Podcasts about So Fine

The great Ryan O'Neal passed away earlier this month, and my guest chose of one of the actor's early-'80s obscurities for the Overhated treatment. Screenwriter (and massive movie nerd) Larry Karaszewski (Ed Wood, Man on the Moon, Dolemite Is My Name) joins me to discuss Andrew Bergman's So Fine, which is a sex comedy, a broad farce, and three flavors of satire at once. Thanks for listening to Overhated! There are 100+ more episodes at patreon.com/scottEweinberg. Subscribe to hear them all now! Check out the list of episodes here: bit.ly/3WZiLFk. Subscribe wherever you get your podcasts: Apple Podcasts, Spotify, etc.    Overhated is now proudly sponsored by those Effin' Birds.com, the award-winning comic strip by Aaron Reynolds.                   

Selección musical de Charlie Fáber, director de Sateli3.1.- "Night and Day" - Francis Faye 2.- "He Cha Cha´d In" - Kay Starr 3.- "It´s So Fine" - Lavern Baker 4.- "Anything Can Happen-Mambo" - Dolores Hawkins 5.- "Cozy and Bossa" - Cozy Cole 6.- "Rhythm 56" - Les Cha-Cha Boys 7.- "Mambo borracho" - Tito Alberti y su típica Orquesta 8.- "Chaquito" - Chaquito and His Orchestra 9.- "Perdido mambo" - Larry Ligett10.- "They Were Doing The Mambo" - Les Brown & His Band Of Renown11.- "Mambo Boogie" - The Johnny Otis Orchestra12.- "Mississippi Mambo (Over The Rainbow)" - Nono Morales & His Orchestra13.- "La suppa del pichon" - Los Merecumbes14.- "Mambo en sax" - Eddie Warner15.- "Dos arbolitos" - Teddy Stauffer16.- "Mambo gitano" - Sylvain DavidBonus: "Bikini" - The BikinisEscuchar audio

Send us a textWelcome 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:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next 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: Not Like Us by Kendrick Lamar (2024)Song 1: Private Eyes by Daryl Hall & John Oates (1981)Song 2: Lawdy Miss Clawdy by Lloyd Price (1952)Song 3: Into the Mystic by Van Morrison (1970)Song 4: Sleep Walk by Santo & Johnny (1959)Song 5: Queen by Perfume Genius (2014)Song 6: The Way It Is by Bruce Hornsby & the Range (1986)Song 7: He's So Fine by The Chiffons (1963)Song 8: Higher Love by Steve Winwood (1986)Song 9: Say Yes to Heaven by Lana Del Rey (2023)Song 10: Only You (And You Alone) by The Platters (1955)

Sintonía: "Scorpion" - The Carnations"I´m Gonna Destroy That Boy" - The What Four; "If You Can´t Say Anything Nice" - Gia Mateo; "I Can´t Stay Mad At You" - Skeeter Davis; "I Don´t Want No Mama´s Boy" - Erma Franklin; "Gonna Make Him My Baby" - April Young; "Gee Dad" - Andrea Carroll; "I Wish I Had Known" - Sandra Phillips; "I Just Don´t Understand" - Carmen Cole; "Why Don´t You Do Right?" - Nichelle Nichols; "Don´t Monkey With Me" - The Lollipops; "You´re My Loving Baby" - The Sweet Things; "Stand By Me" - Little Eva; todas las canciones extraídas de la recopilación (1xCD) "Honeybeat : Groovy 60s Girl-Pop" (Real Gone Music/Sony, 2017), compilado por Sheila Burgel y Rob Santos"Night and Day" - Francis Faye; "He Cha Cha´d in" - Kay Starr; "It´s So Fine" - Lavern Baker; "Anything Can Happen-Mambo" - Dolores Hawkins; "My Mama Likes You" - Dolores Gray; "Let´s Mambo" - Betty Reilly; "Christine" - Miss X; "Hollywood Calypso" - Josephine Premice; "Mambo Baby" - Georgia Gibbs; "Hot Tamale Blues" - Ruby Dandridge. Todas las canciones extraídas de la recopilación (1xLP+CD) "Mambo, Cha-Cha-Cha & Calypso Vol. 1: Girls Session!" (Jukebox Music Factory, 2018) compilado por El VidocqEscuchar audio

Don't do things the way they're expected to be done. Make it weird. There might not be a right way to do something. It weird make.So Fine by Otis GallowayFree download: https://filmmusic.io/song/9627-so-fineLicense (CC BY 4.0): https://filmmusic.io/standard-licenseArtist website: https://linktr.ee/ogallowaymakesmusic

The Dolls Pod season 1 finale is dedicated to a real rock-and-roll legend: artist, “recovering groupie,” and beloved Chicagoan Cynthia Plaster Caster. Cynthia was just as vibrant and fun as she was dedicated to her art. She had a wicked sense of humor, and she lit up every room she was in. We'd like to extend our sincerest thanks to Cynthia's friends for helping us make this episode happen: Bryan Wendorf, Babette Nov, and our special guest this week, “Plaster Caster” director of photography Jeff Economy. “Cynthia Plaster Caster: Breaking The Mold” is available wherever you listen to your podcasts

Within Brims Skin. Oooh, So Fine #279. -- The gang is at it again. Brimstone is joined by his wing-man Alex DaPonte and his wife Danielle as they chat about the Addams Family Wednesday Whopper, Trump works a day (not really) at McDonalds, eating drunk McDonald's and Alex gets within Brim's skin about drive thru etiquette. They discuss the Elvira vs. Ariana debacle, the JR Nyack incident, orca poop and how we're always here for petty 50 Cent. They discuss the boobies song, Halloween antics, and how Alex finally watched the Corpse Bride. Brim explains what gets Within Brim's Skin.

Got everything done yesterday except the haircut!  Gotta make that happen this afternoon!  The Music Authority Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Mixcloud, Player FM, Tune In, Podcast Addict, Cast Box, Radio Public, Pocket Cast, APPLE iTunes, and direct for the source distribution site: *Podcast - https://themusicauthority.transistor.fm/   AND NOW there is a website! themusicauthority.comThe Music Authority Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  *The Sole Of Indie  https://soleofindie.rocks/  Monday Through Friday 6-7PM EST!*AltPhillie.Rocks Sunday, Thursday, & Saturday At 11:00AM ET!September 6, 2024, Friday…one of three…Orbis 2.0 - TMA SHOW OPEN THEME@Todd Noize Voss - Loving Arms [Girls, Guitars, Motorcycles And Cars!!!]@The Works - Come Along (Edward Hamell)@Lund Bros. - Magnifying Glass (Chris Lund)@The Babys - Midnight RendezvousRichard Turgeon - Line of Sight [Campfire Songs - EP]Nervous Eaters - Rock n Roll Your Heart Away [Rock n Roll Your Heart Away (Wicked Cool Records)@Open Sound - You're So Fine v1 [Open Sound] (Fernando Perdomo)The Dogmatics - Thayer Street (Rum Bar Records)@Killed By The Architects - Chicago [Killed By The Architects]Tommy Ray - No Better Then This [The First Hits Free] (koolkatmusik.com)Kevin Robertson - The Call Of The Sea [The Call Of The Sea] (Subjangle) (Futureman Records)David Brookings - An Everlasting Love [Higher Than A Mountain - The Songs Of Andy...

The guys got lucky at an estate sale loaded with vintage physical media, where they dug through thousands of old records to find some gems! We've got Northern Soul, rare garage, doo wop, girl groups, a Kentucky oddity, a slightly disappointingly mellow Florida garage rocker, and an R&B food nonsense song, all to get you out on the dance floor! Originally broadcast May 19, 2024 Willie Mitchell / That Driving BeatCandy and the Kisses / Shakin' TimeShirley Ellis / Birds, Bees, Cupids and BowsClarence & Calvin / Rooster Knees & RiceLarry Williams / I Can't Stop Lovin' YouThe Wanderers / A Little Too LongThe Savages / EverynightPearlean Gray / Don't Rush Me BabyThe Chiffons / Out Of This WorldThe Ribbons / Ain't Gonna Kiss YaPeggy March / Watch What You Do With My BabyThe Wanderers / Run-Run SenoritaThe Rays / Mediterranean MoonThe Paradons / So Fine, So Fine, So FineDreamlovers / Zoom, Zoom, ZoomVernis Pratt / Good Good ManThe Sheep / Twelve Month LaterThe Tokays / Ask Me No QuestionsThe Trashmen / New GenerationTroy Shondell / Here It Comes AgainThe Barbarians / Are You A Boy Or Are You A GirlThe Raindrops / One More TearJohnny Thunder / Jailer Bring Me WaterJohnny Rivers / Seventh SonClarence "Frogman" Henry / Shake Your Money MakerRuth Brown with the Milestone Singers / Mama (He Treats Your Daughter Mean)Aretha Franklin / Won't Be LongDee Dee Sharp / There Ain't Nothin' I Wouldn't Do for YouDee Dee Sharp / It's A Funny SituationThe Baltimore and Ohio Marching Band / Condition RedAndy Butler / Sunshine LoveBobby Callender / No Dice, No SoapIvory Joe Hunter / You Only Want Me When You Need MeCherry Stone / He Walks SoftlyThe Reflections / Like Columbus DidJohnny Preston / All Around The WorldThe Tams / Why Did My Little Girl CryThe Shangri Las / Wishing Well Hosted on Acast. See acast.com/privacy for more information.

Jo Paciello - Montmartre Love Affair,Eric Ericksson / Reel People - Don't Hold Back on Love, Pat Bedeau, Hannah Khemoh - The Last Dance,Din Jay, Alexis Victoria Hall - No Good For Me(Richard Earnshaw Extended Revision),Melba Moore - My Heart Belongs To You(Groove Assassin Extended Remix),Donna Allen - He Is The Joy(Groove Junkies vs Lenny Fontana Galaxy People Edit), First Choice - Armed And Extremely Dangerous (DJD Black Science Dub).David Morales - Theory (Sunday Mass Vol 1),Antonello Ferrari, Aldo Bergamasco, Carol Anderson. - Solid,Anna Marie Johnson - Waiting For Your Love  (Soulmekanikz Extended Remix),JD73- Tripping Out (Instrumental),Mika Nakashima - Aishiteru (Jazztronik Mix),Randy Crawford - Last Night At Danceland, Erica Falls - Makings of Love,Billy Brown - You're So Fine,Smokey Robinson - Tell Me Tomorrow,Yo Yo Honey - Groove On, David Morales - Alive (Sunday Mass Mix),Phonk D - Bring The Lights Down,Jay Vegas - I Just Can't (Original Mix), 

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

Playlist: Spotlight on Jimi HendrixPacific Street Blues & AmericanaFebruary 18, 2024 Visit us on Facebook24. Robert Randolph & the Family Band / Purple Haze25. Jeff Beck & Billy Gibbons [ZZ Top] / Foxey Lady 26. John Lee Hooker / Red House 27. Jimi Hendrix / Sgt Peppers Lonely Hearts Club Band28. Sting / Little Wing 29. PM Dawn / You Got Me Floating 30. Paul Rodgers / Bold as Love 31. Jimi Hendrix & Johnny Winter (feat Dallas Taylor & Billy Cox) / Things I Used to Do 32. Bob Dylan / All Along the Watchtower33. Jimi Hendrix / Like a Rollin' Stone34. Robben Ford & Taj Mahal / Rainy Day, Dream Away35. Living Color / Crosstown Traffic 36. Pat Metheny / Third Stone from the Sun 37. Jimi Hendrix / Day Tripper 38. Jimi Hendrix (feat Noel Redding) / She's So Fine 39. Bernard Allison / Hear My Train a Coming40. Rod Stewart / Angel

Foley was born in Columbus, Ohio. Growing up he listened to Sly and the Family Stone, and after his mother bought him a bass (at age 12) he started playing with local bands. In 1987, he had a phone conversation with Marcus Miller, then Miles Davis's bass player, and afterward sent him a tape of his music. Weeks later he got a call from Davis, who'd heard the tape and asked Foley to send him a copy: Miles Davis was looking for a guitarist, but at that time Foley had been working on getting his bass to sound like a guitar. By May 1987 Foley was touring with Davis, and played with him until the fall of 1991.In 1993 he played a lead bass solo on Mint Condition's R&B Top 40 hit "So Fine" and the interlude track "Gumbo" from their album From the Mint Factory.In 1993, during his time at Motown, Foley released 7 Years Ago...Directions in Smart-Alec Music. The album included "If It's Positive".The Cité de la Musique showed a Miles Davis exhibition from October 16, 2009, to January 17, 2010, that included Foley's "lead bass".Foley has also toured and recorded with funk legend George Clinton and engineered for Prince. ________Rock and Roll Hall of Famer Prince featured the "Upper Room with Joe Kelley and Gi Dussault" on his official website www.npgmusicclub.com. This is the first radio show to have ever received that honor. "Musicians Reveal with Joe Kelley" has been on the radio airwaves since 1982. Joe Kelley and Gi Dussault co-host the show and are well-respected in the music business as creative air personalities and supporters of independent musicians . Our web site is located at www.musiciansreveal.com . The show features creative music in funk, R&B, jazz, blues, rock, hip-hop, latin, and gospel. In addition, Joe Kelley has interviewed renowned musicians such as Victor Wooten, Sheila E. , Foley, Robin Duhe, Jef Lee Johnson, Jellybean Johnson, Monte Moir, Rhonda Smith, Bernie Worrell, Cyndi Lauper, Michael Bland, Larry Graham, Chris Frantz and Tina Weymouth, Steve Smith, St. Paul Peterson, JD Blair, Tori Ruffin, Kat Dyson, Eric Person, actor Jeff Daniels, Junior Giscombe, John Scofield, EC Scott, John Blackwell, Mystic Bowie, and many others.

  | Sebb Jr  | Ghetto Boy | Kings of Tomorrow  | My Love is real | Francis Milia  | So Fine | Joe Paciello  | Platform | Dzihan and Kamian  | Basmati | SpiritChaser  | Be Free | Biota  | Sistema Organico (DJ GOLDFINGER SAX EDIT) | Mtume  | Juicy Fruit | Spearhead  | Red Beans and Rice | Dubmatix  | Twist and Ska | Manu Chao  | Por El Suelo | Lemongrass  | Salon De Musique | Kid Koala  | Bar Hopper

Rock & Roll Hall of Famer Duff McKagan, best known as a member of Guns N' Roses and Velvet Revolver, talks about writing songs with his legendary bandmates, a few of his various side projects, and his genre-spanning recent album, Lighthouse.PART ONEScott and Paul shout out some Patreon supporters and reflect on the small handful of artists who, like Guns N' Roses, emerged on the scene and completely changed the game. PART TWOOur in-depth interview with Duff McKaganABOUT DUFF McKAGANThough best known as the bassist for Guns N' Roses, Duff McKagan wears many musical hats. He started his career in Seattle playing various instruments in various punk bands. Following a stint on guitar in the group 10 Minute Warning he moved to Los Angeles, and eventually ended up in Guns N' Roses. Starting in 1987, they released a steady stream of classics with songwriting credits to the whole band, including “Welcome to the Jungle,” “Sweet Child o' Mine,” “Paradise City,” and “Patience.” As the 1990s dawned, the group released the albums Use Your Illusion I and II, which included Duff-penned songs such as “Civil War,” which he co-wrote with Slash and Axl Rose, and “So Fine,” which he wrote solo, and on which he performed the lead vocal. Following Duff's first solo album, Believe in Me, in 1993, he formed the supergroup Neurotic Outsiders, which included Steve Jones of the Sex Pistols, John Taylor of Duran Duran, and Matt Sorum of The Cult and Guns N' Roses. After departing Guns N' Roses in 1997, Duff returned to 10 Minute Warning before forming a new band called Loaded. That band went on hiatus when he launched Velvet Revolver with Loaded guitarist Dave Kushner, Slash, Matt Sorum, and Scott Weiland of Stone Temple Pilots. Writing the songs with the whole band, they found success with tracks such as “Slither” and “Fall to Pieces.” In 2016 Duff and Slash officially returned to Guns N' Roses to headline Coachella. Prior to his return, he played with various groups, including a revival of Loaded, Alice Cooper's band, Jane's Addiction, and Hollywood Vampire. Since returning to Guns N' Roses Duff has remained busy with outside projects. His solo album Tenderness, produced by Shooter Jennings, was released in 2019. He co-wrote five songs on Ozzy Osbourne's Ordinary Man album, and co-wrote three songs on Iggy Pop's album Every Loser. The Rock & Roll Hall of Famer's  most recent solo effort, entitled Lighthouse, was released in 2023. 

