Podcasts about Street Fighting Man

Welcome to this in-depth exploration of the life and career of Dave Mason, the legendary British guitarist and singer-songwriter. From his early days in Worcester, England, to co-founding the iconic band Traffic, and his extensive solo career, Dave's influence on rock music is undeniable.

Hosts Jim DeRogatis and Greg Kot pay tribute to the late president Jimmy Carter by revisiting a discussion on his character and love for music with the director of the documentary, Jimmy Carter: Rock & Roll President. Plus, they will bid farewell to music journalist Stanley Booth, the most profound chronicler of the Rolling Stones.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Bob Dylan, "It's Alright, Ma (I'm Only Bleeding)," Bringing It All Back Home, Columbia, 1965The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Allman Brothers Band, "Ramblin' Man," Brothers and Sisters, Capricorn, 1973Bob Dylan, "Maggie's Farm," Bringing It All Back Home, Columbia, 1965Bob Dylan, "Gotta Serve Somebody," Slow Train Coming, Columbia, 1979The Rolling Stones, "Gimme Shelter," Let It Bleed, Decca, 1969The Rolling Stones, "No Expectations," Beggars Banquet, Decca, 1968The Rolling Stones, "Street Fighting Man," Get Yer Ya-Ya's Out!, Decca, 1970The Rolling Stones, "Around And Around," 12 x 5, London, 1964The Rolling Stones, "Honky Tonk Women," Honky Tonk Women (Single), Decca, 1969The Rolling Stones, "You Gotta Move," Sticky Fingers, Polydor, 1971The Rolling Stones, "Sympathy For the Devil," Get Yer Ya-Ya's Out!, Decca, 1970The Rolling Stones, "Wild Horses," Sticky Fingers, Polydor, 1971Robyn Hitchcock, "The Man Who Loves the Rain," Shufflemania!, Tiny Ghost, 2022See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Marjorie Hache orchestre une soirée éclectique où le rock et l'électro pop s'entrelacent avec finesse. Parmi les classiques, INXS est célébré avec "Never Tear Us Apart" en hommage à Michael Hutchence, tandis que Joan Jett et Metallica ajoutent une touche intemporelle. Pour les nouveautés, l'émission explore les dernières créations de Squid avec *Building 650*, un titre inspiré de leur expérience post-confinement au Japon, et le groupe franco-américain Faux Real qui mélange indie rock et électro pop dans leur premier album "Faux Ever". On découvre également "Cryin & Pleadin" de GA-20, trio blues rock de Boston, et Ela Minus, artiste électro pop colombienne, avec "Onwards", extrait de l'album de la semaine "DIA". Le live est assuré par Green Day avec "Know Your Enemy", tiré de leur album "Awesome As Fuck", tandis que la reprise de la soirée met en lumière Oasis revisitant "Street Fighting Man" des Rolling Stones. Enfin, le long format s'aventure dans l'univers stoner doom metal avec Electric Wizard et leur morceau "Black Mass", extrait de leur album "Black Rituals and Perversions Volume 1". La playlist de l'émission : Linkin Park - Two Faced Steppenwolf - Born To Be Wild INXS - Never Tear Us Apart The Cardigans - Erase And Rewind Ga-20 - Cryin' & Pleadin' Neil Young - Hey Hey My My (Into The Black) Dropkick Murphys - I'm Shipping Up To Boston Ela Minus - Onwards Daft Punk - Robot Rock Placebo - Pure Morning JD McPherson - The Rock And Roll Girls Joan Jett - Bad Reputation Viagra Boys - Punk Rock Loser Father John Misty - She Cleans Up Oasis - Street Fighting Man Blur - Parklife Faux Real - Sketches Of Pain The Cure - The Lovecats Massive Attack - Teardrop Green Day - Know Your Enemy (Live) Dick Dale - Misirlou Fun Lovin' Criminals - Scooby Snacks Squid - Building 650 Sex Pistols - Pretty Vacant Metallica - Enter Sandman Kate Bush - The Big Sky Lana Del Rey - Born To Die Electric Wizard - Black Mass

Dan Hoard introduces us to the team's new offensive line coach Scott Peters. Then, Bengals.com editor Geoff Hobson joins Dan to discuss the Bengals' offseason priorities.See omnystudio.com/listener for privacy information.

Así se sintió de feliz la noche. Así nos sentimos llenos de buena suerte en este último programa de la primera vuelta de Nunca Discutimos. Hasta luego dijimos, hola y adiós. Hicimos un retroceso feliz, nada triste ni feo. Una mirada hacía atrás para poder hablar una vez más con algunos de quienes nos acompañaron este año vía llamada. Porque es lo que sabemos hacer. La llamada era sorpresa, y el tema igual de libre. En la primera vez que discamos, hablamos de las personas en situación de calle, esos Street Fighting Man. Good Luck Good Luck en la calle que te lleva a fin de año, dijimos una y otra vez. La segunda vez que discamos fue para escuchar al heladero pasar. Ice Cream Man, solo que este no repartía helados sino que los pedía y antojaba. Ya lo sabíamos, pero esta vez lo recordamos. Lo very lucky que somos. Viva la radio en Radiomundo 1170 AM. PD: Somos afortunados todos los que nunca discutimos, de tener a los que escuchan, escucharon, y otra vez van a escuchar.

NEW FOR DECEMBER 1, 2024 A pot of musical magic . . . Witchy Brew - The Best Radio You Have Never Heard Vol. 497 1. Waking The Witch - Kate Bush 2. Still - Peter Sinfield feat. Greg Lake 3. I Talk To The Wind (live) - Keith Emerson and Greg Lake 4. In The Court Of The Crimson King - Doc Severinsen & The Now Generation 5. Rhayader / Rhayader Goes To Town (2013) - Camel 6. King Of Pain (live unplugged) - Alanis Morissette 7. A Day In The Life (live) - Sting 8. Tempted (live) - Nick Lowe's Cowboy Outfit feat. Paul Carrack 9. Country Honk (early) - The Rolling Stones 10. Love In Vain - Faces 11. Street Fighting Man (live) - John Mellencamp 12. Mayor Of Simpleton (live unplugged) - XTC 13. Josh Tillman and the Accidental Dose - Father John Misty 14. Dead Girls Of London - L. Shankar 15. Call Me The Breeze - Lynyrd Skynyrd 16. Looking Glass (live) - Shimmer 17. This Is Why We Fight - The Decemberists 18. Light My Fire (live) - The Doors w/ Eddie Vedder 19. The Cry / The Electric Co (live) - U2 20. Into The Lens (live) - Yes 21. Stormy Monday (live) - Gregg Allman, Warren Haynes & Allen Woody w/ The Dreyer Brothers Band The Best Radio You Have Never Heard. Sweeping away musical doldrums. Accept No Substitute Click to leave comments on the Facebook page.

