, and it would become one of the most important records of all time. But when it was released… well, it was the second-best version of “Louie Louie” recorded in Portland that week, so while the Raiders were selling thousands, the Kingsmen only sold a couple of hundred copies. Jerry Dennon, the owner of the tiny label that released it, tried to get it picked up by Capitol Records, who rejected it saying it was the worst garbage they’d ever heard. He also sent it out to bigger indie labels, like Scepter, who stuck it in a drawer and forgot about it. And that was basically the end of the Kingsmen. In August, Easton decided that he was going to stop being the drummer and be the lead singer instead — he told Ely that Ely was going to be the drummer now. The other band members were astonished, because Easton couldn’t sing and Ely couldn’t play the drums, and they said that wasn’t going to happen. Easton then played his trump card — when his mother had registered the band name, she’d registered it just in his name. If they didn’t do things his way, they weren’t going to be in the Kingsmen any more, and he was going to find new Kingsmen to replace them. Ely and a couple of other members quit, and that was the end of the group. And then, in October, as the Raiders’ record was still slowly making some national progress, Arnie “Woo Woo” Ginsburg heard the Kingsmen’s version. This Arnie Ginsburg isn’t the Arnie Ginsburg we heard about in the episode on “LSD-25”, and who we’ll be meeting again briefly next week. This one was a DJ in Boston, and the most popular DJ in the area. And he *hated* the record. He hated it so much, he played it on his show, because he had a slot called The Worst Record Of The Week. He played it twice, and the next day, he had fifty calls from record shops — customers had been coming in wanting to know where they could get “Louie Louie”. Marv Schlachter at Scepter heard from the distributors how well the record was doing and picked it up for national distribution on their Wand subsidiary. In its first week on Wand, the single sold twenty-one thousand copies in Boston. [Excerpt: The Kingsmen, “Louie Louie”] For a few weeks, the Raiders and the Kingsmen both hung around the “bubbling under” section of the charts — the Raiders selling and being played on the West Coast, and the Kingsmen on the East. By the ninth of November, the Kingsmen were at eighty-three in the charts, while the Raiders were at 108. By December the fourteenth, the Kingsmen were at number two, behind “Dominique” by the Singing Nun, a Belgian nun singing in French: [Excerpt: The Singing Nun, “Dominique”] You might think that there could not be two more different records at the top of the charts, and you’d mostly be right, but there was one thing that linked them — the Singing Nun’s song had a chorus that went “Dominique, nique, nique”, and one of the reasons it had become popular was that in France, but not in Belgium where she lived, “nique” was a swear word, an expletive meaning “to fornicate”, roughly the French equivalent of the word that Lynn Easton shouted when he clicked his drumsticks together. So a big part of its initial popularity was because of people finding an obscene meaning in the lyrics that simply wasn’t there. And that was true of “Louie Louie” as well. Jack Ely had slurred the lyrics so badly that people started imagining that there must be dirty words in there, because otherwise why wouldn’t he be singing it clearly? People started passing notes in schools and colleges, saying what the lyrics “really” were — apparently you had to play the single at 33RPM to hear them properly.  These lyrics never made any actual sense, but they were things like “We’ll take her and park all alone/She’s never a girl I lay at home/At night at ten I lay her again” and “on that chair I’ll lay her there/I felt my boner in her hair” — the kind of thing, in short, that kids make up all the time. So obviously, they were reported to the FBI. And obviously the FBI spent two years investigating the song: [Excerpt: The Kingsmen, “Louie Louie”] They checked it anyway, of course, and reported “A comparison was made of the recording on the tape described above as specimen K1 with the recording on the disk, submitted by the Detroit Office and described as specimen Q3 in this case and no audible differences were noted.” On the FBI website, you can read 119 pages of memos from FBI agents (with various bits blacked out for security reasons), and read about them shipping copies of “Louie Louie” to labs (under special seal, in case they’d be violating laws about transferring obscene material across state lines and breaking the very law they were investigating), listening to the record at 33, 45, and 78 RPM and trying to see if they could make out the lyrics, comparing them to the published words, to the various samizdat versions being shared by kids, and to Berry’s record, and destroying the records after listening. They interviewed members of the Kingsmen and DJs, and they went to Scepter Records to get a copy of the original master tape, which they were surprised to discover was mono so left them no way of isolating the vocals. Meanwhile they were getting letters from concerned citizens doing things like playing the single at 78 RPM, making a tape recording of that at double speed, and then slowing it down, saying “at that speed the obscene articulation is clearer”. This went on for two years. At no point does any of these highly trained FBI agents listening over and over to “Louie Louie” at different speeds appear to have heard Lynn Easton’s yelled expletive, which unlike all these other things is actually on the record. Meanwhile, the Kingsmen went on to have one more top twenty hit, with only Easton and the lead guitarist left of the original lineup, and then continued to tour playing their hit. Jack Ely toured solo playing his one hit. The most successful member of the group was Don Gallucci, the keyboard player, who formed Don and the Goodtimes, who had a minor hit with “I Could Be So Good To You”: [Excerpt: Don and the Goodtimes, “I Could Be So Good To You”] Gallucci went on to produce Fun House for the Stooges, who would also of course later record their own version of “Louie Louie”, in which they sung those dirty lyrics: [Excerpt: the Stooges, “Louie Louie”] But then, nearly everyone did a version of the song — there are at least two thousand recordings of it. But, other than from radio play, Richard Berry was receiving no money from any of these. After his marriage ended, he’d quit working as a musician to raise his daughter, gone back to school, and taken a day job — but then he’d been further disabled in an accident and had ended up on welfare, while his song was making millions for the people who’d bought it from him for seven hundred and fifty dollars. He didn’t even understand why the song was popular — the only version that sounded like the record he’d wanted to make was the one by Barry White, another ex-Jefferson High student, who’d added the Latin percussion Berry had wanted to put on before he’d been told to make it more R&B. But in the eighties, things started to change. Some radio stations started doing all-Louie weekends, where for a whole weekend they’d just play different versions of the song, never repeating one. One of those stations invited Berry to do a live performance of the song with Jack Ely, backed by Bo Diddley’s former rhythm player Lady Bo and her band: [Excerpt: Richard Berry and Jack Ely, “Louie Louie”] That was the first time Berry ever met the man who’d made his song famous. Soon after that, Berry’s old friend Darlene Love, who had been one of the Dreamers who’d sung with Berry back in the fifties, introduced him to the man who would change his life — Chuck Rubin. Rubin had, in the seventies, been the manager of the blues singer Wilbur Harrison, and had realised that not only was Harrison not getting any money from his old recordings, nor were many other Black musicians. He’d seen a business opportunity, and had started a company that helped get those artists what they deserved — along with giving himself fifty percent of whatever they made. Which seems like a lot, but many people, including Berry, figured that fifty percent of a fortune was better than the hundred percent of nothing they were currently getting. Most of these artists had signed legally valid bad deals, which meant that while they were morally entitled to something, they weren’t legally entitled. But Rubin had a way of getting round that, and he did the same thing with Berry that he did with many other people. He kept starting lawsuits that put off potential business partners, and in 1986 a company wanted to use “Louie Louie” in a TV advertising campaign that would earn huge amounts of money for its owners — but they didn’t want to use a song that was tied up in litigation. If the legal problems weren’t sorted, they’d just use “Wild Thing” instead. In order to make sure the commercials used “Louie Louie”, the song’s owner gave Berry half the publishing