Foley was born in Columbus, Ohio. Growing up he listened to Sly and the Family Stone, and after his mother bought him a bass (at age 12) he started playing with local bands. In 1987, he had a phone conversation with Marcus Miller, then Miles Davis's bass player, and afterward sent him a tape of his music. Weeks later he got a call from Davis, who'd heard the tape and asked Foley to send him a copy: Miles Davis was looking for a guitarist, but at that time Foley had been working on getting his bass to sound like a guitar. By May 1987 Foley was touring with Davis, and played with him until the fall of 1991.In 1993 he played a lead bass solo on Mint Condition's R&B Top 40 hit "So Fine" and the interlude track "Gumbo" from their album From the Mint Factory.In 1993, during his time at Motown, Foley released 7 Years Ago...Directions in Smart-Alec Music. The album included "If It's Positive".[4]The Cité de la Musique showed a Miles Davis exhibition from October 16, 2009, to January 17, 2010, that included Foley's "lead bass".Foley has also toured and recorded with funk legend George Clinton and engineered for Prince. "Musicians Reveal with Joe Kelley" Podcast BioRock and Roll Hall of Famer Prince featured the "Upper Room with Joe Kelley and Gi Dussault" on his official website www.npgmusicclub.com. This is the first radio show to have ever received that honor. "Musicians Reveal with Joe Kelley" has been on the radio airwaves since 1982. Joe Kelley and Gi Dussault co-host the show and are well-respected in the music business as creative air personalities and supporters of independent musicians . Our web site is located at www.musiciansreveal.com . The show features creative music in funk, R&B, jazz, blues, rock, hip-hop, latin, and gospel. In addition, Joe Kelley has interviewed renowned musicians such as Victor Wooten, Sheila E. , Foley, Robin Duhe, Jef Lee Johnson, Jellybean Johnson, Monte Moir, Rhonda Smith, Bernie Worrell, Cyndi Lauper, Michael Bland, Larry Graham, Chris Frantz and Tina Weymouth, Steve Smith, St. Paul Peterson, JD Blair, Tori Ruffin, Kat Dyson, Eric Person, actor Jeff Daniels, Junior Giscombe, John Scofield, EC Scott, John Blackwell, Mystic Bowie, and many others.

Sintonía: "Flight To Cuba" - Fire"Use It Before You Lose It" - Bobby Valentin; "Creation" - The Latinaires; "Get Out Of My Way" - Joe Torres; "Groovetime" - Monguito Santamaría; "So Fine" - Joe Battan; "Black Brothers" - Tito Puente; "Kako´s Boogaloo" - Kako & His Orchestra; "Canta una simple" - Roberto Roena; "I Want A Chance For Romance" - Hector Rivera; "Broasted or Fried" - St. Vincent Latinaires; "Jungle Fantasy" - Herbie Mann y "Seeds Of Life" - Harlem River DriveEscuchar audio

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

L'ascension des Guns N'Roses est fulgurante. Rarement un groupe n'aura autant marqué les 90s, aura eu un tel impact sur la pop culture. Leur style à la démesure incontrôlée leur aura valu autant de fans que de critiques. Mais qu'on le veuille ou non, il faut bien reconnaître que les Guns N'Roses est l'un des derniers grands groupes de rock'n'roll. Lancés sur la scène internationale avec leur premier album Appetite for Destruction, les Guns N'Roses tiennent leurs fans en haleine depuis 3 longues années quand déboulent enfin en 1991, non pas un, mais deux albums le même jour !  Use Your Illusion I & II sortent le 17 septembre 1991 à minuit, et c'est l'émeute ! A 2h du matin, un demi-million d'exemplaires est déjà écoulé : il faut dire que le nouveau son des Guns est taillé pour les stades. De “Don't Cry” à “You Could Be Mine” en passant par “November Rain” ou “Knockin on Heaven's Door”, on sent bien que ces morceaux sont conçus par un groupe qui n'a plus peur de rien : ni des solos à rallonge de Slash, ni des ballades épiques au piano d'Axl Rose.  Use Your Illusion I & II on en parle avec Aurélie Sfez qu'on adore : elle est journaliste, musicienne et autrice de documentaires et musicologue (France Inter, Arte, Radio Nova). Elle est en ce moment à l'affiche du podcast “A la poursuite du Togo” réalisé par Radio K7 Creative pour Ligne Roset, dans lequel vous retrouverez aussi Matt Sorum des Guns N'Roses ;) Dans cet épisode Olivia vous raconte la story d'Axl Rose, des guitaristes Slash et Izzy Stradlin, du bassiste Duff McKagan et des batteurs Steven Adler et Matt Sorum ; Aurélie vous raconte comment les Guns ont marqué sa vie, Grégoire nous emmène en studio à Los Angeles, et Fanny revient sur la pochette de Mark Kostabi et le clip de "Novembre Rain".     Crédits  Générique : Dr Alban "Sing Hallelujah" Titres écoutés dans l'émission : “Right Next Door", "Dust N' Bones", "Live And Let Die", "Don't Cry", "Perfect Crime", "You Ain't The First", "Bad Obsession", "Back Off Bitch", "Double Talkin' Jive", "November Rain", "The Garden", "Garden Of Eden", "Don't Damn Me", "Bad Apples", "Dead Horse", "Coma", "Civil War", "Years", "Yesterdays", " Knockin' On Heaven's Door", "Get In The Ring", "Shotgun Blues", "Breakdown", "Pretty Tied Up", "Locomotive", "So Fine", "Estranged", "You Could Be Mine", "My World", "Anything goes (démo)", "Welcome to the Jungle", "On in the Million". Mötley Crüe "Shout at the Devil".  Extraits : “Welcome to the jungle (MTV Awards ‘88)”, "Knockin' on heaven's door (live Freddie Mercury Tribute)".    Chaque mois dans Radio K7 on rembobine nos cassettes et vous raconte l'histoire d'un album qui a marqué les années 90s. Une émission animée par Emmanuel Minelle, Fanny Giniès, Olivia Godat et Greg Cook. Enregistrée chez Fanny Giniès. Générique réalisé par Greg Cook. Identité graphique signée Floating Studio.   LAISSEZ UN MESSAGE APRÈS LE BIP ! Vous pouvez nous appeler au 01 89 16 75 31, pour suggérer un album, donner votre avis ou chanter en karaoké avec nous ! Promis, on diffusera les messages au prochain épisode ! Sinon, retrouvez-nous sur les internets : Twitter : @RadioK7Podcast Instagram : @radio_k7 Facebook : @Radiok7podcast

L'ascension des Guns N'Roses est fulgurante. Rarement un groupe n'aura autant marqué les 90s, aura eu un tel impact sur la pop culture.  Leur style à la démesure incontrôlée leur aura valu autant de fans que de critiques. Mais qu'on le veuille ou non, il faut bien reconnaître que les Guns N'Roses est l'un des derniers grands groupes de rock'n'roll. Lancés sur la scène internationale avec leur premier album Appetite for Destruction, les Guns N'Roses tiennent leurs fans en haleine depuis 3 longues années quand déboulent enfin en 1991, non pas un, mais deux albums le même jour !  Use Your Illusion I & II sortent le 17 septembre 1991 à minuit, et c'est l'émeute ! A 2h du matin, un demi-million d'exemplaires est déjà écoulé : il faut dire que le nouveau son des Guns est taillé pour les stades. De “Don't Cry” à “You Could Be Mine” en passant par “November Rain” ou “Knockin on Heaven's Door”, on sent bien que ces morceaux sont conçus par un groupe qui n'a plus peur de rien : ni des solos à rallonge de Slash, ni des ballades épiques au piano d'Axl Rose.  Use Your Illusion I & II on en parle avec Aurélie Sfez qu'on adore : elle est journaliste, musicienne et autrice de documentaires et musicologue (France Inter, Arte, Radio Nova). Elle est en ce moment à l'affiche du podcast “A la poursuite du Togo” réalisé par Radio K7 Creative pour Ligne Roset, dans lequel vous retrouverez aussi Matt Sorum des Guns N'Roses ;) Dans cet épisode Olivia vous raconte la story d'Axl Rose, des guitaristes Slash et Izzy Stradlin, du bassiste Duff McKagan et des batteurs Steven Adler et Matt Sorum ; Aurélie vous raconte comment les Guns ont marqué sa vie, Grégoire nous emmène en studio à Los Angeles, et Fanny revient sur la pochette de Mark Kostabi et le clip de "Novembre Rain".   Crédits  Générique : Dr Alban "Sing Hallelujah" Titres écoutés dans l'émission : “Right Next Door", "Dust N' Bones", "Live And Let Die", "Don't Cry", "Perfect Crime", "You Ain't The First", "Bad Obsession", "Back Off Bitch", "Double Talkin' Jive", "November Rain", "The Garden", "Garden Of Eden", "Don't Damn Me", "Bad Apples", "Dead Horse", "Coma", "Civil War", "Years", "Yesterdays", " Knockin' On Heaven's Door", "Get In The Ring", "Shotgun Blues", "Breakdown", "Pretty Tied Up", "Locomotive", "So Fine", "Estranged", "You Could Be Mine", "My World", "Anything goes (démo)", "Welcome to the Jungle", "On in the Million". Mötley Crüe "Shout at the Devil".  Extraits : “Welcome to the jungle (MTV Awards ‘88)”, "Knockin' on heaven's door (live Freddie Mercury Tribute)".  Chaque mois dans Radio K7 on rembobine nos cassettes et vous raconte l'histoire d'un album qui a marqué les années 90s. Une émission animée par Emmanuel Minelle, Fanny Giniès, Olivia Godat et Greg Cook. Enregistrée chez Fanny Giniès. Générique réalisé par Greg Cook. Identité graphique signée Floating Studio. LAISSEZ UN MESSAGE APRÈS LE BIP ! Vous pouvez nous appeler au 01 89 16 75 31, pour suggérer un album, donner votre avis ou chanter en karaoké avec nous ! Promis, on diffusera les messages au prochain épisode !  Sinon, retrouvez-nous sur les internets : Twitter : @RadioK7Podcast Instagram : @radio_k7 Facebook : @Radiok7podcast

Welcome to the Instant Trivia podcast episode 851, where we ask the best trivia on the Internet. Round 1. Category: also a bar drink 1: Flathead or Phillips head. a screwdriver. 2: With so much brainpower on stage today, this "Living Dead" movie monster wouldn't know where to start. a zombie. 3: It was last call for this Scottish outlaw on Dec. 28, 1734. Rob Roy. 4: Take a flying leap and name this type of reconnaissance plane or insect of the family Acrididae. a grasshopper. 5: G'day! This wooden weapon can also be a scheme that does injury to its originator. a boomerang. Round 2. Category: they all played hamlet 1: Fans from around the world sped to Winnipeg to see this "Speed" star play Hamlet there in 1995. Keanu Reeves. 2: He's only 9 years younger than Glenn Close, but he called her Mom in Zeffirelli's 1990 version. Mel Gibson. 3: The role of Obi-Wan Kenobi was light-years away when he played Hamlet at the Old Vic in 1938. Sir Alec Guinness. 4: This star of "A Fish Called Wanda" not only starred in but directed a 1990 production of "Hamlet". Kevin Kline. 5: He played Hamlet at the New York Shakespeare Festival before he hammed it up as Mike Hammer:. Stacy Keach. Round 3. Category: tv bars and restaurants 1: On this sitcom Duff Beer is on tap at Moe's Tavern where the clientele is always "animated". "The Simpsons". 2: Head north, far north, to visit The Brick, this show's restaurant. "Northern Exposure". 3: On this sitcom you could have seen Jay Thomas take a few "Potts" shots in the Blue Shamrock. "Love And War". 4: On this sitcom you may find the Crane brothers having coffee at Cafe Nervosa. "Frasier". 5: The Lunch Box in Lanford, Ill. is one of this sitcom's settings. "Roseanne". Round 4. Category: classic movies 1: It's the first rule of Fight Club. you do not talk about Fight Club. 2: Crime film that features Gene Hackman as Buck Barrow. Bonnie and Clyde. 3: Charlie Chaplin befriends a millionaire and falls in love with a blind girl in this 1931 film. City Lights. 4: Film in which De Niro as Travis Bickle asks, "You talkin' to me? You talkin' to me?". Taxi Driver. 5: In it, reporter Rosalind Russell tells Cary Grant, "I wouldn't cover the burning of Rome for you if they were just lighting it up". His Girl Friday. Round 5. Category: what a year! 1: Dewaele won the Tour de France, Coco Chanel was the toast of Paris and Sacre Bleu!, the market crashed in this year. 1929. 2: The Titanic set off on maiden voyage. 1912. 3: In this year, Teddy became president, Eddie became king and Nicky became father of Anastasia. 1901. 4: Rosa Parks sat down for freedom. 1955. 5: (Hi, I'm Tyler Christopher of General Hospital.) In this year, ABC gave "G.H." a shot on TV, "He's So Fine" shot up to No. 1 and JFK visited the Berlin Wall. 1963. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

 | Artist  | Title  | Album Name  | Album Copyright | Eric Demmer  | I'm A Guitar Player  | So Fine  |   |  | Greg Brice  | My Life  | Greg Brice  |  | Charlie Christian  | Down on Teddy's Hill,  Pagin' Dr. Christian  | Charlie Christian at Minton's | Sawmill Roots Orchestra  | Wagon Swing  | Sawmill Roots Orchestra | Tom Harpo Walker feat Dani Wild  | Ride on  | Bruised Heart Blues  |  | Mark Harrison  | Panic Attack  | On The Chicken Sandwich Train | King Biscuit Boys  | In My Time Of Dying  | Organic & Natural  |  | Memphis Slim  | Blue And Lonesome  | Deep South Piano Blues - Rockin The House | Jimmy Yancey  | Yancey Stomp  | Blues and Boogie  |  | Marie Knight  | Beams Of Heaven  | The Gospel Truth Live | Larkin Poe  | Crocodile Rock  | Kindred Spirits (2020) | Jerry Lee Lewis  | I Can Still Hear The Music In The Restroom  | A Whole Lotta... Jerry Lee Lewis (CD3) | Buddy Whittington and Jim Suhler  |  Ain't Got the Scratch  | Texas Scratch  |  | Rebecca Downes  | Terrorise  | The Space Between Us | CHICK WILLIS  | You Got The Devil In You  | Things I Used To Do  | 

| So Much Love  | Modernique | One Night Baby  | Angela Clemmons | You Got The Love  | Regina Belle | Caught In The Middle  | James Cobbin & Prime Cut | My Mind (Long Version)  | Vanessa Franklin And Midnight Energy | Checking Out  | Ernesta Dunbar | Are You Lookin' For Somebody Nu?  | Nu Shooz | He Wants My Body (Vocal/Extended Remix)  | Starpoint | Just Don't Break-A-My Heart  | Jaqui And The Rumor | Please (Don't Break My Heart)  | Lady M | Loveline (12'' Mix)  | Darlene Davis | One Step (Club Mix)  | Morrissey Mullen | Never Gonna' Let You Go (Club Version)  | Chandra Simmons | Don't Turn Your Back On My Love  | Richard "Dimples" Fields  | Love Calls  | Visions | Keeping Good Loving  | Sister Sledge | Once More With Feeling  | Gwen Guthrie | Do Me Right (12" Version)  | Main Ingredient | Look What You Started  | Temptations | Sure Ain't News  | Systematic | Indian Giver  | Rainy Davis | If I Let You Go  | Sinitta | Take Me To The Top  | Advance | Romeo (Extended Remix)  | Royalty | Can't Fight The Feeling  | Sugar | Sneak Preview (12" Version)  | Eleanor Goodman | So Fine  | Tongue 'n' Cheek | Visions  | Julianne | Is It Alright  | Brenda Norman | Overnight Success (12" Francois K. Dance Mix)  | Anita Pointer