#Markets:  Howard Lutnick Street fighting man.  Liz Peek The Hill. Fox News and Fox Business 1914 Treasury elevator

Jamila Wignot is an award-winning documentary filmmaker. Her body of work includes, the Emmy-nominated MAKERS: WOMEN IN BUSINESS; THE AFRICAN AMERICANS: MANY RIVERS TO CROSS, hosted by Henry Louis Gates, which won a Peabody, Emmy, and NAACP awards; TOWN HALL a feature-length co-production with ITVS about the Tea Party movement; and for AMERICAN EXPERIENCE the Peabody Award-winning, "Triangle Fire" and Emmy-nominated "Walt Whitman". Wignot's producing credits include “The Rehnquist Revolution,” the fourth episode of WNET's series THE SUPREME COURT which was an IDA Best Limited Series winner and STREET FIGHTING MAN, character-driven documentary, currently in post-production, about the daily lives of three men surviving in the neighborhoods of post-industrial Detroit.

Street-Fighting Man. In this episode, we continue our discussion of the question of when it is permissible for Christians to oppose civil authority. It's more important than ever for Christians to grasp the fundamentals of vocation, the relation of politics to liturgy, the place of the sacraments within the worship of the church, and the life of Christians, why there cannot be such a thing as a Christian nation. SHOW NOTES:  Discord, dialogue, and concord: Studies in the Lutheran Reformation's Formula of concord https://amzn.to/3YWPvCX  Episode 360: Part One https://www.1517.org/podcast-overview/360-olson Louis the Pious in the Field of Lies https://en.wikipedia.org/wiki/Field_of_Lies  Online church meme https://x.com/ErikReed/status/1824237560329027889  Subsidiarity https://en.wikipedia.org/wiki/Subsidiarity Löhe's Martyrology: http://emmanuelpress.us/wordpress/wp-content/uploads/2011/01/loehe_martyrologium.pdf Formula X Epitome https://thebookofconcord.org/formula-of-concord-epitome/article-x/ Formula X Solid Declaration https://thebookofconcord.org/formula-of-concord-solid-declaration/article-x/ Peter Muhlenberg https://en.wikipedia.org/wiki/Peter_Muhlenberg     More from 1517: Support 1517: https://www.1517.org/donate 1517 Podcasts: http://www.1517.org/podcasts 1517 on Youtube: https://www.youtube.com/channel/UChDdMiZJv8oYMJQQx2vHSzg 1517 Podcast Network on Apple Podcasts: https://podcasts.apple.com/us/channel/1517-podcast-network/id6442751370 1517 Academy - Free Theological Education: https://academy.1517.org/   What's New from 1517: The Inklings: Apostles and Apologists of the Imagination with Sam Schuldheisz: https://academy.1517.org/courses/the-inklings Available Now: Hitchhiking with Prophets: A Ride Through the Salvation Story of the Old Testament by Chad Bird: https://shop.1517.org/products/9781956658859-hitchhiking-with-prophets Remembering Rod Rosenbladt: https://www.1517.org/dadrod Available Now: Encouragement for Motherhood Edited by Katie Koplin: https://shop.1517.org/products/9781956658880-encouragement-for-motherhood   More from the hosts: Donovan Riley https://www.1517.org/contributors/donavon-riley  Christopher Gillespie https://www.1517.org/contributors/christopher-gillespie   MORE LINKS: Tin Foil Haloes https://t.me/bannedpastors Warrior Priest Gym & Podcast https://thewarriorpriestpodcast.wordpress.com   St John's Lutheran Church (Webster, MN) - FB Live Bible Study Group https://www.facebook.com/groups/356667039608511  Gillespie's Sermons and Catechesis: http://youtube.com/stjohnrandomlake  Gillespie Coffee https://gillespie.coffee   Gillespie Media https://gillespie.media     CONTACT and FOLLOW: Email mailto:BannedBooks@1517.org  Facebook https://www.facebook.com/BannedBooksPod/  Twitter https://twitter.com/bannedbooks1517   SUBSCRIBE: YouTube https://www.youtube.com/channel/UCsvLQ5rlaInxLO9luAauF4A  Rumble https://rumble.com/c/c-1223313  Odysee https://odysee.com/@bannedbooks:5 Apple Podcasts https://podcasts.apple.com/us/podcast/banned-books/id1370993639  Spotify https://open.spotify.com/show/2ahA20sZMpBxg9vgiRVQba  Stitcher https://www.stitcher.com/s?fid=214298  Overcast https://overcast.fm/itunes1370993639/banned-books  Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9iYW5uZWRib29rcy5saWJzeW4uY29tL3Jzcw TuneIn Radio https://tunein.com/podcasts/Religion--Spirituality-Podcasts/Banned-Books-p1216972/  iHeartRadio https://www.iheart.com/podcast/263-banned-books-29825974/ 

“Verano de 1976. John Phillips, es Papa, de cuarenta años, antiguo rey del pop y destacado mujeriego de Los Ángeles, vivía en Londres mientras trabajaba en la banda sonora de la película de Nicholas Roeg El hombre que cayó a la tierra (con David Bowie de protagonista).  Phillips y su esposa, la actriz Genevieve Waite, vivían cerca de Cheyne Walk, cerca de la casa de Mick. Mientras Mick estaba de gira en verano, Phillips disfrutaba flirteando con Bianca Jagger. La desconfiada esposa de Phillips los sorprendió una noche y se generó un pequeño escándalo en Chelsea. A Keith y Anita, sumidos por la droga y paralizados por la culpa y la desesperación, la dirección de Claridges los invitó a que dejaran la suite que ocupaban en el hotel. Un día fueron a casa de Phillips, para que Marlon jugara con su hijo, y se quedaron allí. En el espacio de algunas semanas , John y Gen se habían convertido en yonquis. Mick reaccionó a la seducción de Bianca por parte de Phillips, invitándolo a partidos de Cricket, pasando la noche en blanco y tocando la guitarra con él. Phillips, el compositor de “California Dreaming” y “Monday Monday”, tenía un lote de nuevas canciones que Mick le sugirió que grabaran , utilizando a los Stones como grupo de estudio.  El 21 de agosto, los Stones encabezaban un enorme festival de rock al aire libre en Knebworth Park. Fue su última actuación del año y se había rumoreado de manera amplia que sería definitivamente la última, desde la creencia de que Keith Richards podía morir en cualquier momento. Los Stones salieron a las once y media después de las actuaciones de Lynyrd Skynyrd, 10 cc, Hot Tuna, y Todd Rundgren. El programa de treinta canciones incluía algunas antiguas como “Route 66” y “Dead Flowers”, y se juzgó como un éxito enorme. Keith y Ronnie se relajaron finalmente y tocaron en equipo, combinando figuras y carreras el uno con el otro. Mick actuó en la pasarela de nueve metros y medio que se extendía hacia el público, como un heraldo del futuro, y justo después de “Street Fighting Man” se encendió una gran cortina de fuegos artificiales (...)”. Los que cantaron: Mannish Boy - The Rolling Stones If You Can´t Rock Me / Get Off My Cloud - The Rolling Stones Happy - The Rolling Stones Hot Stuff - The Rolling Stones Tumbling Dice - The Rolling Stones You Gotta Move - The Rolling Stones You Can't Always Get What You Want - The Rolling Stones Viva la radio Saludos cordiales El galgo