rights and full songwriting rights (which Berry then split with Rubin). He didn’t get any back payment from what the song had already earned, but he went from getting $240 a month on welfare in 1985, to making $160,000 from “Louie Louie” in 1989 alone. Richard Berry died in 1997, happy, respected, and wealthy. In the last decade of his life people started to explore his music again, and give him some of the credit he was due. Jack Ely continued performing “Louie Louie” until his death in 2015. Lynn Easton quit music in 1968, giving the Kingsmen’s name to the lead guitarist Mike Mitchell, the only other original member still in the band. Easton died in April this year — no-one’s sure what of, as his religious beliefs meant he never saw a doctor. Mitchell’s lineup of Kingsmen continued to perform until covid happened, and will presumably do so again once the pandemic is over. And somewhere out there, whenever you’re listening to this, someone will be playing “duh-duh-duh, duh-duh, duh-duh-duh”

The Deep Purple Podcast Show Notes Episode #82 Rainbow - Down to Earth (Part 2) with Martin Popoff November 9, 2020 Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! Thanks to Our Show Supporters - Three Ways To Show Your Support Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Leave us a 5-Star Review on Apple Podcasts The $25 “Super Trouper” Tier Steve Seaborg (NameOnAnything.com, Alltheworldsastage.net) - Paypal The $20 “Shades of Deep Pockets” Tier Ryan M The $15 “Highball Shooter” Tier Alan Begg The Turn it up to $11 Tier Frank Theilgaard-Mortensen Clay Wombacher $10 “Some One Came” Tier Gerald Kelly The Episode $6.66 Tier Richard Fusey - Paypal $5.99 The “Nice Price” Tier - PATRON UPGRADE! Fielding Fowler Too many people at the $5 tier, I changed mine to $5.99 to separate myself from the unwashed :) - Thinking maybe call it "The Nice Price" Tier? Whaddya say? $5 “Money Lender” Tier Greg Sealby John Convery Arthur Smith German Heindl Adrian Hernandez - Paypal Kenny Wymore $3 “Nobody's Perfect” Tier Peter Gardow Ian Desrosiers Mark Roback Anton Glaving Will Porter $1 Made Up Name Tier Ells Murders Spacey Noodles The “Abominable” Leaky Mausoleum Michael Vader Thanks to our Brothers at the Deep Dive Podcast Network: Ry @ Sabbath Bloody Podcast The Simple Man @ Skynyrd Reconsydyrd Terry “T-Bone” Mathley @ T-Bone's Prime Cuts Paul, David, and Joe @ In the Lap of the Pods (Queen podcast) Scott @ The Magician's Podcast debuting - November 3, 2020 Thanks to the Patron Saint and Archivist of The Deep Purple Podcast: Jörg Planer - an essential Twitter follow Show Updates: Comments from social media. Tommy Bolin Memorial Statue Fundraiser Open Discussion: History with rock and rock writing. History with Deep Purple and Rainbow Why is “Down to Earth” Martin's favorite Rainbow album? Argument that success of album had more to do with NWOBHM than with the singles of “All Night Long” and “Since You Been Gone.” Makin' Love (Blackmore/Glover) Steve Pilkington says that the “Don't Believe that I'm a liar” sections sounds reminiscent of Kiss. Martin Popoff - eBook - Popoff's Top 20: Rainbow Sensitive to Light: The Rainbow Store by Martin Popoff The Contrarians Shows with Pete Pardo For Further Information: Deep Purple and Rainbow 1968-79: Every album, every song (On Track) by Steve Pilkington Black Knight: Ritchie Blackmore by Jerry Bloom Sensitive to Light: The Rainbow Story by Martin Popoff Listener Mail/Comments Comments about the show? Things you'd like us to cover? We'd love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

YKWD goes metal with filmmaker and documentarian Adam Dubin (Murder in the Front Row) and guitarist from Testament and Trans Siberian Orchestra Alex Skolnick! We get into touring on the road across the world, the making of some iconic music videos and why Bobby loves Kelly Clarkson so much!

The vanguard of the culture is BACK. For the first time in the new decade, To The Drummer's Beat has a new episode. On EP 175, Ehkees, Tizzle, and Bern (Josh played hookie on us) decided they not a music podcast anymore and well full ONS (other nigga shit). Listen to the toxic-adjacent crew talk about valentine's day plans (you're going to want to hear what Bern is doing!), sex toys and enhancements, conspiracy theories, what (read: who) you'd do if the world REALLY WAS about to end [bucket list/fuck it list], new shows that people should tap into, consent ethics and the way women dont be respecting em, and deadass a whole lot more. Tap in one time for the one time.