Originally Broadcast April 9, 2023 James has been checking out the flip sides of a few of his records, and finding great stuff he didn't know was back there! Uwe brings a few great Louisville and Kentucky records. You'll hear tunes from the Flirtations, Freddie Scott, Christine Cooper, The Miracles, Lou Johnson, Billy Stewart, James Carr, Don Bryant, and the Osmonds?! Willie Mitchell / That Driving BeatEdwin Starr / Agent Double-O-SoulJimmy Norman / I Don't Love You No More (I Don't Care About You)The Flirtations / How Can You Tell Me?The Miracles / You're So Fine and SweetGayle Haness / We Got A Thing Going BabyKevin McQuinn / Ev'ry Step Of The WayFreddie Scott / (You) Got What I NeedBig Fred & The Ovations / Kinda GrooveyThe Spectrum / Portobello RoadThe Temptashuns / Strawberry ManGene Chandler / Nothing Can Stop MeLittle Anthony and The Imperials / Hurt So BadLily Fields / A Boy In A Man's WorldThe Flaming Ember / Westbound #9Billy Stewart / Ol' Man RiverJimmy James & The Vagabonds / Hi-Diddley Dee Dum Dum (It's A Good Feelin')Don Bryant / Coming On StrongEmotions / Every ManThe Original Emotions / You're A Better Man Then IThe Fabulous Shades / Mr. PitifulRonnie Milsap / A Thousand Miles from NowhereJimmy Norman / This I Beg of YouThe Miracles / You Really Got A Hold On MeThe Temptations / Girl (Why You Wanna Make Me Blue)The Miracles / Happy LandingThe Osmonds / Yo-YoChristine Cooper / S. O. S. (Heart In Distress)Lou Johnson / UnsatisfiedJimmy Holiday / I've Been Done WrongCosmo / You Gotta DanceBilly Stewart / Every Day I Have the BluesJames Carr / That's What I Want To KnowRusell Evans & the Nite Hawks / Send Me Some CornbreadThe Original Playboys / Now That I'm SomebodyThe Exciters / Tell HimSoul, Inc. / 727 Hosted on Acast. See acast.com/privacy for more information.

This week, Norah joins Ben to talk about a subjective… subject.  The word is art, so prepare yourself for a more philosophical episode than you're used to.  The hosts share their love of observing, appreciating, making, and talking about art.  Ben tells a few stories, Norah brings her research, and they both drop many artist and architect names.  For details about the episode's "video game bookends," see below!  Video games mentioned or discussed (albeit briefly) in this episode include:  Mahjong Dimensions - by Arkadium Pocket Card Jockey: Ride On! - GAME FREAK The Grand Theft Auto franchise - Rockstar Games World of Demons - PlatinumGames Odin Sphere: Leifthrasir, 13 Sentinels: Aegis Rim, and Dragon's Crown - Vanillaware Jet Set Radio - Smilebit and Sega The Borderlands franchise - Gearbox Software 00:00:21 - Chicago snowstorms, gauntlets, removable hands, and one big wind tunnel 00:02:30 - What we are playing these days: Mahjong Dimensions and Pocket Card Jockey 00:05:27 - An impromptu endorsement of Apple services and products 00:06:40 - Art according to Oxford Languages, the 13 Bhutanese Arts, and the Art of War 00:10:30 - Subjectivity, relativity, no abbreviations, “art thou,” and ars  00:12:20 - Personal meanings of the word, Ben's arts of podcasting, and NFT-like episode titles 00:15:30 - Ben asks, “when you follow a pattern, are you creating art?” 00:17:42 - Norah's “not normal people” when drawing and painting, and Ben's modern art  00:20:46 - Paint by numbers is so much easier with iPads, and representative art philosophy 00:26:28 - Impressionism, art as form, Norah loves Frank Gehry, and noisy mimes 00:33:32 - Architecture of Louis Sullivan, Frank Lloyd Wright, and Ludwig Mies van der Rohe  00:35:47 - Ben's Mister 20 / POÄNG chair diversion, and an architect's furniture designs  00:38:51 - HEY GRAHAM!  Do you know what would make this podcast better? 00:40:42 - Norah's experiences at this year's International Puppet Festival in Chicago 00:43:19 - Bad puppet show criteria, Tony Scott, and thinking about what isn't art 00:45:51 - Paul's impressive latte art, art student Dread Scott, and the movie “So Fine” 00:50:38 - The use photorealism and other stylistic choices in video games 00:54:09 - Ben loves Vanillaware Ltd.  games, and talks about the company's history 00:57:25 - Ben tries to explain hand painted images, RTS games, and pointless teasers  01:00:01 - “Better Off Ted,” Jabberwocky, and Ben loses his train of thought 01:02:20 - Norah impressed by the art style of “World of Demons” 01:04:28 - The cel shading game art style, ne'er-do-wells, graffiti art, and Jean-Michel Basquiat  01:08:40 - Perceptions of art, closing thoughts, the art of shame  If episode graphics are not displayed or supported by your preferred podcast app, you can check them out at www.twovaguepodcast.com .

Welcome to the Instant Trivia podcast episode 667, where we ask the best trivia on the Internet. Round 1. Category: Tv Dads 1: James B. Sikking of "Hill Street Blues" plays this teenage doctor's dad. Doogie Howser. 2: James Noble, who plays Larry's dad on "Perfect Strangers", was Governor Gatling on this sitcom. Benson. 3: Higgins on "Magnum, P.I."; he went on to play Sandy Duncan's dad on "The Hogan Family". John Hillerman. 4: Darren McGavin's performance as her father won him an Emmy in 1990. Murphy Brown (Candy Bergen). 5: Formerly Gonzo Gates on "Trapper John, M.D.", in 1990 he became a dad on "Family Man". Gregory Harrison. Round 2. Category: Mags For Men 1: This mag that could be called "Hunt and Fish" has an essay contest on "How Hunting/Fishing has Influenced my Life". Field and Stream. 2: Yeah, I'll take a quart of milk, 2 packs of gum, a Lotto ticket and , uh, this magazine that has a "Pet of the Month". Penthouse. 3: In 2001 you could take aim at the special 500th issue of "Guns and " this. Ammo. 4: The devil is in this magazine where racy columnist Anka Radakovich gained fame. Details. 5: Launched in 1997, it calls itself "The Best Thing to Happen to Men Since Women". Maxim. Round 3. Category: The Political Life 1: Proverbially, to indicate one's candidacy is to throw one's hat here. In the ring. 2: An officeholder during the interval before a successor takes over is known as one of these limping birds. Lame duck. 3: From the Latin for "to be away", this type of ballot is a vote cast by mail, not at a polling place. Absentee. 4: Term for the speech at a convention that sets the tone and outlines the main issues. Keynote speech. 5: From the Latin for "grow together", it's an alliance of different groups for a specific cause. Coalition. Round 4. Category: What A Year! 1: (Hi, I'm Tyler Christopher of General Hospital.) In this year, ABC gave "G.H." a shot on TV, "He's So Fine" shot up to No. 1 and JFK visited the Berlin Wall. 1963. 2: Dewaele won the Tour de France, Coco Chanel was the toast of Paris and Sacre Bleu!, the market crashed in this year. 1929. 3: The Berlin Wall came down. 1989. 4: In this year, "Rock Around The Clock" was recorded, Roger Bannister beat the clock and Henri Matisse clocked out. 1954. 5: The 21st Amendment scotched Prohibition. 1933. Welcome to the Instant Trivia podcast episode 667, where we ask the best trivia on the Internet. Round 1. Category: 1900 1: The U.S. Navy bought the first modern one of these, which used gasoline on the surface and electricity below. a submarine. 2: Unlike 2000, 1900 wasn't one of these, so Thursday, March 1 followed Wednesday, Feb. 28. a leap year. 3: One of these natural disasters killed 6,000 people on the Texas coast. a hurricane. 4: Victor Emmanuel began a 46-year rule over this country, whose people thought his name was Vittorio Emanuele. Italy. 5: Probably slapping and cursing, Walter Reed identified this insect as the cause of yellow fever. a mosquito. Round 2. Category: Celebrity Books 1: This Oscar winner made her writing debut with a book for children called "Deaf Child Crossing". Marlee Matlin. 2: You might cry uncle -- Uncle Miltie, that is -- when you read his "Private Joke File". Milton Berle. 3: This "Diamond Lil" star called chapter 4 of her autobiogr

Show #975 Straight To The Music 01. Rick Berthod - Stop Messing Around (4:11) (Tribute to Peter Green, self-release, 2022) 02. Malaya Blue - Bring Me Your Sin (4:02) (Blue Credentials, Blue Heart Records, 2022) 03. Mitch Grainger - Honey Bee (3:44) (Single, self-release, 2022) 04. Vanessa Collier - Tongue Tied (7:26) (Live at the Power Station, Phenix Fire Records, 2022) 05. Johnny Mastro & Mama's Boys - Last Dance In Memphis (3:55) (Elmore James For President, CSB Roxy Music, 2021) 06. Elly Wininger - Shade (5:38) (Little Red Wagon, Earwig Music, 2018) 07. Ra'Shad The Blues Kid - You Got It (3:31) (Single, Music Access, 2022) 08. Jimmy Johnson - Steal Away (3:24) (Single, Delmark Records, 2022) 09. Dr. Feelgood - All Through The City (3:04) (Down By The Jetty, United Artist Records, 1975) 10. Dr. Feelgood - All My Love (3:48) (Sneakin' Suspicion, United Artists Records, 1977) 11. Wilko Johnson's Solid Senders - The Whammy (4:40) (The London R&B Sessions, Albion Records, 1980) 12. Patrick McLaughlin - Everybody's Broken (3:21) (Just Like The Record, Bolt Records, 2022) 13. Supersonic Blues Machine - I Will Let Go (5:24) (Voodoo Nation, Provogue Records, 2022) 14. Eric Demmer - What Was I Thinking (4:23) (So Fine, Gulf Coast Records, 2022) 15. The Versions - Slow Death (4:59) (Single, Algo Records, 2022) 16. Micke Bjorklof & BlueStrip - Grapesugar Love (3:17) (Whole 'Nutha Thang, Ruf Records, 2021) 17. Kate Lush Band - Voodoo Woman (6:03) (Thredbo Blues, self-release, 2022) 18. Hazmat Modine - Hoarder (5:39) (Box Of Breath, Jaro Records, 2019) 19. Bridget Kelly Band - Cottondale (4:45) (Winter's Coming, Alpha Sun Records, 2022) 20. miXendorp - Strollin' (5:16) (EP, Black and Tan Records, 2022) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Show #972 Empty Promises... Or Firm Actions? 01. Rusty Wright Band - Burnin' Precious Time (3:23) (Hangin' At The DeVille Lounge, Sadson Music, 2022) 02. Lex Grey and the Urban Pioneers - I Believe In You (3:47) (How Many Roads?, self-release, 2023) 03. Jonathan Boogie Long - Two Kinds Of Lover (3:18) (Single, self-release, 2022) 04. Ben Reel - Tear It Down (4:06) (Locked In & Live, B.Reel Records, 2022) 05. Robert Billard & The Cold Calls - Waiting For The Land To Dry (3:30) (Stop, self-release, 2022) 06. Bridget Kelly Band - Say What You Want (5:10) (Winter's Coming, Alpha Sun Records, 2022) 07. Eric Demmer - She's So Fine (4:05) (So Fine, Gulf Coast Records, 2022) 08. Les Copeland - Gotta Get Up (2:10) (One More Foot In The Quicksand, Earwig Music, 2018) 09. Rick Berthod - Loved Another Woman (4:25) (Tribute to Peter Green, self-release, 2022) 10. Boogie Beasts - Work Me (4:32) (Blues From Jupiter, Naked Productions, 2022) 11. The Georgia Thunderbolts - Livin' In Muddy Waters (4:07) (Single, Mascot Label Group, 2022) 12. Vanessa Collier - Sweatin' Like A Pig (6:16) (Live at the Power Station, Phenix Fire Records, 2022) 13. Aron Burton - The Blues Is To Me (5:37) (Live, Earwig Music, 1996) 14. Ben Levin - Jazzman Blues (4:14) (Take Your Time, VizzTone Records, 2022) 15. Ivan Perilli - The Tallest Man (3:27) (Single, self-release, 2019) 16. Rebecca Downes - The Space Between Us (4:10) (The Space Between Us, Mad Hat Records, 2022) 17. Jeremiah Johnson - The Squeeze (5:27) (Hi-Fi Drive By, Ruf Records, 2022) 18. Grant Dermody - Forgive Me (6:06) (Behind The Sun, self-release, 2022) 19. Ben Hemming - The End (3:59) (Single, self-release, 2022) 20. Kat Riggins - Cross The Line (3:55) (Progeny, Gulf Coast Records, 2022) 21. Johnny Hiland - The Gloves Are Off (3:32) (All Fired Up, ADA UK, 2012) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Hey all - as discussed in the intro to this, we're taking a one-week hiatus, partly for Justin's birthday, partly due to some necessary & unavoidable schedule shuffling on our back end. We'll be back next week with a split episode between Bec & Justin on Elvis as Producer/Arranger and Gurdip & Justin on Songs of the Week. This week, rather than dropping an old Songs of the Week compilation as we would have done in the past, we're giving a sampler of some Patreon content from 2021, two episodes packed into one! First up is the first episode of our "TCBCast Jukebox" spin-off where Justin and Gurdip review albums & singles from Elvis's contemporaries or influences, starting with Jackie Wilson's 1958 debut solo LP "He's So Fine." Then, on our general pop culture project, TCBCast Now, alongside some movie/game/TV/music time capsule news from June 2021 (with surprisingly lots of Elvis talk!!), Gurdip gets put to the challenge of reacting to 8 country music songs Justin grew up with from the 80s-00s, then both guys continue the country theme by spotlighting a country song apiece in "Song of the Month." Gurdip tackles Canadian entertainer Colter Wall's rootsy "The Devil Wears a Suit & Tie" while Justin, tying in an interesting Colonel Parker connection, chooses "Heartland" from the 1992 film "Pure Country" starring George Strait. Hopefully you enjoy hearing the type of content that's been available as bonuses to qualifying Patreon backers through what's now coming up on two years! We always weave a vein of Elvis through our bonus content, while also showcasing more of our broader interests beyond him. We also feature unofficial commentaries and bonus movie reviews on both Elvis - & early rock-n-roll-related films. If you're interesting in hearing more of what's in the TCBCast bonuses archive alongside new monthly material and help support the main show's production, we hope you'll considering supporting us with a donation at Patreon.com/TCBCast. If you are unable to support us via Patreon, but want to support us another way, please make sure to leave a positive review or mention our show to another like-minded music history and movie enthusiast.

En 1970 George Harrison editaba el tema “My sweet lord”. Este tema considerado como uno de los primeros himnos religiosos en llegar al puesto número uno tanto en Estados Unidos como en Inglaterra, constituye no sólo una alabanza al dios hindú Krishna, sino también un llamado a abandonar el sectarismo religioso, con una mezcla deliberada del «Aleluya» judío, cánticos de Hare Krishna y oraciones védicas. Esta canción fue el centro de una demanda por plagio musical por parte de Bright Tunes (compañía de Nueva York). Durante el juicio, los expertos musicales intentaron explicar que la melodía de My Sweet Lord era muy similar a la de He's So Fine de The Chiffons compuesta por Ronnie Mack. Así, Harrison fue multado por plagio inconsciente pero siguió arrasando con ese estupendo trabajo, que más tarde fue versionado por U2 y Billy Preston, entre otros. A continuación, juzgaremos nosotros si hubo tal plagio o no, escuchando He's So Fine interpretada por The Chiffons y acto seguido My sweet lord intepretada por George Harrison.