This Week on America's Podcast! This week, we have a special episode where we review "The Rolling Stones -got Live if you want It!" with The Mooger Fooger, aka Shane Paisley. We'll dive into whether this is a real live album and how it compares to other live albums by The Rolling Stones. But, of course, no spoilers here! You'll have to tune in to find out. Get ready for an exciting crazy episode! Tracks of The Week: Charles, "Street Fighting Man" by Oasis. Jerry, "Hard Luck Woman" by Kiss. Marc, "Burn Down Los Angeles" by Rival Sons. Mooger Fooger, "Blackout" by Austin Mead. Until Next Week Free Form Rock Nation Don't spill the Bong Water!  #therollingstones #gotliveifyouwantlive #livealbum

Singles Going Around- Back To Mono Volume 4Mono records-recorded in mono, transferred in mono. Play LOUD.The Byrds- "Mr Spaceman"Pink Floyd- "Astronomy Domine"Chris Kenner- "Something You Got"Cream- "I Feel Free"The Rolling Stones- "Sympathy For The Devil"Bob Dylan- "Leopard Skin Pill Box Hat"The Beatles- "Norwegian Wood"Paul Revere & The Raiders- "The Great Airplane Strike"The Beach Boys- "Here Comes The Night"The Doors- "Break On Through"The Byrds- "The World Turns All Around Her"Chris Kenner- "Land Of 1000 Dances"The Rolling Stones- "Street Fighting Man"Pink Floyd- "Lucifer Sam"Bob Dylan- "Absolutely Sweet Marie"Dale Hawkins- "Suzie Q"Jerry Lee Lewis- "Great Balls Of Fire"Link Wray- "Rumble"Barret Strong- "Money"*All selections from the original records.

From August 3, 2020:   Dave Mason and friends have taken the downtime during quarantine to remake one of Mason's most iconic and heavily covered songs since its release in 1968 - "Feelin' Alright." Dubbed "Dave Mason and the Quarantines," the group's new song features Mason singing along with Mick Fleetwood, Sammy Hagar, Michael McDonald, and The Doobie Brothers: John McFee, Tom Johnston, John Cowan, and Pat Simmons. Dave's longtime drummer, Alvino Bennett, also lends a hand as does Pat Simmons Jr., Pat's son, joining in the fun.ABOUT DAVE MASONRock and Roll Hall of Famer Dave Mason's career spans over half a century and encompasses producing, performing and song writing. Fans and critics alike hail Dave as one of the most talented songwriters and guitarists in the world - which is why he is still performing over 100 shows a year to sold-out crowds. Mason has been playing guitar most of his life. By 15, Dave had founded two bands: The Deep Feeling and The Hellions. At 18, the Worcester, England native teamed up with Steve Winwood, Jim Capaldi and Chris Wood to form the legendary band Traffic. At 19, Mason penned the song "Feelin' Alright". The rock anthem, first recorded by Traffic and then covered by dozens of other artists (including Joe Cocker), cemented both Dave's and Traffic's legacy and had a profound influence over rock music that continues today.Mason left Traffic in 1969 to pursue a solo career in the US. Dave has penned over 100 songs, has 3 gold albums: Alone Together, Dave Masonand Mariposa De Oro and a platinum album Let it Flow, which contained the top-ten single "We Just Disagree".In addition to cranking out hits, Dave has performed on or contributed to a number of famous albums, including: The Rolling Stones' Beggars Banquet, George Harrison's All Things Must Pass, Paul McCartney and Wings Venus and Mars and Jimi Hendrix's Electric Ladyland. Mason is featured playing acoustic guitar in "All Along the Watchtower" on Electric Ladyland, a favorite in Dave's live shows!Dave, a prolific artist in his own right, has collaborated with an enviable list of the who's who in the music industry. Jimi Hendrix, George Harrison, Paul McCartney, Stevie Wonder, Michael Jackson, Graham Nash, Stephen Stills, Rita Coolidge, Delaney & Bonnie, Leon Russell, Ron Wood, Steve Winwood, Eric Clapton, and Jim Capaldi, just to name a few. In addition to his own productions, Mason's distinctive work is featured on numerous gold and platinum albums such as:Jimi Hendrix Electric Ladyland "All Along The Watchtower" (acoustic guitar) and "Crosstown Traffic" (vocals)George Harrison All Thing Must Pass (various tracks)The Rolling Stones Beggars Banquet "Street Fighting Man" (shehnai and mellotron)Paul McCartney and Wings Venus And Mars "Listen To What The Man Said" (guitar)Graham Nash Songs For BeginnersDavid Crosby & Graham Nash, Graham Nash David CrosbyDave Mason & Cass Elliot (Mamas & Papas) Dave Mason & Cass ElliotThe Spencer Davis Group "Somebody Help Me", "Gimme Some Lovin'" and "I'm A Man" (vocals)Fleetwood Mac Time(guitar, vocals)Eric Clapton Crossroads (guitar)When Dave is not touring, he spends his time writing and producing music in his home studio, as well as tirelessly supporting philanthropic efforts for Rock Our Vets, a non-profit he co-founded.