A Moment Like This, Since You Been Gone, Behind These Hazel Eyes, Because of You. The amount of amazing songs Kelly Clarkson has is insane. This Celebrity Series is alllll about our original American Idol, Kelly Clarkson. We share some fun facts about her, and yes, we do sing a lot in this episode. We will not apologize for that.

PLAYLIST: Rebel Alliance, Work One Day, Brummy Brothers, Weed, Whiskey,Women, Danny Draher Band, Li’l Girl, Bronze Radio Return, Mister,Mister, Gus Spenos, If You Were Gold, Baby, Otis Clay, Mississippi Poor Boy, The Hitman Blues Band, Bad Bad Man, Tim Bastmeyer, Malted Milk, Big Jon Atkinson & Bob Corritore, She’s My Crazy Little Baby, The Young Presidents, Loner, Markey Blue, Cash Is Always King, Tweed Funk, Light Up The Night, Big Harp George, I Wasn’t Ready, The Rad Trads, Since You Been Gone, Bill Phillippe, Parade, Corey Dennison, She’s No Good, John Long, Things Can’t Be Down Always, Bill Johnson, Night Train, Mike Wheeler Band, Brand New Cadillac, Diana Rein, Livin Loud, Kalo, Oh Father, Chase Walker Band, Living On Thin Ice, Erin Harpe & The Delta Swingers, Love Whip Blues, Cheryl Arena, Blow My Blues Away, Session Americana, Ice Cream Man, Darrell Nulisch, Just A Little Blues, Brian Charette, Late Night Tv, Mojomatics, Soy Baby

Day26’s story is already well-known to their fans, millions of whom tuned in watch it unfold on MTV’s Making the Band 4 (Which became the highest rated show in MTV history). When Sean “P. Diddy” Combs put out the call for vocalists in January of 2007, he was looking for talented newcomers with superstar potential and a tireless work ethic. What he got when Robert, Will, Brian, Mike and Qwanell (who later resigned from the group in December of 2009), was more than he or the fans could have ever anticipated. On August 26, 2007, the lives of five young men were changed forever. On that day, they became DAY26. DAY26’s self-titled debut album enter the record books as the biggest-selling debut album from a male R&B group in the 17-year history of SoundScan. The album – which included the hit singles, “Got Me Going” and “Since You Been Gone” – exploded into the #1 spot on the SoundScan/Billboard 200 in its first week of release, while also topping Billboard’s “Top R&B/Hip-Hop Albums” chart.    

Day26’s story is already well-known to their fans, millions of whom tuned in watch it unfold on MTV’s Making the Band 4 (Which became the highest rated show in MTV history). When Sean “P. Diddy” Combs put out the call for vocalists in January of 2007, he was looking for talented newcomers with superstar potential and a tireless work ethic. What he got when Robert, Will, Brian, Mike and Qwanell (who later resigned from the group in December of 2009), was more than he or the fans could have ever anticipated. On August 26, 2007, the lives of five young men were changed forever. On that day, they became DAY26. DAY26’s self-titled debut album enter the record books as the biggest-selling debut album from a male R&B group in the 17-year history of SoundScan. The album – which included the hit singles, “Got Me Going” and “Since You Been Gone” – exploded into the #1 spot on the SoundScan/Billboard 200 in its first week of release, while also topping Billboard’s “Top R&B/Hip-Hop Albums” chart.    

Day26’s story is already well-known to their fans, millions of whom tuned in watch it unfold on MTV’s Making the Band 4 (Which became the highest rated show in MTV history). When Sean “P. Diddy” Combs put out the call for vocalists in January of 2007, he was looking for talented newcomers with superstar potential and a tireless work ethic. What he got when Robert, Will, Brian, Mike and Qwanell (who later resigned from the group in December of 2009), was more than he or the fans could have ever anticipated. On August 26, 2007, the lives of five young men were changed forever. On that day, they became DAY26. DAY26’s self-titled debut album enter the record books as the biggest-selling debut album from a male R&B group in the 17-year history of SoundScan. The album – which included the hit singles, “Got Me Going” and “Since You Been Gone” – exploded into the #1 spot on the SoundScan/Billboard 200 in its first week of release, while also topping Billboard’s “Top R&B/Hip-Hop Albums” chart.    