Audio Sleep Aids Friday, August 19, 2022 1O, Mickey You're So Fine! or the The Cat Came Back 2Computer Hitches and Glitches, 3Podcast recommendation 4Audio Sleep Aids 5A Potential Author 6A Lovely Lunch 7The JAWS Buzz 8Echo Order Confusion 9What's He

Welcome, Melissa to the podcast.  Her unique situation of eventually getting divorced, living in the same house with the future ex and kids, and both her and her soon-to-be-ex in relationships - was hard to swallow at first.  But, the life lessons and knowledge she drops on us really makes it all seem plausible.  We started with the top ten ways to make it work but ended up with fifteen.  What is more interesting is that all of her points can be applied to all three phases of divorce - the pre, during, and post phases.  Topics of spewing pain and trauma, mason jars on the shelf, baseball should be fun, the Rage Room, swallowing vomit, random dance parties, chewing food loudly, Fruity Pebbles, Kyle Gray and Cutting Cords, Oh Mickey You're So Fine, finding a unicorn and the house is sacred are only a few pearls discussed during the show.  Melissa must come back!  Thanks, Rachel. Enjoy!Kyle Gray Cutting Cords #1Kyle Gray Cutting Cords #2

What a great show. We are joined by Peter Ross, roadie, muso, and rock historian as he takes us on a journey of the songs that shaped Sydney. This is a fascinating insight from someone deeply entrenched in the Sydney and Australian music scene for decades.How do you describe Sydney music? Rossy takes us on a journey where the Aussie rock sound was born, completely dangerous complete only with down strokes. (up strokes is cheating apparently) Paying homage to the originators and then plotting a path to the present day. This is an episode not to miss.-----------------------------------------------------------Songs Played.Johny O'Keefe - Wild One - https://www.youtube.com/watch?v=ZF9rS90U3-ULittle Pattie - Stompin' at Maroubra - https://www.youtube.com/watch?v=LTugUfEb_f4Easybeats - She's So Fine - https://www.youtube.com/watch?v=osGm7fIKFZEAC/DC - It's a Long Way to the Top if You Want to Rock and Roll - https://www.youtube.com/watch?v=eQluGs2SFRs (Blocked on Video)Radio Birdman - New Race - https://youtu.be/5W4x5qHG9sQCold Chisel - Breakfast at Sweethearts - https://www.youtube.com/watch?v=Oh1wk15aHiwLime Spiders - Slave Girl - https://www.youtube.com/watch?v=Soav3mdNY_YThe Vines - Get Free - https://www.youtube.com/watch?v=asOvnGHwtDU-----------------------------------------------------------Mick Blood - Lime Light is available through the Lime Spiders Facebook Page. - https://www.facebook.com/Lime-Spiders-445741975508514Chris Masuak Faith and Practice in Bedlam is available at https://www.highvoltagepublishing.com/product/chris-masuak-faith-and-practice-in-bedlam———————————————————————————-Follow our SocialsYouTube – https://www.youtube.com/c/UnfilteredUndiscovered/featuredFacebook – https://www.facebook.com/unfilteredundiscoveredTikTok – https://www.tiktok.com/@unfilteredundiscoveredCheck Out our Website: https://unfilteredandundiscovered.com/Enjoy our Spotify PlaylistsUnfiltered & Undiscovered –https://open.spotify.com/playlist/5R84KLNeq7MhDewUtFJuqeUnfiltered Protest Songs https://open.spotify.com/playlist/2GTQ9aEQvxnVzRojKgtPdU?si=1fa4aadcd2244e15Undiscovered Covers Uncovered https://open.spotify.com/playlist/0hnG997ahqqtI10PIlmohY?si=5faa9e38f38649bdIn the words of the great Songwriter Billy Bragg“If no one seems to understandStart your own revolution and cut out the middleman”Thanks for tuning in#newmusic #rockandroll #undiscovered #unfiltered #newmusic #braggy #curly #aussiemusicshow #sydney #brisbane #adelaide #sundaysession #accoustic #vinylrecords #detroit #centralcoast #newcastle #railmotor#album #spotify #podcast #funhouse #legacy #halloffame #justexist #darkness #badlands #vinyl #album #newmusic #rejects

 | Take Me Away  | Melba Moore  | 2022 | Cause I Love You  | Michon Young  | 2022 | Put A Smile On Your Face  | E.J. & The Echoes  | 1967 | Worth  | J.Gabrielle  | 2022 | Are We So Far Apart (We Can't Talk Anymore) (12" Mix)  | Ronnie Dyson feat. Vicki Austin  | 1991 | I've Got To Keep On Loving You  | The Moments  | 1970 | I Hold The Key  | Nelson Sanders  | 1970 | Old School Lovin'  | Chante Moore  | 1994 | California Dreamin'  | Color Me Badd  | 2022 | Love Is The Light  | Smokey Robinson  | 1990 | Remember  | Pierre Anthony  | 2022 | Hold Me Accountable  | Gary Taylor  | 1993 | Waiting For Your Love (feat. Brendalynn McKinney)  | Raheem Devaughn  | 2022 | Win Or Lose  | Windy City  | 1977 | Trade Of Hearts  | Thee Sacred Souls  | 2022 | Mirrors Don't Ever Lie  | Uptights Band  | 1976 | Music  | Petawane  | 2022 | Don't Let Me Down  | The Velvet Touch  | 1989 | I Won't Remember Ever Loving You  | Walter Jackson  | 1978 | You Turned My World Around  | Ray, Goodman & Brown  | 1982 | It's Like Magic  | Blue Magic  | 1989 | Not Enough Love  | The Ethics  | 2003 | Never Gonna Leave You  | Eddie Kendricks  | 1976 | Girl Your Love's So Fine  | Mac Band feat. The McCampbell Brothers  | 1988 | Desire  | Nicole  | 1988 | Let Me Try  | Crosstown Express  | 1977 | Person To Person  | Vesta Williams  | 1991 | Helpless Man  | The True Reflection  | 1973

Zig Zag + Rufus + You = FUN! Editing Wikipedia LIVE"So Fine" MoviePantsBottled WaterJeopardy!Stevie Ray Vaughan / The Who / Jimi HendrixSimulation Theory  

Regresamos a Guns N’ Roses y haciendo un ejercicio de imaginación hemos unido los dos álbumes Use Your Illusion (1991). Ricardo Portmán ha realizado su propia selección de cómo pudo ser (y nos cuenta la historia de cada canción) y el resultado es muy potente. Escucharemos Civil War, Dust N' Bones, Yesterdays, Dead Horse, Knockin’ on Heaven’s Door, November Rain, You Ain't the First, Bad Obsession, 14 Years, Don’t Cry, Double Talkin' Jive, So Fine, You Could Be Mine y Estranged Recuerden que nuestros programas los pueden escuchar también en nuestra web https://ecosdelvinilo.com y en la emisora https://distanciaradio.com (Córdoba) los miércoles a las 18:00 y domingos a las 23:00.

Welcome to the Instant Trivia podcast episode 382, where we ask the best trivia on the Internet. Round 1. Category: Hit Songs 1: "Smoke on the Water" was a 1973 hit for this British band. Deep Purple. 2: In 1987 jazz vocalist Al Jarreau had a pop hit with the theme from this Cybill Shepherd-Bruce Willis series. Moonlighting. 3: This song by Christina Aguilera says, "You are" this, "no matter what they say" and "in every single way". beautiful. 4: This group's gold records include "After the Love has Gone", "Boogie Wonderland" and "Let's Groove". Earth, Wind and Fire. 5: "Uh Huh" and "Girlfriend" are hit songs by this foursome of Omarion, J Boog, Raz B and Lil Fizz. B2K. Round 2. Category: Sports Illustrated Almanac Listings 1: "Stripped of title in 1967 because he refused to serve in the Vietnam War. Career record 56-5 with 37 KOs". Muhammad Ali. 2: "Baseball OF. 'Hammerin' Hank'...Career span 1954-76". Hank Aaron. 3: "'Mean Joe'...Selected for Pro Bowl 10 times. Played on four Super Bowl champions". "Mean Joe" Greene. 4: "First black man to win... Australian Open... and Wimbledon singles titles". Arthur Ashe. 5: "Soccer player...(She) debuted with national team against China on 8-3-87 as its youngest player ever, at age 15". Mia Hamm. Round 3. Category: Tv Catchphrases 1: "The Truth Is Out There". The X-Files. 2: "Oh my God! They killed Kenny!". South Park. 3: "Suit up!". How I Met Your Mother. 4: "Suit up!". How I Met Your Mother. 5: "God'll get you for that, Walter". Maude. Round 4. Category: What A Year! 1: (Hi, I'm Tyler Christopher of General Hospital.) In this year, ABC gave "G.H." a shot on TV, "He's So Fine" shot up to No. 1 and JFK visited the Berlin Wall. 1963. 2: Dewaele won the Tour de France, Coco Chanel was the toast of Paris and Sacre Bleu!, the market crashed in this year. 1929. 3: This year saw Hitler hit Moscow, Yamamoto hit Pearl Harbor and DiMaggio hit in 56 straight games. 1941. 4: In this year, "Rock Around The Clock" was recorded, Roger Bannister beat the clock and Henri Matisse clocked out. 1954. 5: In this year, Teddy became president, Eddie became king and Nicky became father of Anastasia. 1901. Round 5. Category: Mr. Businessman 1: This stout fellow was the first lord mayor of Dublin. (Sir Benjamin) Guinness. 2: In 1945 he became president of a Dearborn, Michigan car company started by his grandfather. Henry Ford II. 3: Conrad Hilton started with a hotel in 1919; James Christie started with one of these houses in 1766. auction house. 4: He founded his pencil company in 1925 and in 1957 bought Occidental Petroleum. Armand Hammer. 5: Giovanni Agnelli made a pronouncement in 1899: he was founding this Italian auto company. Fiat. Thanks for listening! Come back tomorrow for more exciting trivia!

Welcome to the Instant Trivia podcast episode 362, where we ask the best trivia on the Internet. Round 1. Category: 30 Years' War Call-In 1: (Alex: To start us off in this category, here's a "caller" from Saxony) If Holy Roman Emperor Ferdinand II keeps trying to impose this religion on everyone, there'll be hell to pay. Catholicism. 2: (Alex: Ah, some strange news from Turin now) It's crazy -- the Citadel is under this, similar to a blockade, from an army that's also under this from another army. siege. 3: (Alex: Well, on the line right now is General Albrecht von Wallenstein) Hey, King Christian IV of this Scandinavian country give me your best shot, pal. You got nothing!. Denmark. 4: (Alex: Ah, a prediction from Antwerp.) I say the Dutch are going to stick it to this country's fleet just like England did back in 1588. Spain. 5: (Alex: For our last clue, we have a caller from Italy.) If you think this French cardinal really cares for Mantua's welfare, I have some land in Picardy to sell you. Cardinal Richelieu. Round 2. Category: George And Ringo 1: Ringo and this Beatle joined George on the single "All Those Years Ago". Paul McCartney. 2: Ringo Starr was born with this name on July 7, 1940 in Liverpool. Richard Starkey. 3: George said this song was inspired by "O Happy Day", but others suggest "He's So Fine". My Sweet Lord. 4: For Ringo, it was Ring-O; for George, Dark Horse. Names of their respective record labels. 5: George and Ringo co-wrote this song that Ringo took to No. 1 in 1973. Photograph. Round 3. Category: Steven Spielberg 1: As a child, the first film Steven ever saw was this Cecil B. DeMille circus extravaganza. The Greatest Show on Earth. 2: Vilmos Zsigmond won an Oscar as Steven's cinematographer on this 1977 sci-fi hit. Close Encounters of the Third Kind. 3: A critic once compared the panic on the beach scene in "Jaws" to this film's "Odessa Steps" sequence. Battleship Potemkin. 4: Steven directed Joan Crawford in the pilot for this innovative Rod Serling anthology. Night Gallery. 5: This 22-minute Spielberg film about 2 people who hitchhike west lends its name to one of his companies. Amblin'. Round 4. Category: Our Government 1: This group that meets in the Capitol started in 1789 with 22 members and now has 100. Senate. 2: Instead of a president, each of the states has this chief executive. Governor. 3: The U.S. Constitution has 7 articles and 27 of these additions. Amendments. 4: NASA, which was created in 1958, stands for National Aeronautics and this Administration. Space. 5: Justice Department head Janet Reno isn't called the Secretary of Justice, but this. Attorney General. Round 5. Category: Steam 1: They're the two chemical elements that make up steam. hydrogen and oxygen. 2: In central heating systems using steam, this is the equivalent of a furnace. boiler. 3: Steam well above the temperature where it condenses into liquid isn't just heated, it's this. superheated. 4: Most of the world's electriic power comes from steam turning the wheels of this type of machine. turbine. 5: One of this Scotsman's big ideas was using the expansion of steam to complete a piston stroke. James Watt. Thanks for listening! Come back tomorrow for more exciting trivia!

I dag er det "So Fine" fra UYI2 vi tar for oss. Hør om Slashs telepromter-prank og hvem som steppa inn for Dizzy på denne!

Nach der Trennung der Beatles war “All Things Must Pass” das erste Soloalbum von George Harrison. Auf dem hat George Harrison der Welt gleich mal gezeigt, wie viele tolle Songs er noch im Köcher hatte. Und der angeblich so stille Beatle lässt es mal so richtig krachen, gleich drei LPs hat das Album. “All Things Must Pass” ist nicht nur umfangreich, sondern auch sehr erfolgreich. Vor allem erfolgreicher als die Debüt-Soloalben der Beatles Kollegen John Lennon, Paul McCartney und Ringo Starr. Für George Harrison gibt es auf diesem Album drei wichtige Themen. Zum einen war das die Freundschaft zu Folklegende Bob Dylan. Dass alle Mitglieder der Beatles große Bob Dylan-Fans waren und sie sich mehrfach getroffen haben, ist kein großes Geheimnis. Aber die Beziehung zwischen Bob Dylan und George Harrison war eine ganz besondere und das hört man auch auf dem Album. Zum Beispiel auch in dem Song “Behind That Locked Door”, den George Harrison direkt an Bob Dylan gerichtet hat, um den zurückgezogenen Dylan Mut zuzusprechen, sich wieder in der Öffentlichkeit zu zeigen. Das ist aber nicht der einzige Song, in dem wir die deutlichen Vibes zwischen Harrison und Dylan spüren. Auch die Spiritualität war für George Harrison ein wichtiges Thema, genauso wie die schlussendliche Loslösung von den Beatles. Was man ganz deutlich auch im Song “Wah-Wah” hört. Hier verarbeitet George Harrison hörbar die Endphase der Beatles. __________ Über diese Songs vom Album “All Things Must Pass” wird im Podcast gesprochen: 07:10 Mins – “I'd Have You Anytime” 15:33 Mins – “If Not For You”  17:22 Mins – “Behind That Locked Door” 25:29 Mins – “My Sweet Lord” 35:49 Mins – “All Things Must Pass”    40:12 Mins – “Wah-Wah” 49:17 Mins – “Apple Scruffs” __________  Weitere Songbeispiele aus dem Podcast: 05:15 Mins – “Ohio” von Crosby, Stills, Nash & Young 06:21 Mins – “All Along The Watchtower” von Jimi Hendrix  15:33 Mins – “If Not For You” von Bob Dylan  27:21 Mins – “My Sweet Lord” von Billy Preston 33:07 Mins – “He's So Fine” von The Chiffons __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Há 30 anos o GUNS 'N ROSES cometia a ousadia de lançar dois álbuns simultâneos, totalizando 30 músicas inéditas. USE YOUR ILUSION I e II foram sucesso no mundo todo e solidificaram o Guns como a maior banda de rock do momento. Neste episódio, convidamos Daniel Iserhard ( http://crazymetalmind.com ) para tomar uma e debater o USE YOUR ILUSION II (assista a nossa resenha do "USE YOUR ILUSION I" neste link: https://youtu.be/nVWeiHu7onI ). Tracklist: 1. "Civil War" 2. "14 Years" 3. "Yesterdays" 4. "Knockin' on Heaven's Door" 5. "Get in the Ring" 6. "Shotgun Blues" 7. "Breakdown" 8. "Pretty Tied Up" 9. "Locomotive" 10. "So Fine" 11. "Estranged" 12. "You Could Be Mine" 13. "Don't Cry" (letra alternativa) 14. "My World" Formação: W. Axl Rose - vocais, piano, guitarra rítmica em "Shotgun Blues", sintetizador e caixa de ritmos em "My World" Slash - guitarra solo, guitarra acústica em "Civil War", banjo em "Breakdown" Izzy Stradlin - guitarra rítmica, backing vocals, vocais em "14 Years", guitarra acústica em "Breakdown", sitar em "Pretty Tied Up" Duff McKagan - baixo, backing vocals, vocais em "So Fine", percussão em "Locomotive" Matt Sorum - bateria, backing vocals, percussão Dizzy Reed - teclados, piano, backing vocals, orgão em "Yesterdays" #GunsNRoses #UseYourIllusion #review ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Acesso antecipado aos vídeos novos do canal, seu nome divulgado durante os vídeos em agradecimento e outros conteúdos exclusivos! Além disso, terá um selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos. ROCKSTAR (R$ 4,99 por mês) Além de todos os benefícios anteriores, você ganha acesso ao nosso grupo exclusivo no WhatsApp. Nele, você fará parte de uma incrível comunidade de aficcionados por música. Você também interage diretamente com os criadores, dá nota nas resenhas, deixa perguntas para as entrevistas e participa de várias outras maneiras da criação de conteúdo no canal. METAL GOD (R$ 7,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda para a nossa criação de conteúdo, você pode ESCOLHER TEMA DE EPISÓDIO. Dentro da temática do canal, é claro. SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