THE ROLLING STONES – BEGGAR'S BANQUET with special guest Paul Sexton. This interview took place before and after we listened to the vinyl album. In 1968 the Stones forsook psychedelic experimentation to return to their blues roots on this celebrated album, which was immediately acclaimed as one of their landmark achievements. A strong acoustic Delta blues flavour colours much of the material, particularly “Salt of the Earth” and “No Expectations,” which features some beautiful slide guitar work. Basic rock & roll was not forgotten, however: “Street Fighting Man,” a reflection of the political turbulence of 1968, was one of their most innovative tracks, and “Sympathy for the Devil,” with its fire-dancing guitar licks, leering Jagger vocals, African rhythms, and explicitly satanic lyrics, was an image-defining epic. On “Stray Cat Blues,” Jagger and crew began to explore the kind of decadent sexual sleaze that they would take to the point of self-parody by the mid-'70s. At the time, though, the approach was still fresh, and the lyrical bite of most of the material ensured Beggars Banquet's place as one of the top blues-based rock records of all time. (Richie Unterberger, Allmusic).  With special guest PAUL SEXTON.We were absolutely delighted to welcome Paul Sexton as our special guest to The CAT Club. Paul's book, Charlie's Good Tonight is the acclaimed authorised biography of the truly wonderful Charlie Watts. In the interviewer's chair was IAN CLAYTON. This event took place on 12th January 2023 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire. To find out more about the CAT Club please visit: www.thecatclub.co.uk This podcast has been edited for content and for copyright reasons. Happy Trails.

Hello and welcome back to the Oasis Podcast! Today's guest is Kyle from the Oasis Collectors Group - Check out the promo video from last years Rockfield Event - https://www.youtube.com/watch?v=_omtjUR2csM Get tickets for this one here -  FULL TICKET http://www.Sessionrecall.com/ocg2023 EVENT ONLY https://www.sessionrecall.com/offers/VE2PVnXb Here's the Remastered Soundboard recording of Earls Court -  https://www.youtube.com/watch?v=R-yQBBp1uOI&t=5s Here's the unheard progression of Street Fighting Man -  https://www.youtube.com/watch?v=XiH5eqtk9Ew Thanks to oasis-timeline.com , http://www.stopcryingyourheartout.co.uk/ and Richard Bowes' book for help putting this together - Richard's book is still available here -   https://www.amazon.co.uk/Some-Might-Say-Definitive-Story/dp/1916258255#:~:text=Richard%20Bowes%20is%20a%20freelance,definitive%20audio%20guide%20to%20Oasis.

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho Rock & Roll Hall of Famer Dave Mason kicks off his Winter tour on Thursday, January 19 in Atlanta, GA and continues South with performances set in Charleston, six shows in Florida including Ft. Lauderdale and Orlando before heading to Nashville, Cincinnati, Detroit. This new leg will end with multiple performances in Chicago on February 20 & 21.  This perpetual ongoing world tour is a testament to Mason's six-decade enduring role as a Rock Icon as well as the unrelenting support of his music loving fans the world over. A self-described endangered species, Mason enjoyed a successful cross country run this Fall and is thrilled to get back out on the road to see his friends and fans - “There is nothing quite like performing live. I love it!” exclaimed Mason. Early next year will see the release of his first ever autobiography Only You Know & I Know, where Dave will share some of the great untold tales in rock and roll. Dave has a unique and rare viewpoint as he recorded an album with Mama Cass, played rhythm guitar on “All Along the Watchtower” with Jimi Hendrix, was a founding member of Traffic, recorded with Paul McCartney, George Harrison, and The Rolling Stones, was part of Fleetwood Mac for a spell, as well as a guitar designer and a Rock & Roll Hall of Fame Inductee …. Yep, that's Dave Mason. PLEASE WELCOME Legendary singer-songwriter-guitarist and Rock & Roll Hall of Famer DAVE MASON to Interviewing the Legends … PURCHASE THE LATEST RELEASE BY DAVE MASON ALONE TOGETHER AGAIN (Also available on vinyl) At amazon.com   FOR MORE INFORMATION ABOUT DAVE MASON www.davemasonmusic.com Official website www.facebook.com/DaveMasonMusic Facebook www.instagram.com/davemasonmusic Instagram https://twitter.com/davemasonband?lang=en Twitter www.youtube.com/user/davemasontv YouTube   Dave Mason on Tour 2023   ROCK & ROLL HALL OF FAMER DAVE MASON ANNOUNCES 2023 ENDANGERED SPECIES TOUR Leads into the Release of His Tell All Memoir - ‘Only You Know & I Know' due May 2023   January 19      Atlanta, GA                 City Winery January 21      Charleston, SC           Charleston Music Hall January 25      Ft. Lauderdale, FL      Broward Center for the Performing Arts January 26      Vero Beach, FL          The Emerson Center January 28      Miami Gardens, FL     On the Blue Cruise 2023 February 3      Orlando, FL                 The Plaza Live February 4      Clearwater, FL            Capitol Theatre February 6      Ponte Vedra, FL         Ponte Vedra Concert Hall February 8      Atlanta, GA                 City Winery February 10    Nashville, TN              CMA February 14    Kent, OH                     The Kent Stage February 15    Detroit, MI                   Sound Board Theater February 17    Nashville, IN               Brown County High School February 18    Cincinnati, OH             Memorial Hall February 20   Chicago, IL                  City Winery February 21   Chicago, IL                  City Winery   DISCOGRAPHY With TRAFFIC Mr. Fantasy - 1967 Traffic - 1968 Best of Traffic - 1969 Last Exit - 1969 Welcome to the Canteen - 1971 Smiling Phases – 1991   Dave Mason studio albums 1970 Alone Together                     1971 Dave Mason & Cass Elliot     1972 Headkeeper            1973 It's Like You Never Left 1974 Dave Mason  1975 Split Coconut   1977 Let It Flow    1978 Mariposa de Oro                      1980 Old Crest on a New Wave                 1987 Two Hearts                                            1987 Some Assembly Required                                                   2008 26 Letters - 12 Notes                              2014 Future's Past                                  2017 Pink Lipstick (EP)                                            2020 Alone Together, Again                        Singles 1968 "Just for You" b/w "Little Woman" 1970 "Only You Know and I Know" 1970 "Satin Red and Black Velvet Woman" 1972 "To Be Free" 1977 "So High (Rock Me Baby and Roll Me Away)" 1977 "We Just Disagree" 1978 "Mystic Traveller" 1978 "Don't It Make You Wonder" 1978 "Let It Go, Let It Flow" 1978 "Will You Still Love Me Tomorrow?" 1980 "Save Me" (with Michael Jackson) 1987 "Something In The Heart" 1988 "Dreams I Dream" (duet with Phoebe Snow) Session work 1967: Julian Covey & The Machine, "A Little Bit Hurt" / "Sweet Bacon" single guitar and vocals 1968: Family, Music in a Doll's House producer, songwriter of "Never Like This" 1968: The Jimi Hendrix Experience, Electric Ladyland acoustic guitar on "All Along the Watchtower", backing vocals on "Crosstown Traffic" 1968: The Rolling Stones, Beggar's Banquet shehnai on "Street Fighting Man" and mellotron on "Factory Girl" 1969: Gordon Jackson, Thinking Back producer, bass guitar, electric guitar, and slide guitar 1969: Merryweather, Word of Mouth songwriter, guitar, bass, and vocals 1970: Delaney & Bonnie & Friends with Eric Clapton, On Tour guitar 1970: George Harrison, All Things Must Pass guitar on various tracks 1970: Bobby Lester, Bobby Lester guitar on "Freedom" 1971: Delaney & Bonnie & Friends, Motel Shot guitar and vocals 1971: Graham Nash, Songs for Beginners electric guitar on "Military Madness" 1972: Jim Capaldi, Oh How We Danced harmonica on "Big Thirst", guitar on "Don't Be a Hero" 1972: Crosby and Nash, Graham Nash / David Crosby lead guitar on "Immigration Man" 1972: Bobby Keys, Bobby Keys songwriter on "Steal from a King" and "Crispy Duck" 1973: David Blue, Nice Baby and the Angel acoustic guitar, electric guitar, and vocals on "Outlaw Man" 1973: Graham Nash, Wild Tales 12-string guitar on "Oh! Camil (The Winter Soldier)" 1974: Phoebe Snow, Phoebe Snow electric guitar on "No Show Tonight" 1975: Wings, Venus and Mars electric guitar on "Listen to What the Man Said" 1978: Mike Finnigan, Black and White lead guitar on "Hideaway From Love" 1978: Stephen Stills, Thoroughfare Gap vocals on "You Can't Dance Alone", "We Will Go On", "What's the Game", and "Midnight Rider" 1979: Ron Wood, Gimme Some Neck acoustic guitar on "F.U.C. Her" 1983: Donovan, Lady of the Stars guitar on "Boy for Every Girl" 1983: Don Felder, Airborn vocals on "Never Surrender" 1988: Eric Clapton, Crossroads guitar on "Ain't That Loving You", originally recorded ca. 1974 1995: Fleetwood Mac, Time songwriter, producer, vocals, and guitar 2004: Noel Redding, The Experience Sessions sitar on "There Ain't Nothing Wrong", originally recorded ca. 1968 2010: Jimi Hendrix, West Coast Seattle Boy sitar on "Little One", originally recorded ca. 1968 2011: Derek and the Dominoes, Layla and Other Assorted Love Songs: 40th Anniversary Edition guitar and vocals on "Roll It Over", originally recorded June 1970 Support us!