I know I said I wouldn't be back until after the 4th, but it's holiday time here in the US and what good would it be if you didn't at least have something new from me for your extended weekend? As you can see, I'm trying something different with the titles.  Going forward, I'll be changing the titles up and matching it with its corresponding edition so you know what to expect.  The Original Edition (Pride, Summer, Autumn, etc.) will remain the same and I haven't decided if I'm going to change the Chrome Edition either.  BPM and T-Dance will definitely be getting re-tagged. You also might notice the cover art isn't flowing with my standard BPM Editions, however these wallpapers I grabbed from Out & About Las Vegas were just too perfect to not use.  You'll find that there is a storyline.  First, he (hottie in the picture) gets ready for the evening.  The second cover will be him meeting someone and the third, well I'm pretty sure you can guess what happens.  Don't worry mom and dad, it's PG-13 and pretty darn clever if you ask me. Kicking things into gear, Timbaland and Justin work out the Carry Out.  Considering I wasn't feeling the last two Timbaland singles with Justin and another with Nelly, I think it's the kick-ass Chew Fu remix that makes this song.  Keeping the energy tight is Elevated, the latest featuring the I'm Your Goddess, Tara McDonald.  The Morgan Page remix of Fantasy by Nadi Ali is a progressive workout that stands equal to the trance version I featured a while back. Daruso has been riding high with Since You Been Gone, so I took on the Buzz Junkies production, which was the least commercial of the bunch.  This is followed by some serious Miami house and great vocals before tempering down a bit with a classic remake,  Do For Love, a rework of the old Bobby Caldwell Top 40 hit What You Won't Do For Love from 1979.  This is one of my top ten all-time favorite songs, so I was definitely interested to see what Vinny and Jaidene did with it.  Out of all the mixes that accompanied the track, Dave Aude won hands down.  Instead of trying to make it into some big electro number, Dave takes us down the road of smooth and easy progressive without going all over the place.  If there were ever a nice update of this song 30 years later, this would be it. In keeping with the momentum, The Temper Trap deliver their latest Love Lost.  I have to admit I am blown away by this song.  The soulful vocals sound very much like Roland Gift of Fine Young Cannibals fame.  While this isn't going to light up any dance floors, the Rollo & Sister Bliss mix is perfect for poolside parties. Another fabulous summer song, I've been all over lately is Mark Picchiotti and Sun Drae's Let the Music Guide You.  This is absolutely beautiful and perfect for summer.  Expect a funkier version to make an appearance on the upcoming Beach House 2010. I realize many of you may be scratching your heads about what's next, but you gotta give Enrique his due.  Since he crossed over in 1999, he's done a fantastic job of keeping his ears on the floor, the dance floor that is.  All of his songs are accompanied by amazing remixes by some of the top talents of the moment.  In this case, Avicii has been ultra hot lately, with his big room progressive productions.  That's why I also paired I Like It with Rhythm Master's I Feel Love.  It seems to me I had a remake of this Donna Summer classic sung by a guy last year, but I can't find it.  That version was a dead-on turn of the original.  This version, however, does a complete 360 from the original by dropping the familiar pulsating synth originally performed by Giorgio Moroder.  I'm a huge fan of Donna and the original, but I am equally impressed with this whole new perspective of a classic disco song. For the GaGa monsters, I added one of the three Monster mixes that I showcased in my recent G-Spot.  DJ Oskar does a kick-ass progressive mash-up that fits the song so perfectly, as well as this set,