Aquí estamos de nuevo en “La Hora Rockdelux”. Con George Harrison y su “My Sweet Lord” (con sus distintas “inspiraciones”), los incendios de The Bug (con Moor Mother) y Tony Seltzer (con Wiki), además de una mirada al pozo de “The Bootleg Series” de Dylan, los hitos del mejor Kanye West, el folk supremo de la canadiense Myriam Gendron y una de las piezas de Zbigniew Preisner para la “Trilogía de los colores” de Kie?lowski. Música para nuestras plegarias atendidas.01 Myriam Gendron “Go Away From My Window”02 Bob Dylan “I Pity The Poor Immigrant (Take 4)”03 Kanye West “Runaway”04 Kanye West “All Of The Lights”05 Tony Seltzer feat. Wiki “Blood Covered”06 The Bug feat. Moor Mother “Vexed”07 George Harrison “My Sweet Lord”08 The Chiffons “He's So Fine”09 Edwin Hawkins Singers “Oh Happy Day”10 The Chiffons “My Sweet Lord”11 Zbigniew Preisner “Finale”

Episode 134 of A History of Rock Music in Five Hundred Songs looks at “In the Midnight Hour", the links between Stax, Atlantic, and Detroit, and the career of Wilson Pickett. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Mercy Mercy" by Don Covay. 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/ Errata I say “After Arthur Alexander had moved on to Monument Records” – I meant to say “Dot Records” here, the label that Alexander moved to *before* Monument. I also misspeak at one point and say "keyboard player Chips Moman", when I mean to say "keyboard player Spooner Oldham". This is correct in the transcript/script, I just misread it. Resources No Mixcloud this week, as there are too many songs by Pickett. The main resource I used for the biographical details of Wilson Pickett was In the Midnight Hour: The Life and Soul of Wilson Pickett. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. The episodes of Cocaine and Rhinestones I reference are the ones on Owen Bradley and the Nashville A-Team. And information on the Falcons comes from Marv Goldberg. Pickett's complete Atlantic albums can be found in this excellent ten-CD set. For those who just want the hits, this single-CD compilation is significantly cheaper. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start, just to say that this episode contains some discussion of domestic abuse, drug use, and abuse of employees by their employer, and one mention of an eating disorder. Also, this episode is much longer than normal, because we've got a lot to fit in. Today we're going to move away from Motown, and have a look at a record recorded in the studios of their great rival Stax records, though not released on that label. But the record we're going to look at is from an artist who was a bridge between the Detroit soul of Motown and the southern soul of Stax, an artist who had a foot in both camps, and whose music helped to define soul while also being closer than that of any other soul man to the music made by the white rock musicians of the period. We're going to look at Stax, and Muscle Shoals, and Atlantic Records, and at Wilson Pickett and "In the Midnight Hour" [Excerpt: Wilson Pickett: "In the Midnight Hour"] Wilson Pickett never really had a chance. His father, Wilson senior, was known in Alabama for making moonshine whisky, and spent time in prison for doing just that -- and his young son was the only person he told the location of his still. Eventually, Wilson senior moved to Detroit to start earning more money, leaving his family at home at first. Wilson junior and his mother moved up to Detroit to be with his father, but they had to leave his older siblings in Alabama, and his mother would shuttle between Michigan and Alabama, trying vainly to look after all her children. Eventually, Wilson's mother got pregnant while she was down in Alabama, which broke up his parents' marriage, and Wilson moved back down to Alabama permanently, to live on a farm with his mother. But he never got on with his mother, who was physically abusive to him -- as he himself would later be to his children, and to his partners, and to his bandmates. The one thing that Wilson did enjoy about his life in Alabama was the gospel music, and he became particularly enamoured of two gospel singers, Archie Brownlee of the Five Blind Boys of Mississippi: [Excerpt: The Mississippi Blind Boys, "Will My Jesus Be Waiting?"] And Julius Cheeks of the Sensational Nightingales: [Excerpt: The Sensational Nightingales, "God's World Will Never Pass Away"] Wilson determined to become a gospel singer himself, but he couldn't stand living with his mother in rural Alabama, and decided to move up to be with his father and his father's new girlfriend in Detroit.  Once he moved to Detroit, he started attending Northwestern High School, which at the time was also being attended by Norman Whitfield, Florence Ballard, and Melvin Franklin. Pickett also became friendly with Aretha Franklin, though she didn't attend the same school -- she went to school at Northern, with Smokey Robinson -- and he started attending services at New Bethel Church, the church where her father preached. This was partly because Rev. Franklin was one of the most dynamic preachers around, but also because New Bethel Church would regularly feature performances by the most important gospel performers of the time -- Pickett saw the Soul Stirrers perform there, with Sam Cooke singing lead, and of course also saw Aretha singing there. He joined a few gospel groups, first joining one called the Sons of Zion, but he was soon poached by a more successful group, the Violinaires. It was with the Violinaires that he made what is almost certainly his first recording -- a track that was released as a promo single, but never got a wide release at the time: [Excerpt: The Violinaires, "Sign of the Judgement"] The Violinaires were only moderately successful on the gospel circuit, but Pickett was already sure he was destined for bigger things. He had a rivalry with David Ruffin, in particular, constantly mocking Ruffin and saying that he would never amount to anything, while Wilson Pickett was the greatest. But after a while, he realised that gospel wasn't where he was going to make his mark. Partly his change in direction was motivated by financial concern -- he'd physically attacked his father and been kicked out of his home, and he was also married while still a teenager, and had a kid who needed feeding. But also, he was aware of a certain level of hypocrisy among his more religious acquaintances. Aretha Franklin had two kids, aged only sixteen, and her father, the Reverend Franklin, had fathered a child with a twelve-year-old, was having an affair with the gospel singer Clara Ward, and was hanging around blues clubs all the time. Most importantly, he realised that the audiences he was singing to in church on Sunday morning were mostly still drunk from Saturday night. As he later put it "I might as well be singing rock 'n' roll as singing to a drunken audience. I might as well make me some money." And this is where the Falcons came in. The Falcons were a doo-wop group that had been formed by a Black singer, Eddie Floyd, and a white singer, Bob Manardo. They'd both recruited friends, including bass singer Willie Schofield, and after performing locally they'd decided to travel to Chicago to audition for Mercury Records. When they got there, they found that you couldn't audition for Mercury in Chicago, you had to go to New York, but they somehow persuaded the label to sign them anyway -- in part because an integrated group was an unusual thing. They recorded one single for Mercury, produced by Willie Dixon who was moonlighting from Chess: [Excerpt: The Falcons, "Baby That's It"] But then Manardo was drafted, and the group's other white member, Tom Shetler, decided to join up along with him. The group went through some other lineup changes, and ended up as Eddie Floyd, Willie Schofield, Mack Rice, guitarist Lance Finnie, and lead singer Joe Stubbs, brother of Levi. The group released several singles on small labels owned by their manager, before having a big hit with "You're So Fine", the record we heard about them recording last episode: [Excerpt: The Falcons, "You're So Fine"] That made number two on the R&B charts and number seventeen on the pop charts. They recorded several follow-ups, including "Just For Your Love", which made number 26 on the R&B charts: [Excerpt: The Falcons, "Just For Your Love"] To give you some idea of just how interrelated all the different small R&B labels were at this point, that was originally recorded and released on Chess records. But as Roquel Davis was at that point working for Chess, he managed to get the rights to reissue it on Anna Records, the label he co-owned with the Gordy sisters -- and the re-released record was distributed by Gone Records, one of George Goldner's labels. The group also started to tour supporting Marv Johnson. But Willie Schofield was becoming dissatisfied. He'd written "You're So Fine", but he'd only made $500 from what he was told was a million-selling record. He realised that in the music business, the real money was on the business side, not the music side, so while staying in the Falcons he decided he was going to go into management too. He found the artist he was going to manage while he was walking to his car, and heard somebody in one of the buildings he passed singing Elmore James' then-current blues hit "The Sky is Crying": [Excerpt: Elmore James, "The Sky is Crying"] The person he heard singing that song, and accompanying himself on acoustic guitar, was of course Wilson Pickett, and Schofield signed him up to a management contract -- and Pickett was eager to sign, knowing that Schofield was a successful performer himself. The intention was at first that Schofield would manage Pickett as a solo performer, but then Joe Stubbs got ideas above his station, and started insisting that the group be called "Joe Stubbs and the Falcons", which put the others' backs up, and soon Stubbs was out of the group. This experience may have been something that his brother later had in mind -- in the late sixties, when Motown started trying to promote groups as Lead Singer and The Group, Levi Stubbs always refused to allow his name to go in front of the Four Tops. So the Falcons were without a lead singer. They tried a few other singers in their circle, including Marvin Gaye, but were turned down. So in desperation, they turned to Pickett. This wasn't a great fit -- the group, other than Schofield, thought that Pickett was "too Black", both in that he had too much gospel in his voice, and literally in that he was darker-skinned than the rest of the group (something that Schofield, as someone who was darker than the rest of the group but less dark than Pickett, took offence at). Pickett, in turn, thought that the Falcons were too poppy, and not really the kind of thing he was at all interested in doing. But they were stuck with each other, and had to make the most of it, even though Pickett's early performances were by all accounts fairly dreadful. He apparently came in in the wrong key on at least one occasion, and another time froze up altogether and couldn't sing. Even when he did sing, and in tune, he had no stage presence, and he later said “I would trip up, fall on the stage and the group would rehearse me in the dressing room after every show. I would get mad, ‘cos I wanted to go out and look at the girls as well! They said, ‘No, you got to rehearse, Oscar.' They called me Oscar. I don't know why they called me Oscar, I didn't like that very much.” Soon, Joe Stubbs was back in the group, and there was talk of the group getting rid of Pickett altogether. But then they went into the studio to record a song that Sam Cooke had written for the group, "Pow! You're in Love". The song had been written for Stubbs to sing, but at the last minute they decided to give Pickett the lead instead: [Excerpt: The Falcons, "Pow! You're in Love"] Pickett was now secure as the group's lead singer, but the group weren't having any success with records. They were, though, becoming a phenomenal live act -- so much so that on one tour, where James Brown was the headliner, Brown tried to have the group kicked off the bill, because he felt that Pickett was stealing his thunder. Eventually, the group's manager set up his own record label, Lu Pine Records, which would become best known as the label that released the first record by the Primettes, who later became the Supremes.  Lu Pine released the Falcons' single "I Found a Love",   after the group's management had first shopped it round to other labels to try to get them to put it out: [Excerpt: The Falcons, "I Found a Love"] That song, based on the old Pentecostal hymn "Yes Lord", was written by Pickett and Schofield, but the group's manager, Robert West, also managed to get his name on the credits. The backing group, the Ohio Untouchables, would later go on to become better known as The Ohio Players. One of the labels that had turned that record down was Atlantic Records, because Jerry Wexler hadn't heard any hit potential in the song. But then the record started to become successful locally, and Wexler realised his mistake. He got Lu Pine to do a distribution deal with Atlantic, giving Atlantic full rights to the record, and it became a top ten R&B hit. But by this point, Pickett was sick of working with the Falcons, and he'd decided to start trying for a solo career. His first solo single was on the small label Correc-Tone, and was co-produced by Robert Bateman, and featured the Funk Brothers as instrumental backing, and the Primettes on vocals. I've seen some claims that the Andantes are on there too, but I can't make them out -- but I can certainly make out the future Supremes: [Excerpt: Wilson Pickett, "Let Me Be Your Boy"] That didn't do anything, and Pickett kept recording with the Falcons for a while, as well as putting out his solo records. But then Willie Schofield got drafted, and the group split up. Their manager hired another group, The Fabulous Playboys, to be a new Falcons group, but in 1964 he got shot in a dispute over the management of Mary Wells, and had to give up working in the music industry. Pickett's next single, which he co-wrote with Robert Bateman and Sonny Schofield, was to be the record that changed his career forever. "If You Need Me" once again featured the Funk Brothers and the Andantes, and was recorded for Correc-Tone: [Excerpt: Wilson Pickett, "If You Need Me"] Jerry Wexler was again given the opportunity to put the record out on Atlantic, and once again decided against it. Instead, he offered to buy the song's publishing, and he got Solomon Burke to record it, in a version produced by Bert Berns: [Excerpt: Solomon Burke, "If You Need Me"] Burke wasn't fully aware, when he cut that version, that Wilson Pickett, who was his friend, had recorded his own version. He became aware, though, when Double-L Records, a label co-owned by Lloyd Price, bought the Correc-Tone master and released Pickett's version nationally, at the same time as Burke's version came out. The two men were annoyed that they'd been put into unwitting competition, and so started an unofficial nonaggression pact -- every time Burke was brought into a radio station to promote his record, he'd tell the listeners that he was there to promote Wilson Pickett's new single. Meanwhile, when Pickett went to radio stations, he'd take the opportunity to promote the new record he'd written for his good friend Solomon Burke, which the listeners should definitely check out. The result was that both records became hits -- Pickett's scraped the lower reaches of the R&B top thirty, while Burke, as he was the bigger star, made number two on the R&B chart and got into the pop top forty. Pickett followed it up with a soundalike, "It's Too Late", which managed to make the R&B top ten as there was no competition from Burke. At this point, Jerry Wexler realised that he'd twice had the opportunity to release a record with Wilson Pickett singing, twice he'd turned the chance down, and twice the record had become a hit. He realised that it was probably a good idea to sign Pickett directly to Atlantic and avoid missing out. He did check with Pickett if Pickett was annoyed about the Solomon Burke record -- Pickett's response was "I need the bread", and Wilson Pickett was now an Atlantic artist. This was at the point when Atlantic was in something of a commercial slump -- other than the records Bert Berns was producing for the Drifters and Solomon Burke, they were having no hits, and they were regarded as somewhat old-fashioned, rooted in a version of R&B that still showed its roots in jazz, rather than the new sounds that were taking over the industry in the early sixties. But they were still a bigger label than anything else Pickett had recorded for, and he seized the opportunity to move into the big time. To start with, Atlantic teamed Pickett up with someone who seemed like the perfect collaborator -- Don Covay, a soul singer and songwriter who had his roots in hard R&B and gospel music but had written hits for people like Chubby Checker.  The two got together and recorded a song they wrote together, "I'm Gonna Cry (Cry Baby)": [Excerpt: Wilson Pickett, "I'm Gonna Cry (Cry Baby)"] That did nothing commercially -- and gallingly for Pickett, on the same day, Atlantic released a single Covay had written for himself, "Mercy Mercy", and that ended up going to number one on the R&B chart and making the pop top forty. As "I'm Gonna Cry" didn't work out, Atlantic decided to try to change tack, and paired Pickett with their established hitmaker Bert Berns, and a duet partner, Tami Lyn, for what Pickett would later describe as "one of the weirdest sessions on me I ever heard in my life", a duet on a Mann and Weil song, "Come Home Baby": [Excerpt: Wilson Pickett and Tami Lyn, "Come Home Baby"] Pickett later said of that track, "it didn't sell two records", but while it wasn't a hit, it was very popular among musicians -- a few months later Mick Jagger would produce a cover version of it on Immediate Records, with Ronnie Wood, Keith Richards, and the Georgie Fame brass section backing a couple of unknown singers: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] Sadly for Rod Stewart and P.P. Arnold, that didn't get past being issued as a promotional record, and never made it to the shops. Meanwhile, Pickett went out on tour again, substituting on a package tour for Clyde McPhatter, who had to drop out when his sister died. Also on the tour was Pickett's old bandmate from the Falcons, Mack Rice, now performing as Sir Mack Rice, who was promoting a single he'd just released on a small label, which had been produced by Andre Williams. The song had originally been called "Mustang Mama", but Aretha Franklin had suggested he call it "Mustang Sally" instead: [Excerpt: Sir Mack Rice, "Mustang Sally"] Pickett took note of the song, though he didn't record it just yet -- and in the meantime, the song was picked up by the white rock group The Young Rascals, who released their version as the B-side of their number one hit, "Good Lovin'": [Excerpt: The Young Rascals, "Mustang Sally"] Atlantic's problems with having hits weren't only problems with records they made themselves -- they were also having trouble getting any big hits with Stax records. As we discussed in the episode on "Green Onions", Stax were being distributed by Atlantic, and in 1963 they'd had a minor hit with "These Arms of Mine" by Otis Redding: [Excerpt: Otis Redding, "These Arms of Mine"] But throughout 1964, while the label had some R&B success with its established stars, it had no real major breakout hits, and it seemed to be floundering a bit -- it wasn't doing as badly as Atlantic itself, but it wasn't doing wonderfully. It wasn't until the end of the year when the label hit on what would become its defining sound, when for the first time Redding collaborated with Stax studio guitarist and producer Steve Cropper on a song: [Excerpt: Otis Redding, "Mr. Pitiful"] That record would point the way towards Redding's great artistic triumphs of the next couple of years, which we'll look at in a future episode. But it also pointed the way towards a possible future sound for Atlantic. Atlantic had signed a soul duo, Sam & Dave, who were wonderful live performers but who had so far not managed to translate those live performances to record. Jerry Wexler thought that perhaps Steve Cropper could help them do that, and made a suggestion to Jim Stewart at Stax -- Atlantic would loan out Sam & Dave to the label. They'd remain signed to Atlantic, but make their records at Stax studios, and they'd be released as Stax records. Their first single for Stax, "A Place Nobody Can Find", was produced by Cropper, and was written by Stax songwriter Dave Porter: [Excerpt: Sam and Dave, "A Place Nobody Can Find"] That wasn't a hit, but soon Porter would start collaborating with another songwriter, Isaac Hayes, and would write a string of hits for the duo. But in order to formalise the loan-out of Sam and Dave, Atlantic also wanted to formalise their arrangement with Stax. Previously they'd operated on a handshake basis -- Wexler and Stewart had a mutual respect, and they simply agreed that Stax would give Atlantic the option to distribute their stuff. But now they entered into a formal, long-term contract, and for a nominal sum of one dollar, Jim Stewart gave Atlantic the distribution rights to all past Stax records and to all future records they released for the next few years. Or at least, Stewart *thought* that the agreement he was making was formalising the distribution agreement. What the contract actually said -- and Stewart never bothered to have this checked over by an entertainment lawyer, because he trusted Wexler -- was that Stax would, for the sum of one dollar, give Atlantic *permanent ownership* of all their records, in return. The precise wording was "You hereby sell, assign and transfer to us, our successors or assigns, absolutely and forever and without any limitations or restrictions whatever, not specifically set forth herein, the entire right, title and interest in and to each of such masters and to each of the performances embodied thereon." Jerry Wexler would later insist that he had no idea that particular clause was in the contract, and that it had been slipped in there by the lawyers. Jim Stewart still thought of himself as the owner of an independent record label, but without realising it he'd effectively become an employee of Atlantic. Atlantic started to take advantage of this new arrangement by sending other artists down to Memphis to record with the Stax musicians. Unlike Sam and Dave, these would still be released as Atlantic records rather than Stax ones, and Jerry Wexler and Atlantic's engineer Tom Dowd would be involved  in the production, but the records would be made by the Stax team. The first artist to benefit from this new arrangement was Wilson Pickett, who had been wanting to work at Stax for a while, being a big fan of Otis Redding in particular. Pickett was teamed up with Steve Cropper, and together they wrote the song that would define Pickett's career. The seeds of "In the Midnight Hour" come from two earlier recordings. One is a line from his record with the Falcons, "I Found a Love": [Excerpt: The Falcons, "I Found a Love"] The other is a line from a record that Clyde McPhatter had made with Billy Ward and the Dominoes back in 1951: [Excerpt: Billy Ward and the Dominoes, "Do Something For Me"] Those lines about a "midnight hour" and "love come tumbling down" were turned into the song that would make Pickett's name, but exactly who did what has been the cause of some disagreement. The official story is that Steve Cropper took those lines and worked with Pickett to write the song, as a straight collaboration. Most of the time, though, Pickett would claim that he'd written the song entirely by himself, and that Cropper had stolen the credit for that and their other credited collaborations. But other times he would admit "He worked with me quite a bit on that one". Floyd Newman, a regular horn player at Stax, would back up Pickett, saying "Every artist that came in here, they'd have their songs all together, but when they leave they had to give up a piece of it, to a certain person. But this person, you couldn't be mad at him, because he didn't own Stax, Jim Stewart owned Stax. And this guy was doing what Jim Stewart told him to do, so you can't be mad at him." But on the other hand, Willie Schofield, who collaborated with Pickett on "I Found a Love", said of writing that "Pickett didn't have any chord pattern. He had a couple of lyrics. I'm working with him, giving him the chord change, the feel of it. Then we're going in the studio and I've gotta show the band how to play it because we didn't have arrangers. That's part of the songwriting. But he didn't understand. He felt he wrote the lyrics so that's it." Given that Cropper didn't take the writing credit on several other records he participated in, that he did have a consistent pattern of making classic hit records, that "In the Midnight Hour" is stylistically utterly different from Pickett's earlier work but very similar to songs like "Mr. Pitiful" cowritten by Cropper, and Pickett's longstanding habit of being dismissive of anyone else's contributions to his success, I think the most likely version of events is that Cropper did have a lot to do with how the song came together, and probably deserves his credit, but we'll never know for sure exactly what went on in their collaboration. Whoever wrote it, "In the Midnight Hour" became one of the all-time classics of soul: [Excerpt: Wilson Pickett, "In the Midnight