If life is a journey on water, with our conscious mind above the waterline and our deep unconscious beneath, and if all the people in the world are drifting, surfing, drowning and sailing on that surface, shouldn't there be a person on a wooden chair in the sky above the beach watching over it all?Shouldn't there be a person?And a beach?The people along the sandAll turn and look one way.They turn their back on the land.They look at the sea all day.As long as it takes to passA ship keeps raising its hull;The wetter ground like glassReflects a standing gullThe land may vary more;But wherever the truth may be—The water comes ashore,And the people look at the sea.They cannot look out far.They cannot look in deep.But when was that ever a barTo any watch they keep?– Robert Frost“Calm yourself, Little One. There is always a person. There is always a beach.”I had an idea for the story, which by the way has been in my head for about 20 years now, and all it was to begin with was an image of a boy in a wheelchair flying a kite on a beach. And that picture was just as clear in my mind as it could be. And it wanted to be a story, but it wasn't a story, it was just a picture. As clear as clear as clear…– Stephen King, May 29, 2013The last time the Stones were out on the road, between 2005 and 2007, they took in more than half a billion dollars – the highest-grossing tour of all time. On Copacabana Beach, in Rio de Janeiro, they played to more than a million people. Few spectacles in modern life are more sublimely ridiculous than the geriatric members of the Stones playing the opening strains of ‘Street Fighting Man.'– David Remnick, The New Yorker, Nov. 1, 2010Something of the sense of holiness on islands comes, I think, from this strange, elastic geography. Islands are made larger, paradoxically, by the scale of the sea that surrounds them. The element which might reduce them, which might be thought to besiege them, has the opposite effect. The sea elevates these few acres into something they would never be if hidden in the mass of the mainland. The sea makes islands significant…– Adam Nicolson, Sea RoomOn the edge of the water were a pair of waystones, their surfaces silver against the black of the sky; the black of the water. One stood upright, a finger pointing into the sky. The other lay flat, extending into the water like a short stone pier.No breath of wind disturbed the surface of the water. So as we climbed out onto the fallen stone the stars reflected themselves in double fashion; as above, so below. It was as if we were sitting amid a sea of stars.– Patrick Rothfuss, The Name of the Wind, p. 216This is the land of Narnia, said the Faun, where we are now; all that lies between the lamp-post and the great castle of Cair Paravel on the eastern sea. And you—you have come from the wild woods of the west?I—I got in through the wardrobe in the spare room, said Lucy.– C.S. Lewis, The Lion, the Witch and the WardrobePennie and I have had the flu for more days than is supposed to be possible, and I have still not recovered my voice. There were days when I was not sure I dwelt in the land of the living.“The rain to the wind said,You push and I'll pelt.'They so smote the garden bedThat the flowers actually knelt,And lay lodged–though not dead.I know how the flowers felt.”― Robert FrostAroo,Roy H. WilliamsNOTE FROM INDY – Taking care of Pennie and Roy prohibited me from putting together a rabbit hole for you. Sorry.

Hosts Donny Brook, Ray Mancini, and Juan Morehead put up their dukes and take a poke at stories where Employee #1 gets in a beef at work. This one is a real hit.BONUS: Juan gets wistfully sidetracked discussing his old friends at a pallet factory. Ray has a momentary lapse of identity. And Donny will likely get his head caved in with a fucking ABC fire extinguisher when this one hits the free public feed.

Playing off an online article that longtime Goldmine scribe Dave Thompson had written this month about the good, the bad and the underrated of Rolling Stones songs, editor Patrick Prince questions Thompson on his choices (and reasoning). For instance, Prince thinks "Street Fighting Man" might be the best rock and roll song ever written, Thompson thinks it's just plain "lazy." It's stuff like this that makes a pretty good (and fun!) episode of a podcast — the Goldmine Podcast! Listen to the episode!