I know I said I wouldn't be back until after the 4th, but it's holiday time here in the US and what good would it be if you didn't at least have something new from me for your extended weekend? As you can see, I'm trying something different with the titles.  Going forward, I'll be changing the titles up and matching it with its corresponding edition so you know what to expect.  The Original Edition (Pride, Summer, Autumn, etc.) will remain the same and I haven't decided if I'm going to change the Chrome Edition either.  BPM and T-Dance will definitely be getting re-tagged. You also might notice the cover art isn't flowing with my standard BPM Editions, however these wallpapers I grabbed from Out & About Las Vegas were just too perfect to not use.  You'll find that there is a storyline.  First, he (hottie in the picture) gets ready for the evening.  The second cover will be him meeting someone and the third, well I'm pretty sure you can guess what happens.  Don't worry mom and dad, it's PG-13 and pretty darn clever if you ask me. Kicking things into gear, Timbaland and Justin work out the Carry Out.  Considering I wasn't feeling the last two Timbaland singles with Justin and another with Nelly, I think it's the kick-ass Chew Fu remix that makes this song.  Keeping the energy tight is Elevated, the latest featuring the I'm Your Goddess, Tara McDonald.  The Morgan Page remix of Fantasy by Nadi Ali is a progressive workout that stands equal to the trance version I featured a while back. Daruso has been riding high with Since You Been Gone, so I took on the Buzz Junkies production, which was the least commercial of the bunch.  This is followed by some serious Miami house and great vocals before tempering down a bit with a classic remake,  Do For Love, a rework of the old Bobby Caldwell Top 40 hit What You Won't Do For Love from 1979.  This is one of my top ten all-time favorite songs, so I was definitely interested to see what Vinny and Jaidene did with it.  Out of all the mixes that accompanied the track, Dave Aude won hands down.  Instead of trying to make it into some big electro number, Dave takes us down the road of smooth and easy progressive without going all over the place.  If there were ever a nice update of this song 30 years later, this would be it. In keeping with the momentum, The Temper Trap deliver their latest Love Lost.  I have to admit I am blown away by this song.  The soulful vocals sound very much like Roland Gift of Fine Young Cannibals fame.  While this isn't going to light up any dance floors, the Rollo & Sister Bliss mix is perfect for poolside parties. Another fabulous summer song, I've been all over lately is Mark Picchiotti and Sun Drae's Let the Music Guide You.  This is absolutely beautiful and perfect for summer.  Expect a funkier version to make an appearance on the upcoming Beach House 2010. I realize many of you may be scratching your heads about what's next, but you gotta give Enrique his due.  Since he crossed over in 1999, he's done a fantastic job of keeping his ears on the floor, the dance floor that is.  All of his songs are accompanied by amazing remixes by some of the top talents of the moment.  In this case, Avicii has been ultra hot lately, with his big room progressive productions.  That's why I also paired I Like It with Rhythm Master's I Feel Love.  It seems to me I had a remake of this Donna Summer classic sung by a guy last year, but I can't find it.  That version was a dead-on turn of the original.  This version, however, does a complete 360 from the original by dropping the familiar pulsating synth originally performed by Giorgio Moroder.  I'm a huge fan of Donna and the original, but I am equally impressed with this whole new perspective of a classic disco song. For the GaGa monsters, I added one of the three Monster mixes that I showcased in my recent G-Spot.  DJ Oskar does a kick-ass progressive mash-up that fits the song so perfectly, as well as this set,

This week's playlist: • Patron Saint of Pain (4:46) by Roy Rogers, from Split Decision (2009); available from this page at Roy's site, BlindPigRecords.com and the iTunes Music Store. Visit Roy-Rogers.com for more information. • Power of the Pontchartrain (6:07) by Tab Benoit & Louisiana's LeRoux, from Power of the Pontchartrain (2007); available from the music page at Tab's site, ConcordMusicGroup.com and the iTMS. Visit TabBenoit.com for more information. • Still Water Runs Deep (2:58) by Webb Wilder, from More Like Me (2009); available from the store at Webb's site, Blind Pig Records and the iTMS. Visit WebbWilder.com for more information. • Strange Feeling (4:29 ) by Michael Burks, from Iron Man (2008); available from