Hour"] But another factor in making the record a success -- and in helping reinvent the Stax sound -- was actually Jerry Wexler. Wexler had started attending sessions at the Stax studios, and was astonished by how different the recording process was in the South. And Wexler had his own input into the session that produced "In the Midnight Hour". His main suggestion was that rather than play the complicated part that Cropper had come up with, the guitarist should simplify, and just play chords along with Al Jackson's snare drum. Wexler was enthusing about a new dance craze called the Jerk, which had recently been the subject of a hit record by a group called the Larks: [Excerpt: The Larks, "The Jerk"] The Jerk, as Wexler demonstrated it to the bemused musicians, involved accenting the second and fourth beats of the bar, and delaying them very slightly. And this happened to fit very well with the Stax studio sound. The Stax studio was a large room, with quite a lot of reverb, and the musicians played together without using headphones, listening to the room sound. Because of this, to stay in time, Steve Cropper had started taking his cue not just from the sound, but from watching Al Jackson's left hand going to the snare drum. This had led to him playing when he saw Jackson's hand go down on the two and four, rather than when the sound of the snare drum reached his ears -- a tiny, fraction-of-a-second, anticipation of the beat, before everyone would get back in sync on the one of the next bar, as Jackson hit the kick drum. This had in turn evolved into the whole group playing the backbeat with a fractional delay, hitting it a tiny bit late -- as if you're listening to the echo of those beats rather than to the beat itself. If anyone other than utterly exceptional musicians had tried this, it would have ended up as a car crash, but Jackson was one of the best timekeepers in the business, and many musicians would say that at this point in time Steve Cropper was *the* best rhythm guitarist in the world, so instead it gave the performances just enough sense of looseness to make them exciting. This slight delayed backbeat was something the musicians had naturally fallen into doing, but it fit so well with Wexler's conception of the Jerk that they started deliberately exaggerating it -- still only delaying the backbeat minutely, but enough to give the record a very different sound from anything that was out there: [Excerpt: Wilson Pickett, "In the Midnight Hour"] That delayed backbeat sound would become the signature sound of Stax for the next several years, and you will hear it on the run of classic singles they would put out for the next few years by Otis Redding, Sam & Dave, Carla Thomas, Booker T. and the MGs, Eddie Floyd and others. The sound of that beat is given extra emphasis by the utter simplicity of Al Jackson's playing. Jackson had a minimalist drum kit, but played it even more minimally -- other than the occasional fill, he never hit his tom at all, just using the kick drum, snare, and hi-hat -- and the hi-hat was not even miced, with any hi-hat on the actual records just being the result of leakage from the other mics. But that simplicity gave the Stax records a power that almost no other records from the period had: [Excerpt: Wilson Pickett, "In the Midnight Hour"] "In the Midnight Hour" made number one on the R&B charts, and made number twenty-one on the pop charts, instantly turning Pickett from an also-ran into one of the major stars of soul music. The follow-up, a soundalike called "Don't Fight It", also made the top five on the R&B charts. At his next session, Pickett was reunited with his old bandmate Eddie Floyd. Floyd would soon go on to have his own hits at Stax, most notably with "Knock on Wood", but at this point he was working as a staff songwriter at Stax, coming up with songs like "Comfort Me" for Carla Thomas: [Excerpt: Carla Thomas, "Comfort Me"] Floyd had teamed up with Steve Cropper, and they'd been... shall we say, "inspired"... by a hit for the Marvelettes, "Beechwood 45789", written by Marvin Gaye, Gwen Gordy and Mickey Stevenson: [Excerpt: The Marvelettes, "Beechwood 45789"] Cropper and Floyd had come up with their own song, "634-5789", which Pickett recorded, and which became an even bigger hit than "In the Midnight Hour", making number thirteen on the pop charts as well as being Pickett's second R&B number one: [Excerpt: Wilson Pickett, "634-5789"] At the same session, they cut another single. This one was inspired by an old gospel song, "Ninety-Nine and One Half Won't Do", recorded by Sister Rosetta Tharpe among others: [Excerpt: Sister Rosetta Tharpe, "Ninety-Nine and One Half Won't Do"] The song was rewritten by Floyd, Cropper, and Pickett, and was also a moderate R&B hit, though nowhere as big as "634-5789": [Excerpt: Wilson Pickett, "Ninety-Nine and One Half Won't Do"] That would be the last single that Pickett recorded at Stax, though -- though the reasoning has never been quite clear. Pickett was, to put it as mildly as possible, a difficult man to work with, and he seems to have had some kind of falling out with Jim Stewart -- though Stewart always said that the problem was actually that Pickett didn't get on with the musicians. But the musicians disagree, saying they had a good working relationship -- Pickett was often an awful person, but only when drunk, and he was always sober in the studio. It seems likely, actually, that Pickett's move away from the Stax studios was more to do with someone else -- Pickett's friend Don Covay was another Atlantic artist recording at Stax, and Pickett had travelled down with him when Covay had recorded "See Saw" there: [Excerpt: Don Covay, "See Saw"] Everyone involved agreed that Covay was an eccentric personality, and that he rubbed Jim Stewart up the wrong way. There is also a feeling among some that Stewart started to resent the way Stax's sound was being used for Atlantic artists, like he was "giving away" hits, even though Stax's company got the publishing on the songs Cropper was co-writing, and he was being paid for the studio time. Either way, after that session, Atlantic didn't send any of its artists down to Stax, other than Sam & Dave, who Stax regarded as their own artists. Pickett would never again record at Stax, and possibly coincidentally once he stopped writing songs with Steve Cropper he would also never again have a major hit record with a self-penned song. But Jerry Wexler still wanted to keep working in Southern studios, and with Southern musicians, and so he took Pickett to FAME studios, in Muscle Shoals, Alabama. We looked, back in the episode on Arthur Alexander, at the start of FAME studios, but after Arthur Alexander had moved on to Monument Records, Rick Hall had turned FAME into a home for R&B singers looking for crossover success. While Stax employed both Black and white musicians, FAME studios had an all-white rhythm section, with a background in country music, but that had turned out to be absolutely perfect for performers like the soul singer Joe Tex, who had himself started out in country before switching to soul, and who recorded classics like "Hold What You Got" at the studio: [Excerpt: Joe Tex, "Hold What You Got"] That had been released on FAME's record label, and Jerry Wexler had been impressed and had told Rick Hall to call him the next time he thought he had a hit. When Hall did call Wexler, Wexler was annoyed -- Hall phoned him in the middle of a party. But Hall was insistent. "You said to call you next time I've got a hit, and this is a number one". Wexler relented and listened to the record down the phone. This is what he heard: [Excerpt: Percy Sledge, "When a Man Loves a Woman"] Atlantic snapped up "When a Man Loves a Woman" by Percy Sledge, and it went to number one on the pop charts -- the first record from any of the Southern soul studios to do so. In Wexler's eyes, FAME was now the new Stax. Wexler had a bit of culture shock when working at FAME, as it was totally unlike anything he'd experienced before. The records he'd been involved with in New York had been mostly recorded by slumming jazz musicians, very technical players who would read the music from charts, and Stax had had Steve Cropper as de facto musical director, leading the musicians and working out their parts with them. By contrast, the process used at FAME, and at most of the other studios in what Charles Hughes describes as the "country-soul triangle" of Memphis, Muscle Shoals, and Nashville, was the process that had been developed by Owen Bradley and the Nashville A-Team in Nashville (and for a fuller description of this, see the excellent episodes on Bradley and the A-Team in the great country music podcast Cocaine and Rhinestones). The musicians would hear a play through of the song by its writer, or a demo, would note down the chord sequences using the Nashville number system rather than a more detailed score, do a single run-through to get the balance right, and then record. Very few songs required a second take. For Pickett's first session at FAME, and most subsequent ones, the FAME rhythm section of keyboard player Spooner Oldham, guitarist Jimmy Johnson, bass player Junior Lowe and drummer Roger Hawkins was augmented with a few other players -- Memphis guitarists Chips Moman and Tommy Cogbill, and the horn section who'd played on Pickett's Stax records, moonlighting. And for the first track they recorded there, Wexler wanted them to do something that would become a signature trick for Pickett over the next couple of years -- record a soul cover version of a rock cover version of a soul record. Wexler's thinking was that the best way for Pickett to cross over to a white audience was to do songs that were familiar to them from white pop cover versions, but songs that had originated in Pickett's soul style. At the time, as well, the hard backbeat sound on Pickett's hits was one that was more associated with white rock music than with soul, as was the emphasis on rhythm guitar. To modern ears, Pickett's records are almost the definition of soul music, but at the time they were absolutely considered crossover records. And so in the coming months Pickett would record cover versions of Don Covay's "Mercy Mercy", Solomon Burke's "Everybody Needs Somebody to Love", and Irma Thomas' "Time is on My Side", all of which had been previously covered by the Rolling Stones -- and two of which had their publishing owned by Atlantic's publishing subsidiary. For this single, though, he was recording a song which had started out as a gospel-inspired dance song by the R&B singer Chris Kenner: [Excerpt: Chris Kenner, "Land of a Thousand Dances"] That had been a minor hit towards the bottom end of the Hot One Hundred, but it had been taken up by a lot of other musicians, and become one of those songs everyone did as album filler -- Rufus Thomas had done a version at Stax, for example. But then a Chicano garage band called Cannibal and the Headhunters started performing it live, and their singer forgot the lyrics and just started singing "na na na na", giving the song a chorus it hadn't had in its original version. Their version, a fake-live studio recording, made the top thirty: [Excerpt: Cannibal and the Headhunters, "Land of a Thousand Dances"] Pickett's version was drastically rearranged, and included a guitar riff that Chips Moman had come up with, some new lyrics that Pickett introduced, and a bass intro that Jerry Wexler came up with, a run of semiquavers that Junior Lowe found very difficult to play. The musicians spent so long working on that intro that Pickett got annoyed and decided to take charge. He yelled "Come on! One-two-three!" and the horn players, with the kind of intuition that comes from working together for years, hit a chord in unison. He yelled "One-two-three!" again, and they hit another chord, and Lowe went into the bass part. They'd found their intro. They ran through that opening one more time, then recorded a take: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] At this time, FAME was still recording live onto a single-track tape, and so all the mistakes were caught on tape with no opportunity to fix anything, like when all but one of the horn players forget to come in on the first line of one verse: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] But that kind of mistake only added to the feel of the track, which became Pickett's biggest hit yet -- his third number one on the R&B chart, and his first pop top ten. As the formula of recording a soul cover version of a rock cover version of a soul song had clearly worked, the next single Pickett recorded was "Mustang Sally", which as we saw had originally been an R&B record by Pickett's friend Mack Rice, before being covered by the Young Rascals. Pickett's version, though, became the definitive version: [Excerpt: Wilson Pickett, "Mustang Sally"] But it very nearly wasn't. That was recorded in a single take, and the musicians went into the control room to listen to it -- and the metal capstan on the tape machine flew off while it was rewinding. The tape was cut into dozens of tiny fragments, which the machine threw all over the room in all directions. Everyone was horrified, and Pickett, who was already known for his horrific temper, looked as if he might actually kill someone. Tom Dowd, Atlantic's genius engineer who had been a physicist on the Manhattan Project while still a teenager, wasn't going to let something as minor as that stop him. He told everyone to take a break for half an hour, gathered up all the randomly-thrown bits of tape, and spliced them back together. The completed recording apparently has forty splices in it, which would mean an average of a splice every four seconds. Have a listen to this thirty-second segment and see if you can hear any at all: [Excerpt: Wilson Pickett, "Mustang Sally"] That segment has the one part where I *think* I can hear one splice in the whole track, a place where the rhythm hiccups very slightly -- and that might well just be the drummer trying a fill that didn't quite come off. "Mustang Sally" was another pop top thirty hit, and Wexler's crossover strategy seemed to have been proved right -- so much so that Pickett was now playing pretty much all-white bills. He played, for example, at Murray the K's last ever revue at the Brooklyn Paramount, where the other artists on the bill were Mitch Ryder and the Detroit Wheels, the Young Rascals, Al Kooper's Blues Project, Cream, and the Who. Pickett found the Who extremely unprofessional, with their use of smoke bombs and smashing their instruments, but they eventually became friendly. Pickett's next single was his version of "Everybody Needs Somebody to Love", the Solomon Burke song that the Rolling Stones had also covered, and that was a minor hit, but his next few records after that didn't do particularly well. He did though have a big hit with his cover version of a song by a group called Dyke and the Blazers. Pickett's version of "Funky Broadway" took him to the pop top ten: [Excerpt: Wilson Pickett, "Funky Broadway"] It did something else, as well. You may have noticed that two of the bands on that Paramount bill were groups that get called "blue-eyed soul". "Soul" had originally been a term used for music made by Black people, but increasingly the term was being used by white people for their music, just as rock and roll and rhythm and blues before it had been picked up on by white musicians. And so as in those cases, Black musicians were moving away from the term -- though it would never be abandoned completely -- and towards a new slang term, "funk". And Pickett was the first person to get a song with "funk" in the title onto the pop charts. But that would be the last recording Pickett would do at FAME for a couple of years. As with Stax, Pickett was moved away by Atlantic because of problems with another artist, this time to do with a session with Aretha Franklin that went horribly wrong, which we'll look at in a future episode. From this point on, Pickett would record at American Sound Studios in Memphis, a studio owned and run by Chips Moman, who had played on many of Pickett's records. Again, Pickett was playing with an all-white house band, but brought in a couple of Black musicians -- the saxophone player King Curtis, and Pickett's new touring guitarist, Bobby Womack, who had had a rough few years, being largely ostracised from the music community because of his relationship with Sam Cooke's widow. Womack wrote what might be Pickett's finest song, a song called "I'm in Love" which is a masterpiece of metrical simplicity disguised as complexity -- you could write it all down as being in straight four-four, but the pulse shifts and implies alternating bars of five and three at points: [Excerpt: Wilson Pickett, "I'm In Love"] Womack's playing on those sessions had two effects, one on music history and one on Pickett. The effect on music history was that he developed a strong working relationship with Reggie Young, the guitarist in the American Sound studio band, and Young and Womack learned each other's styles. Young would later go on to be one of the top country session guitarists, playing on records by Merle Haggard, Willie Nelson, Dolly Parton, Kenny Rogers, Waylon Jennings and more, and he was using Womack's style of playing -- he said later "I didn't change a thing. I was playing that Womack style on country records, instead of the hillbilly stuff—it changed the whole bed of country music." The other effect, though, was a much more damaging one. Womack introduced Pickett to cocaine, and Pickett -- who was already an aggressive, violent, abusive, man, became much more so. "I'm in Love" went to number four on the R&B charts, but didn't make the pop top forty. The follow-up, a remake of "Stagger Lee", did decently on the pop charts but less well on the R&B charts. Pickett's audiences were diverging, and he was finding it more difficult to make the two come together. But he would still manage it, sporadically, throughout the sixties. One time when he did was in 1968, when he returned to Muscle Shoals and to FAME studios. In a session there, the guitarist was very insistent that Pickett should cut a version of the Beatles' most recent hit. Now obviously, this is a record that's ahead in our timeline, and which will be covered in a future episode, but I imagine that most of you won't find it too much of a spoiler when I tell you that "Hey Jude" by the Beatles was quite a big hit: [Excerpt: The Beatles, "Hey Jude"] What that guitarist had realised was that the tag of the song gave the perfect opportunity for ad-libbing. You all know the tag: [Excerpt: The Beatles, "Hey Jude"] And so on. That would be perfect for a guitar solo, and for Pickett to do some good soul shouting over. Neither Pickett nor Rick Hall were at all keen -- the Beatles record had only just dropped off number one, and it seemed like a ridiculous idea to both of them. But the guitarist kept pressing to do it, and by the time the other musicians returned from their lunch break, he'd convinced Pickett and Hall. The record starts out fairly straightforward: [Excerpt: Wilson Pickett, "Hey Jude"] But it's on the tag when it comes to life. Pickett later described recording that part -- “He stood right in front of me, as though he was playing every note I was singing. And he was watching me as I sang, and as I screamed, he was screaming with his guitar.”: [Excerpt: Wilson Pickett, "Hey Jude"] That was not Pickett's biggest hit, but it was one of the most influential. It made the career of the guitarist, Duane Allman, who Jerry Wexler insisted on signing to his own contract after that, and as Jimmy Johnson, the rhythm guitarist on the session said, "We realised then that Duane had created southern rock, in that vamp." It was big enough that Wexler pushed Pickett to record a whole series of cover versions of rock songs -- he put out versions of "Hey Joe", "Born to be Wild" and "You Keep Me Hangin' On" -- the latter going back to his old technique of covering a white cover version of a Black record, as his version copied the Vanilla Fudge's arrangement rather than the Supremes' original. But these only had very minor successes -- the most successful of them was his version of "Sugar Sugar" by the Archies. As the sixties turned into the seventies, Pickett continued having some success, but it was more erratic and less consistent. The worlds of Black and white music were drifting apart, and Pickett, who more than most had straddled both worlds, now found himself having success in neither. It didn't help that his cocaine dependency had made him into an egomaniac. At one point in the early seventies, Pickett got a residency in Las Vegas, and was making what by most standards was a great income from it. But he would complain bitterly that he was only playing the small room, not the big one in the same hotel, and that the artist playing the big room was getting better billing than him on the posters. Of course, the artist playing the big room was Elvis Presley, but that didn't matter to Pickett -- he thought he deserved to be at least that big. He was also having regular fights with his record label. Ahmet Ertegun used to tell a story -- and I'm going to repeat it here with one expletive cut out in order to get past Apple's ratings system. In Ertegun's words “Jerry Wexler never liked Crosby, Stills & Nash because they wanted so much freaking artistic autonomy. While we were arguing about this, Wilson Pickett walks in the room and comes up to Jerry and says, ‘Jerry,' and he goes, ‘Wham!' And he puts a pistol on the table. He says, ‘If that [Expletive] Tom Dowd walks into where I'm recording, I'm going to shoot him. And if you walk in, I'm going to shoot you. ‘Oh,' Jerry said. ‘That's okay, Wilson.' Then he walked out. So I said, ‘You want to argue about artistic autonomy?' ” As you can imagine, Atlantic were quite glad to get rid of Pickett when he decided he wanted to move to RCA records, who were finally trying to break into the R&B market. Unfortunately for Pickett, the executive who'd made the decision to sign him soon left the company, and as so often happens when an executive leaves, his pet project becomes the one that everyone's desperate to get rid of.  RCA didn't know how to market records to Black audiences, and didn't really try, and Pickett's voice was becoming damaged from all the cocaine use. He spent the seventies, and eighties going from label to label, trying things like going disco, with no success. He also went from woman to woman, beating them up, and went through band members more and more quickly as he attacked them, too. The guitarist Marc Ribot was in Pickett's band for a short time and said, (and here again I'm cutting out an expletive) " You can write about all the extenuating circumstances, and maybe it needs to be put in historical context, but … You know why guys beat women? Because they can. And it's abuse. That's why employers beat employees, when they can. I've worked with black bandleaders and white bandleaders who are respectful, courteous and generous human beings—and then I've worked with Wilson Pickett." He was becoming more and more paranoid. He didn't turn up for his induction in the rock and roll hall of fame, where he was scheduled to perform -- instead he hid in his house, scared to leave. Pickett was repeatedly arrested throughout this time, and into the nineties, spending some time in prison, and then eventually going into rehab in 1997 after being arrested for beating up his latest partner. She dropped the charges, but the police found the cocaine in his possession and charged him with that. After getting out, he apparently mellowed out somewhat and became much easier to get along with -- still often unpleasant, especially after he'd had a drink, which he never gave up, but far less violent and more easy-going than he had been. He also had something of a comeback, sparked by an appearance in the flop film Blues Brothers 2000. He recorded a blues album, It's Harder Now, and also guested on Adlib, the comeback duets album by his old friend Don Covay, singing with him and cowriting on several songs, including "Nine Times a Man": [Excerpt: Don Covay and Wilson Pickett, "Nine Times a Man"] It's Harder Now was a solid blues-based album, in the vein of similar albums from around that time by people like Solomon Burke, and could have led to Pickett having the same kind of late-career resurgence as Johnny Cash. It was nominated for a Grammy, but lost in the category for which it was nominated to Barry White. Pickett was depressed by the loss and just decided to give up making new music, and just played the oldies circuit until 2004, at which point he became too ill to continue. The duet with Covay would be the last time he went into the studio. The story of Pickett's last year or so is a painful one, with squabbles between his partner and his children over his power of attorney while he spent long periods in hospital, suffering from kidney problems caused by his alcoholism, and also at this point from bulimia, diabetes, and more. He was ill enough that he tried to make amends with his children and his ex-wife, and succeeded as well as anyone can in that situation. On the eighteenth of January 2006, two months before his sixty-fifth birthday, his partner took him to get his hair cut and his moustache shaped, so he'd look the way he wanted to look, they ate together at his assisted living facility, and prayed together, and she left around eleven o'clock that night. Shortly thereafter, Pickett had a heart attack and died, alone, some time close to the midnight hour.