The final show of the 2022 (unless additional shows are added later) will emanate from Denver, CO, the same place where they closed out a tour the last time they were there in 2014. This episode will focus on being in Denver at the beginning of a tour, and that happened by in 1994. The third show of a three night stint in 1993 playing CU Boulder was canceled due to security issues. So vowing to never play the university again and wanting to make it up to those kids who missed out, the band played two shows in Denver to kick off the 1994 run. Both nights were filled with surprises, mostly involving never before heard Vitalogy songs. As night one featured the Spin The Black Circle live debut, we're going to talk about the debut of Not For You that took place on night 2. This was the beginning of a relationship with the song that would define a lot of what they were going through in 1994 and 1995. We'll discuss it's origin and inspiration for writing it. We'll also cover the live debut of Street Fighting Man, a W.M.A. tag off of Porch, a Rats tag off of Daughter, and not one, but TWO band members losing their pants! Visit the Concertpedia - http://liveon4legs.com Donate to the Show - http://patreon.com/liveon4legs

He's our go-to musicologist and Chris Epting was back today to break down everything there is to know about The Rolling Stones' Street Fighting Man! 

„Pleased to meet you“, The Rolling Stones sind back on track - beziehungsweise wann waren sie das nicht? Heute startet jedenfalls ihre Europa-Tour, ihre womöglich fünfte erfolgreichste Tournee aller Zeiten mit hunderten Millionen an Einnahmen. Noch beeindruckender sind nur diese Zahlen: Die Band wird diesen Monat 60, Mick Jagger und Keith Richards nächstes Jahr 80. Dabei fing alles an mit 1 zufälligen Begegnung von 2 Schulfreunden aus Kindheitstagen. Mick und Keith trafen sich an einem Bahnhof in der englischen Grafschaft Kent und fanden zueinander über ihre gemeinsame Leidenschaft für den Blues. Einer ihrer ersten gemeinsam geschriebenen Songs hieß „The Last Time“, dabei sollte der erst der Anfang sein. Es folgten geniale Riffs und großartige Alben, sie erfanden „Jumping Jack Flash“, „Honky Tonk Women“ und den „Street Fighting Man“ - und sich selbst als die Rebellen des Rock'n'Roll. Ihrem Bad-Boy-Image wurden die Stones in den 70ern und 80ern vor allem durch Sex & Drugs gerecht, aber auch einige tragische Todesfälle trugen dazu bei. Die unglaubliche Geschichte und viele unfassbare Fakten der langlebigsten Band der Welt von der Jungsteinzeit bis ins Jetzt erzählen wir in Episode #062RollingStones. Marc Mühlenbrock hatte das Glück, die Stones heute vor genau 15 Jahren interviewen zu dürfen. Daraus hören wir Original-Ausschnitte von Mick Jagger, Keith Richards, Charlie Watts und Ron Wood. Satisfaction guaranteed...

Rob Schwartz, advertising maven and CEO of TBWA New York, joins Andrew for a follow-up to their pre-COVID conversation that started this season of Sounds and Vision. This time, topics include how the pandemic may alter the worlds of marketing and advertising, why the industry needs to get its swagger back, how TikTok is diversifying the media playing field, what it means to be a ‘motorcycle dreamer,' and how “All You Need Is Love” might be a better message going forward than “Street Fighting Man.” Show Notes: Rob Schwartz (Twitter)TBWA New York CEO Rob Schwartz: ‘I'm not a manager'Rob Schwartz: The Beatles Theory of Creative Career ManagementSounds and Vision - S2E1 - Rob Schwartz (part 1)Graham Greene7 Marketing Tips Mad Men Reminded Us Are Still RelevantWhat Makes Sammy Run?Why Americans Live Farther From Work Than They Did a Decade AgoCOVID-sniffing dogs used at Black Keys concertThe Rolling Stones - "Street Fighting Man" (Live in Nashville, October 9 2021)Travel Makes Us Whole Again | Marriott BonvoyHow COVID-19 Has Changed Marketing ForeverThe Velvet Underground (trailer)The Factory Factor: Andy Warhol and the Velvet UndergroundAndy Warhol: “We're sponsoring a new band. It's called the Velvet Underground.”Malcolm McLaren obituaryHow TikTok Is Just Beginning to Transform AdvertisingSlumdog Millionaire (trailer)Roll of the Dice – What's Between Chess and Backgammon?Easyriders MagazineGoPro: Road to Hana on a MotorcycleWho Was In The Rat Pack? Sinatra's Vegas Crew, ExplainedMick Jagger and Princess Margaret? The Crown's Most Scandalous SecretShoes like Jagger — how to wear trainers as a middle-aged manPaul McCartney Doesn't Really Want to Stop the Show (New Yorker article)Paul McCartney Reflects on How His Late Mother Became His Greatest MuseThe Rolling Stones - "Cool, Calm and Collected"The Rolling Stones - "100 Years Ago (Piano Demo)"Patek Philippe Celebrates 20 Years of Its Iconic Advertising CampaignOpen Veins of Latin America by Eduardo Galeano"Do All the Good You Can; In All the Ways You Can …"Giving Really Is Better than ReceivingThe Beatles - "All You Need Is Love"Andrew Loog Oldham's Sounds and Vision is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.

CÓMO ESTÁ LA BANDAAAAA! Piro inicia nuestra cuarta temporada con el original y único Fernando Arau, una entretenida charla que además fue presencial. También, Piro nos habla de Beggars Banquet, el aclamado álbum de The Rolling Stones de dónde salieron canciones como “Sympathy for the Devil” y “Street Fighting Man”. Échenle un ojo, vale la pena!

On this week's show, we... bid adieu to the late, great Dr. Lonnie Smith  spend quality time with superlative new records from Adia Victoria & Dirty Honey spin new tracks by John Mellencamp, Parquet Courts & Jason Isbell & The 400 Unit All this & much, much less!Debts No Honest Man Can Pay is over 2 rock-solid hours of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Sorry the heat created so many complications's's's's'……… if you can't handle the echo, scan ahead to 35:25. Thank you, HighTower Meats, for cooking up all the great grub. Get ahold of Shawn at 810-434-6188. Did the world completely fall apart last week? Between the earthquake in Haiti and the complete mess in Afghanistan, Scooter wants to go back to northern Michigan and hide in the woods. Megan McCain summed it up pretty good with her sad statement. Time for the Shot of the Week with some Pinaq Coloda and we even get to have it with Gary, Larry, Jerry LIVE!!! Tunnel to Towers is fundraising with there “Never Forget Walk” Tonight's Top11 is a flashback of highlights from the past 99 shows including: Episode 82 Episode 10 For the continuation of EP 100 we played a little ditty by “The Alternate Routes” called “Nothing More”. Continuing with The Preacher Mans Top11: Episode 66 Episode 50 Episode 42 Remembering Charlie Watts and some of the great parts of his career. Of course, The Preacher Man had to feature “Street Fighting Man” by The Rolling Stones for his Deep Dive. Jack Morris gets suspended for bias comments during Tigers game broadcast.