Alligator Records, Amazon.com and the iTunes Music Store. Visit MichaelBurks.com for more information. • Help (Somebody Please) (5:00), Right Here Right Now (4:27) and I Love 'Em (3:58), all from Right Here Right Now (2009) and all by Big James &The Chicago Playboys; available from BlindPigRecords.com. Earlier albums by the band are available from both CD Baby and the iTMS. But be careful - in both CD Baby and the iTMS, there is also a Hispanic rapper named Big James. Visit BigJames.com for more information. • It Ain't You (5:02) Zach Prather, from Freak (2008); available from CD Baby and the iTMS. Visit Zach-Prather.com/ for more information. • That's What Love Will Make You Do (3:22 )by Janiva Magness, from What Love Will Do (2008), available from the store at Janiva's site, Alligator Records, and the iTMS. Visit JanivaMagness.com for more information. • Since You Been Gone (4:32) by Zac Harmon, from From The Root (2009); available from the NorthernBlues Music ordering page and the iTMS. Visit ZacHarmon.com for more information. Mentioned during this show: Fat Possum Records. To contact me: in addition to email - murphyssaloon(at)gmail(dot)com - you can contact me through: Facebook, FriendFeed, MySpace and Twitter. You are also welcome to write reviews in iTunes. Excellent sources of information about the blues: The Blues Foundation and the Delta Blues Museum; be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues; BluesRevue.com, the online home of Blues Revue magazine; BigCityBluesMag.com, the online home of Big City Blues magazine; BluesCritic.com. Be sure to read Today's Chicago Blues by Karen Hanson, an excellent guide to all things blues in present-day Chicago. For up-to-the-minute news about things to do in Chicago: TheLocalTourist.com. (Music on Murphy's Saloon #159 courtesy of the artists and the Podsafe Music Network, IODA PROMONET, Download.com or Garageband.com)

This week's playlist: • The Devil (4:05) by Jeff Norwood, from Awendaw (2009); available from CD Baby and the iTunes Music Store. Visit this page at LiveBluesWorld.com for more information. • Too Sweet for Me (4:54) by Tab Benoit & Louisiana's LeRoux, from Night Train to Nashville (2008); available from the music page at Tab's site, ConcordMusicGroup.com and the iTMS. Visit TabBenoit.com for more information. • Little Redhead (4:33) by Anni Piper, from Two's Company (2009), available from Blues Leaf Records' page at CD Universe and the iTMS. Visit AnniPiper.com for more information. • Keep The Blues Alive (3:09), Hattie Mae (4:58) and Since You Been Gone (4:32), all by Zac Harmon, and all from From The Root (2009); available from the NorthernBlues Music ordering page and the iTMS. Visit ZacHarmon.com for more information. • Loser's Avenue (2:26) by Commander Cody, from Dopers, Drunks and Everyday Losers (2009); available from the Phoenix Digital Services Commander Cody Store and the iTMS. Visit CommanderCody.com for more information. • Little Queen Bee (3:20) by Roy Rogers, from Split Decision (2009); available from this page at Roy's site, BlindPigRecords.com and the iTMS. Visit Roy-Rogers.com for more information. • Another Time (3:49) by Danny Burton, from BAR, Vol. 6 (2008); available from BluesAndRootsPromotions.com. Visit BluesAndRootsPromotions.com for more information. • Ready For Love (4:31) by Todd Wolfe, from Borrowed Time (2008); available from the store at his site and Blues Leaf Records. Visit ToddWolfe.com for more information. To contact me: call me at 1-312-239-0678, or send email to: murphyssaloon(at)gmail(dot)com. You can also contact me through: Facebook, MySpace and Twitter. You are also welcome to write reviews in iTunes. Excellent sources of information about the blues: The Blues Foundation and the Delta Blues Museum; be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues; BluesRevue.com, the online home of Blues Revue magazine; BigCityBluesMag.com, the online home of Big City Blues magazine; BluesCritic.com. Be sure to read Today's Chicago Blues by Karen Hanson, an excellent guide to all things blues in present-day Chicago. For up-to-the-minute news about things to do in Chicago: TheLocalTourist.com. (Music on Murphy's Saloon #158 courtesy of the artists and their labels, or one of the following: the Podsafe Music Network, IODA PROMONET, Download.com or Garageband.com)