How would you react to accidentally chucking ten million dollars in the bin? Ryan takes Pete down under to uncover whether the Aussies are truly the laid back 'Easy Come, Easy Go' type of people that they are reputed to be. No worries, mate. She'll be right.   Links: David Glasheen (Twitter @RestoDave) | GoFundMe: https://www.gofundme.com/f/saverestorationisland https://www.eli5-bitcoin.com https://www.gizmodo.com.au Music of 'The Easybeats' (Apple - https://music.apple.com/gb/artist/the-easybeats/118384728 | Spotify - https://open.spotify.com/artist/1pJEZXU2hJApJW3rM7LmMu?si=-fc3Df0xTa2dQNnP_Fh4Mg&dl_branch=1) 'Fairy Bread' Recipe: 1 x slice of cheap processed white bread, Copious spread of butter to the edges, cover with Hundreds and Thousands, cut into triangles and serve Victoria Bitter - https://www.victoriabitter.com.au   Contact us: hhepodcast.com hhepodcast@gmail.com instagram.com/hhepodcast https://vm.tiktok.com/ZMegovGJ6/ twitter.com/HHEPodcast facebook.com/HHEPod Reddit.com/r/hhepodcast   Thanks: Australian Aboriginal Didgeridoo Music (https://youtu.be/nN-542IYoE0) Australian National Anthem Instrumental (https://youtu.be/aQyiZNZaj00) Neighbours Theme (https://youtu.be/kIdFzP0TJxc) Atomic Bomb - The Big Test (1945) | British Pathé (https://youtu.be/zBMbxyGX78k) Elvis Presley, 'Easy Come Easy Go' (https://youtu.be/1tn3F05glm4)  The Easybeats - Friday On My Mind (https://youtu.be/yIkhWutDecg) The Easybeats - Hello How Are You? (https://youtu.be/yqDNL9kvP_0) The Easybeats - Heaven & Hell (https://youtu.be/l1AcqTGPS_M) The Easybeats - Good Times (https://youtu.be/q36DX7pqP90) The Easybeats - She's So Fine (https://youtu.be/osGm7fIKFZE)  John Paul Young - Love Is In The Air (1978) (https://youtu.be/NNC0kIzM1Fo) Easybeats: Easy Come, Easy Go - Excerpt (2012) (https://youtu.be/NPN5eTaY5qk)  The Easybeats Interview - Music & Fashion (https://youtu.be/Snpm1WqeGZY) Crocodile Dundee - That is not a knife scene! (https://youtu.be/dSnosk4tWrg)

#110-106Intro/Outro: Some Hearts by Carrie Underwood110. Paid in Full by Eric B. & Rakim109. New Slang by The Shins (3)108. Suffragette City by David Bowie107. The Power of Love by Huey Lewis & the News (2)106. My Sweet Lord by George Harrison (2)Balderdash #23 answerBonus excerpt: Seven Minutes of Madness (Remix) by ColdcutBonus excerpt: My Sweet Lord by Billy PrestonBonus excerpt: He's So Fine by The ChiffonsBonus excerpt: Oh Happy Day by The Edwin Hawkins Singers