This week, on the pod, Mark and Brendan has some sizzling new tunes for your playlists, and of course a tribute to the late Charlie Watts, of the Rolling Stones! To preview the content of the podcast episode, let's note Brendan began with a Metallica cover from none other than Chris Stapleton. Mark followed with a new single from Angus & Julia Stone. Up next, B. features a new, non-album single from Baltimore's Future Islands, while Mark previews a new song from New Zealand guitarist Roy Montgomery, with Brooklyn's Katie Von Schmeichler on vocals. The archive track this week is a 30-second snippet "Street Fighting Man," recorded in Brussels, Belgium, in 1973, perhaps featuring the Rolling Stones at the peak of their powers. If you don't know of The Brussels Affair bootleg, well, it has been remixed by Bob Clearmountain for a deluxe edition of Goat's Head Soup that is easily found on Spotify. (It came out last year. Scroll down and look for the word "Live.") There are bonus tracks, as usual, but you will have to sign up for our email newsletter to get those gems. If you want to do that now, please take a second to sign up for our newsletter right here. Have a great week! ---Mark and Brendan

Sky Point Charlie Watts. Download | Spotify | Apple | Google| Stitcher | RSS      

Sky Point Charlie Watts. Download | Spotify | Apple | Google| Stitcher | RSS      

Discogs: Dave Mason was a founding member of the group Traffic, but left following the release of their debut album, Mr. Fantasy (1967), only to rejoin halfway through the sessions for their next album, Traffic (1968), after which he left again. Last Exit (1969), a compilation of odds and ends, features little material by Mason apart from his song "Just for You". Traffic later re-formed without Mason, although he briefly began working with the band for a third time, touring with them in 1971 and playing on Welcome to the Canteen. In his brief spells with the group, Mason never quite fit in; Steve Winwood later recalled. In 1970, Mason was slated to be the second guitarist for Derek and the Dominos. He played on their early studio sessions, including the Phil Spector production of "Tell the Truth", which was later withdrawn from sale (and is now a collector's item). He also played at their first gig at the London Lyceum but left the group soon after that. For a brief period in the mid-1990s, Mason joined Fleetwood Mac and released the album Time with them in 1995. He toured with them over the course of 1994–95. Over the course of his career, Mason has played and recorded with many notable pop and rock musicians, including Jimi Hendrix, the Rolling Stones (e.g. on Street Fighting Man), George Harrison (appearing on All Things Must Pass), Paul McCartney, Eric Clapton, Michael Jackson, David Crosby, Graham Nash, Steve Winwood, Fleetwood Mac, Delaney & Bonnie, Leon Russell, and...Cass Elliot. One of Mason's best-known songs is "Feelin' Alright", recorded by Traffic in 1968 and later by many other performers, including Joe Cocker, whose version of the song was a hit in 1969. For Traffic, he also wrote "Hole in My Shoe", a psychedelic pop song that became a hit in its own right. "We Just Disagree", Mason's 1977 solo US hit, written by Jim Krueger, has become a staple of US classic hits and adult contemporary radio playlists. Cass Elliot was credited with creating the group name 'The Mamas and The Papas' while watching a TV program, with the other band members, while temporarily residing in the U.S. Virgin Islands. Although some releases were still credited to Mama Cass Elliot, it was around this time that she used her original stage name, Cass Elliot. She starred in many a TV show including two specials of her own. She was loved and is still admired for her pleasing alto and all-around ability to entertain. In her way, she was as troubled as her other drug-taking contemporaries like Jim Morrison, in addition to her life-long weight problems which probably kept her close to people but not so close that her loneliness abated. She, to me, sounds like an American Annie Haslam.  So if you didn't know that these two members of the RRHOF did an album together, now you do!  Wiki: After being introduced by a mutual friend, Mason and Elliot hit it off and decided to pursue singing together professionally. Elliot, having released two solo albums at that time, missed the collaborative effort of producing music, and Mason, who had just arrived in the U.S. after splitting with Traffic, was interested in a fresh collaboration. Originally Elliot was intended to be co-producer with Mason on an intended solo album by the latter: after Elliot sang background for Mason on some sessions the idea of the album being a Mason/Elliot collaboration emerged.  Dave Mason and Cass Elliot - Glittering Facade (1971) Dave Mason and Cass Elliot - Sit and Wonder (1971) Dave Mason - Every Woman (1973) Dave Mason - Shouldn't Have Took More Than You Gave (1970) Dave Mason - Save Me (1980) Michael Jackson on backing vocals.  Dave Mason and Cass Elliot - On and On (1971) Cass Elliot - I'll Be There (1972) Cass Elliot (billed as Mama Cass Elliot) - It's Getting Better (1969) Cass Elliot - New World Coming (1970) Dave Mason - The Lonely One (1973) Stevie Wonder on harmonica solo.    Laura Nyro - Beads of Sweat (1970) Laura Nyro (rhymes with "Hero") was a female Jimmy Webb (or he a male Laura Nyro) who reinvented songwriting possibilities for a generation. She influenced so many writers that I cannot list them here. Her influence really shows itself in the works of Todd Rundgren, Elton John, Patti Smith, so so many. She merged the melodic gifts of Carole King with the lyrical ones of Bob Dylan. You know her songs. Between 1968 and 1970, a number of artists had hits with her songs: The 5th Dimension with "Blowing Away", "Wedding Bell Blues", "Stoned Soul Picnic", "Sweet Blindness", and "Save the Country"; Blood, Sweat & Tears and Peter, Paul and Mary, with "And When I Die"; Three Dog Night and Maynard Ferguson, with "Eli's Comin'"; and Barbra Streisand with "Stoney End", "Time and Love", and "Hands off the Man (Flim Flam Man)". Ironically, Nyro's best-selling single was her recording of Carole King's and Gerry Goffin's "Up on the Roof". Laura Nyro - Eli's Coming (1968) Laura Nyro - New York Tendaberry (1969) Laura Nyro - Mr. Blue (1978) Laura Nyro - Smile (1976) Cockney Rebel - Psychomodo (1974) Steve Harley and Cockney Rebel - Make Me Smile (Come Up and See Me) (1976) Steve Harley and Cockney Rebel - Sebastian (1973) Paul Revere and the Raiders - Ain't Nothing Wrong (1976) Everybody tried disco. Everybody. This song was written by Harry Casey and Rick Finch! Flopped.   Johnny Cougar - Need Somebody Baby (1976) Like my unfortunate management deal that forced me to call myself "Sir Gilbert Slitherbottom VI", John Mellencamp's management had no idea who or what he was. He started out for a brief period of time as a "glam rocker" but then tried out for a solo career with his first album Chestnut Street Incident released by former David Bowie manager Tony DeFries on the Mainman (division of MCA) label. That album was a complete flop partly due to the fact that the record label wanted to mold John into something he was not (a pretty boy ala James Dean) and the fact that the album mostly consisted of cover songs.  Johnny Cougar - The Man Who Sold the World (1976) What a strange curio from the early days of John Mellencamp.  Queen - All Dead, All Dead (1977) The Spotlights - Batman and Robin (1966) Produced by Leon Russell and Snuff Garrett. Gig's a gig! Dion and the Belmonts - My Girl the Month of May (1966) This album features the song "For Bobbie" which was written by John Denver, and he recorded it himself in 1972, retitling it' "For Baby." Mick Taylor - Leather Jacket (1979) Moody Blues - Veteran Cosmic Rocker (1981) Ruth Copeland - The Silent Boatman (1970) Do you prefer this version or the one by Parliament?