“She's So Fine” by Flash Cadillac & the Continental Kids (an original song!) plays as Steve and Laurie get into a fight at the school dance. Tabitha & Jonathan Carlisle from UHF 62nd joins Tierney to talk about locker combinations, life hacks, and if Cindy Williams could have played Princess Leia.Come hang out at Mel's Listeners' Drive In on Facebook and @vcrprivileges on Twitter and InstagramArtwork by Alex RobinsonMusic by Chris Frain

ANNOUNCMENTS Recent live stream success - HSS Live-Artist Spotlights 006 https://youtu.be/GPT-_TGlt84   EAR TO THE GROUND 1 New music is no longer a thing, thanks to a pair of lawyers who created an algorithm to write every single musical melody that can possibly exist. Rather than claiming all music as their personal property, however, the duo have released their entire catalog of tunes into the public domain, in the hope that this will bring an end to copyright lawsuits.   Lawyer, musician, and programmer Damien Riehl came up with the idea after realizing that all singer-songwriters are essentially walking on a “melodic minefield”, because there are only a finite number of melodies that can exist. As such, with each new song that gets written, the chances of creating something genuinely unique decreases, and the possibility of writing a melody that has already been recorded by someone else increases.   In a recent Tedx Talk, Riehl explains that this wouldn't be a problem if it weren't for the ridiculous nature of copyright laws, which state that a piece of music becomes copyrighted the moment it is recorded. Even worse, it is possible to be sued for “subconscious infringement”, whereby an artist may have to pay a settlement to another artist even if they claim to have never heard the song that they are accused of copying. Riehl sites numerous such cases, revealing how George Harrison was found guilty of subconscious infringement after the chorus to his song My Sweet Lord was deemed to be too similar to a track called He's So Fine by The Chiffons. In another example, Radiohead were forced to name a group called The Hollies as co-writers of their song Creep, which apparently included a melody that also appears in one of the latter band's songs.   To try and bring an end to such cases, Riehl teamed up with Noah Rubin to create an algorithm that could produce every 12-note melody that has ever been written or can ever be written, using one octave of musical notes. The algorithm uses the same ‘brute force' technique that hackers use when attempting to steal passwords, by essentially generating every possible combination of characters. A total of 68 billion melodies were generated, which are now all available at allthemusic.info.    The pair argue that their algorithm highlights how musical melodies are essentially just numbers arranged in a particular order, and that since numbers can't be copyrighted, music should also not be constrained by infringement laws. "No song is new. Noah and I have exhausted the data set," explains Riehl. "Noah and I have made all the music to be able to allow future songwriters to make all of their music."   2 It's becoming clear that the Covid-19 coronavirus is going to have a significant impact on all of our lives for the foreseeable future and, sadly, it's likely that the music-making industry is going to suffer.    Of course, there are still plenty of ways that you can indulge your passion - a period of self-isolation might actually help you to finish that album you're been working on or even master a new instrument - but in the world of live events, the picture looks a little less rosy. Around the world gigs, trade shows and other music-focused gatherings are being cancelled on a daily basis and, unfortunately, this is a trend that's set to continue.  To help you keep abreast of developments, and to make you aware if you need to change your plans in any way, I've included a link in the description of this podcast to an ongoing list that Music Radar has put together for live show updates. This guide shows the current impact that the coronavirus is having, and they're committed to keep it updated as news comes in. This might be a webpage you need to bookmark for future reference. 3 Universal Audio (UA), a leading manufacturer of professional audio recording hardware and software, is proud to introduce LUNA Recording System, a full-featured music creation, recording, and analog-style production system shaped by over 60 years of analog audio exploration. LUNA transforms UA's industry-standard Apollo interfaces into the most inspiring and fully integrated recording systems available. LUNA Recording System consists of a UA Thunderbolt-equipped audio interface, the LUNA Application, LUNA Extensions, and LUNA Instruments. LUNA will be available as a free download for Apollo and Arrow Thunderbolt audio interface owners (Mac only) in Spring 2020 Deep Apollo Integration — Fast, Natural Workflow Unlike traditional DAW software, LUNA Recording System's tight hardware-software integration allows quickly routing and recording audio through DSP-powered UAD plug-ins with no discernable latency via the new Accelerated Realtime Monitoring feature. Accelerated Realtime Monitoring is poised to be a major revelation for those unaccustomed to working on a $10k+ DSP-assisted recording system; music production will instantly seem more robust, dependable, and intuitive, without latency or monitoring hassles.  Built-In Neve® Summing — Instant Classic Console Sound LUNA Recording System offers precisely emulated audio summing circuitry from the Neve 80-Series audio mixing consoles designed by Neve Electronics in the 1960s and early 1970s, featuring the harmonically rich sound of the Neve 1272 summing amplifier. Far beyond a “summing plug-in," Neve Summing is a LUNA Extension built-in to the fabric of LUNA's mixer — and can instantly transform a clean technical mix into a classic-sounding recording filled with energy and life. Integrated Multitrack Tape — Warmth and Punch on Demand LUNA's audio transport features integrated Multitrack Tape emulation via the included "Oxide" LUNA Extension — providing sonic qualities commonly described by audio engineers as "warmth" and "cohesion" on every desired audio or instrument track. LUNA Recording System users may choose to further explore various magnetic tape sounds with the optional Studer® A800 Tape Recorder Extension (sold separately). All-New LUNA Instruments — Incredible Realism to Fuel Inspiration LUNA is further distinguished by all-new software-based LUNA Instruments — bringing Universal Audio's expertise in electrical and acoustic modeling, sampling, synthesis, and signal processing to virtual instruments for the first time ever. The resulting software instruments are ultra-realistic, responsive, and “alive” with inspiration. At launch, available LUNA Instruments will include: Moog® Minimoog — developed in partnership with Moog Music, the Moog Minimoog is an incredibly accurate and inspiring emulation of the archetypal 1971 Moog synthesizer Ravel™ grand piano — a breathtaking model of a Steinway Model B grand piano based on UA's proprietary sampling, physical modeling, and new Ultra-Resonance technology — providing all the sonic nuance of this studio classic Shape™ — a complete creative toolkit with vintage keys, drums/percussion, guitar/bass, orchestral content, and realtime synthesis, courtesy of Universal Audio, Spitfire Audio, Orange Tree Samples, Loops de la Creme, and more — included free in LUNA. 3 FREE PLUGS  Xfer Records Dimension Expander - If you're looking to add unique and insane space and stereo width to your sound, Xfer Records Dimension Expander is a must. The four-voice chorus with extended delay times takes advantage of phasing to further enhance the "out of the speaker" width. Two of the chorus voices are out of phase from the other two, which tickles your brain and confuses it in enjoyable ways, creating an unbeatable stereo effect. It sounds great on pretty much anything but shines a bit extra on vocals and cleaner guitars. Try it and find out which other instruments love this plugin. Thrillseeker XTC - Sometimes you need to bring a sound back to life - you hear it has potential, but you know it can be so much more. Bringing back the mojo of a sound (or several) is what the exciter Thrillseeker XTC is all about. In the stylish analog interface, you have ultimate control over the low, mid, and high end with full respective EQ bands to dial it down even further. One of the more exciting features of the Thrillseeker XTC is the "mojo" knob. The Cambridge Dictionary defines mojo as "a quality that attracts people to you and makes you successful and full of energy." Switch out the "you" to "your track," there's your explanation to what the Thrillseeker XTC is all about. I really can't explain it better. It does magic on your track and makes it sound loads better. Krush - Who doesn't love an excellent, free bit crusher? Look no further than Krush. Krush is all about down-sampling, crushing, and driving your sound to insane levels – if you want. Hidden in this gem is a reliable filter and an LFO to manage all controls in the plugin fully. And with the separate dry and wet dial, you can add some exciting flavors to your drum loops, for example. Just a little bit can go a long way to liven up a dull 4/4 beat. It sounds like a bit crusher should and does everything you want, with a bit more to keep things interesting. If you want a free bit crusher, I recommend you check this one out right now.    MAIN THOUGHT   4 The McGurk Effect   Have you ever tweaked a knob on a compressor or an EQ plugin while looking at it on screen and hear an audible difference, only to find that it was in fact bypassed the whole time?   Well, if you've been mixing for very long, I'm sure at one point in time (knowingly or unknowingly) you've done this.    This audio/visual phenomenon is not only real, but it is scientifically proven. In fact it's got a rather Scottish name, it's called "The McGurk Effect" .    In 1976, Chief psychologist McGurk and his partner MacDonald, reported a powerful multisensory illusion occurring with audiovisual speech. They recorded a voice articulating a consonant and dubbed it with a face articulating another consonant. Even though the acoustic speech signal was well recognized alone, it was heard as another consonant after dubbing with incongruent visual speech. The illusion has been termed the McGurk effect. It has been replicated many times, and it has sparked an abundance of research. The reason for the great impact is because it is a striking demonstration of multisensory integration. It shows that auditory and visual information is merged into a unified, integrated percept.   The McGurk effect, in laymen terms, is a perceptual phenomenon that demonstrates an interaction between hearing and vision in auditory perception. The illusion occurs when the auditory component of one sound is paired with the visual component of another sound, leading to the perception of a third sound. (See it for yourself here)   So, what can we learn from this? Well, it demonstrates our brains ability to marry the audio world to the visual and also shows us that we can be easily tricked into hearing things that are not there. Arguably, this is why some say that analog mixing is better musically speaking. Because, tactile knobs and low visibility to the specific ranges found on the mixing board or outboard gear, forces an engineer to use their ears more than their eyes to makes subtle adjustments.    Because of this, some plug in companies have actually went as far as to create a sort of clean slate approach to audio alteration. For instance, one company (Audio Thing) released a FREE (yes FREE plugin), that you can download and try for yourself.  it's called the Blindfold EQ. The Blindfold EQ is a freeware EQ plugin inspired by a quote from Matt Wallace, found in the book Recording Unhinged by Sylvia Massy.  Matt states, “If I were King of the Universe, consoles would have no indication of frequency near the EQ knobs, because when you show the frequency, then most people EQ by eye. […] But seriously, you should have no idea of what frequency you are boosting or cutting. It doesn't matter what number is. It matters how it sounds and how it feels. That's it!” Matt Wallace   Ans so, the Blindfold EQ is created. The Blindfold EQ has 4 bands (LowShelf, LowMid, HighMid, HighShelf), but each knob is blind. Meaning, there are no indicators or numbers to show frequency values, gain values or Q values. You have to use your ears, and in turn you nullify the need for specific values when making adjustments.   Now, although this doesn't completely eliminate the McGurk effect (due to the fact that one could still make changes in bypass and hear audible differences) it does at least minimize the need to have values for everything and quantify music into a little box.    There you have it, a scientific explanation for the embarrassing moment when (Lord forbid) a client sees you adjust an EQ that is bypassed. But then, would they even notice it? Perhaps we could even utilize this as a means of not fiddling with the sound of something that we have painstakingly beat into submission at the artists request. Just simply duplicate the plugin, and then bypass the duplicate. Now show them your making a change and let the McGurk effect work for you instead of against you!    Sources/Links: 1  - 2 - 3 - 4

1.Elvis Presley-It feels so right -19602.Holly Golightly-Nothing You Can Say-20003.Shannon & the Clams-The Boy-20174.Bob Marriott & the Continentals-I'll Walk A Mile5.Jackie Day -Come On Try Me-19656.Aretha Franklin-Rough Lover-19627.Ruby Lee -I'm Gonna Put A Watch On You8.Mary Wells-Bye Bye Baby-19619.Joe Mayfield-On The Move-196410.Blackbird Raum-Honey In The Hair-200711.Mama Rosin-Le Two-Step De L'Haricot-200912.The Meat Purveyors-The Madonna Trilogy-200213.Heart Attack Alley-Too Hot Blues-201314.Jerry Arnold-When you said goodbye15.The St. Johns-She's So Fine16.Robert Williams & the Strangers-Du gehörst nur mir -196517.Die Crazy Girls & The Javalins-Hey Hey Ha Ha-196318.Jackie Shannon-It's Love Baby19.Jackie Cannon -Proof Of Your Love20.The Sex Organs-Tonight-201721.Wau y Los Arrrghs!!!-Rey de tablistas-200622.The Come N' Go-We Go On-201623.Nobunny-(Do The) Fuck Yourself-2010DOWNLOAD | SUBSCRIBE TO RAMPAGE | SUBSCRIBE TO RADIOMUTATION | FACEBOOK | ITUNES | TWITTER| INSTAGRAM|

Rock & Roll Rampage #259 'Love Thrills, Rockin & Rollin!'1.April Stevens-Teach Me Tiger -19592.Toni & The Showmen-Try My Love3.Ronnie Love-Chills & Fever4.Johnny Sayles  -I Can't Get Enough (of your love)-19675.Ernestine Anderson-Keep an eye on love-19636.The Fabulous Wailers-I Idolize You-19617.The St. Johns-She's So Fine-1968.Denny & Kenny Duo-Meet My Little Sweety-19659.The Ikettes-Peaches 'N' Cream-196510.Beverly Jones-Heatwave-196511.Mayalta Page & Group-You're So Fine-196412.The Shangri-Las-Give Him a Great Big Kiss -196513.The What Four-Baby I Dig Your Love-196414.The King Khan & BBQ Show-Love you so-200215.Nobunny-I Am A Girlfriend  -200816.Nikki & The Corvettes-I Wanna Be Your Girlfriend-198017.The Donnas-Hey, I'm Gonna Be Your Girl-199818.Wanda Jackson-Funnel Of Love-196119.Jimmy Lee & Wayne Walker-Love Me-195520.John & Jackie -Little girl-195821.Jesse Belvin & The Cliques -I'm In Love With A Girl-195622.Aretha Franklin-Rough Lover-196223.Ike & Tina Turner -Am I A Fool In Love-196424.The Phantom-Love Me-196025.Unknown Artist-A Burning Coal26.Eddie Kirkland-I Love You-196127.The Anglos-Incense-196528.Jim Jackson -Some Love With Soul-196729.The Dynamics-MiseryDOWNLOAD | SUBSCRIBE TO RAMPAGE | SUBSCRIBE TO RADIOMUTATION | FACEBOOK | ITUNES | TWITTER| MIXCLOUD

LIVE AT FRENCH RIVIÉRA , VINYLS intro de maurice.... 1 The Chi-Lites - Bottom's Up 2 Cherrelle - When you look in my eyes 3 . Mutual Attraction (Nick Martinelli version) - Change 4 Cosmic Dust (Instrumental 12-Inch Mix) 5 Aurra;Are You Single (Original 12-Inch Mix) 5 .Convertion - Let's Do It 6 Salsoul Orchestra;Getaway (Original 12-Inch Mix) 7 Cameo - She's strange 8 Elbow Bones and the Racketeers - A night in New York 9 Keep On Groving - The Armed Gang 10 Stacy Lattisaw - Jump into my life (Frankie Rodriquez' Jumpin' Club Mix) 11 .Esther Williams - I'll Be Your Pleasure (Larry Levan Remix) 12 Stephanie Mills - You Can't Run From My Love 13 One way - Mr. Groove 14 Ceejay - Could this be love 15 Disco Shy (extended promo mix) - Gianni Riso 16 Jean Schultheis;Confidence rour confidence (Version Longue) 17 Howard Johnson;So Fine 18 Lake Shore Drive - The Disco Scene (Rick Gianatos Remix) 18 Phil Fearon & Galaxy;What Do I Do (M & M Mix) 19 Vicky D._d.-this_beat_is_mine 20 Bar-Kays - Sexomatic 21 Ask The Boss (remix) - Flowchart 22 Michael Jonzun - Burnin' up 23 Con Funk Shun - Burnin' Love 24 Brass Construction - Walkin' the line 25 .James Brown With The Original J.B.s - Give It Up Or Turnit A Loose (1970 Album Version (Undubbed Unedited Mix) 26 Udell;Won't You Try (Original 12-Inch Mix) 27 Thierry Pastor;Le coup de folie (version longue)