#사월의 미, 칠월의 솔♪ Two Step / Dave Matthews Band # 뉴스 Good & Bad feat. 옥유정 기자Bad 감기약에 중독된 사람들Good 청주에 신설되는 특수학교, 환영하는 주민들 #시간을 달리는 음악 feat. 김경진 음악평론가1. Brian Jones (1942.02.28.~1969.07.03.)♪ Ruby Tuesday (3:12) / Rolling Stones (1967)♪ 2000 Light Years From Home (4:45) / Rolling Stones (1967)♪ Street Fighting Man (3:16) / Rolling Stones (1968)ART19 개인정보 정책 및 캘리포니아주의 개인정보 통지는 https://art19.com/privacy & https://art19.com/privacy#do-not-sell-my-info 에서 확인하실 수 있습니다.

Believe it or not, many considered The Who to be a band in decline just before the release of their iconic rock opera Tommy.  Their recent releases hadn't been as popular as expected.  They had a popular stage show, but between Pete Townshend destroying his guitars and/or Keith Moon destroying his drums, the shows were expensive!  The double album Tommy would change the trajectory of the group and make them superstars of the rock genre.Pete Townshend was looking for something different when he created this rock opera.  He was dissatisfied with the style of rock advanced by The Beatles and The Beach Boys, which was highly produced but not well suiting for live tours.  He had experimented with smaller suites on earlier albums, but Tommy was on a completely different level - a double album telling a cohesive story.  Tommy tells the story of a boy left deaf, dumb, and blind after his father, Captain Walker, kills his mother's lover.  After many unsuccessful attempts to cure him, he is left neglected and molested by members of his family.  Once he grows older, he finds himself unusually gifted with playing pinball.  A new doctor correctly identifies Tommy's issues as psychosomatic, and he is eventually cured.  He then briefly becomes a leader of a religious movement, using enforced sensory depravation and pinball machines to enlighten his adherents.  His strange practices are soon rejected by his followers.The album would come out in May of 1969, but its first performance was in April, which is why we are featuring it here. Pinball WizardThe first single from the album is one of the ban's most famous songs.  It tells of the skills of Tommy Walker from the perspective of a pinball champion "a Bally table king" who declares "that deaf, dumb, and blind kid sure plays a mean pinball!"  Elton John  would perform this song in the 1975 film adaptation of the rock opera.The Acid QueenPete Townshend is on lead vocals for this song.  It chronicles Tommy's experience with a gypsy healer who uses LSD to treat his ailments.  On the album the song leads into the instrumental "Underture," which represents Tommy's hallucination.  Tina Turner plays the Acid Queen in the 1975 film and sings this song.I'm FreeThis song features Roger Daltry on lead vocals, and tells of Tommy's release from blindness and deafness.  It also tells of Tommy's rise to spiritual leader as his popularity skyrockets after his cure.  Townshend was partly inspired by the Rolling Stones' "Street Fighting Man" when he wrote this one.We're Not Gonna Take ItThe followers ultimately reject Tommy in this final track of the album.  It is actually a suite, with movements including "We're Not Gonna Take It,"  and reprises of "See Me, Feel Me," and "Listening to You."   Townshend had originally intended this song to be a critique of politics before it was incorporated into the rock opera. ENTERTAINMENT TRACK:“The Brother's Theme” (from the television series “The Smothers Brothers”)The Smothers Brothers comedy show would go off the air in April 1969 after clashes with the CBS network censors over their portraying of the Vietnam War. STAFF PICKS:The Boxer by Simon & GarfunkelBruce's staff pick is the most highly produced of the Simon and Garfunkel songs, taking over 100 hours to record, and recorded at multiple locations.  The lyrics are about a person struggling with life and loneliness in New York City.  The "lie-la-lie" in the chorus was intended to be a placeholder, but became part of the song.Gimme Gimme Good Lovin' by Crazy ElephantRob picked this one out mistakenly thinking it was "Gimme Summa Lovin'," but this one-hit wonder has a good groove.  It is considered psychedelic rock, or garage rock.  Super K Productions put this band together, and several covers were done, including one by Dusty Springfield.Traces by Classics IVBrian's staff pick features a laid back tune as his staff pick.  The single came out in January and peaked in April at number 2 on the Billboard Hot 100.  It is about lost love, and dealing with it as the years go on.  The Classics IV also performed the songs "Stormy" and "Spooky," the latter of which would be covered by the Atlanta Rhythm Section.  Grazing in the Grass by The Friends of DistinctionHarry Elson wrote the lyrics to what had been a #1 instrumental recorded by Hugh Masekela.  Wayne's staff pick features The Friends of Distinction, discovered by NFL great Jim Brown.  The original members were Floyd Butler, Harry Elston, Jessica Cleaves, and Barbara Jean Love.  They had 3 top 40 hits, and this highest charting one was inspired by seeing cattle in pastures from the tour bus.INSTRUMENTAL TRACK:Underture by The WhoThis instrumental number from the Tommy double album lets us do a little double dipping on the album feature as we close out the podcast with some observations on Keith Moon.

Episode 22 of season 4 was recorded at 7 pm on 3 June 2021.  It did not air due to the collapsing infrastructure in South Africa.  A continuous spate of load shedding, almost 12 hours in my area , in the last 24 hours has led to the cell phone tower batteries running down and thus no internet to send out the show.  Fortunately, the podcast is here to make sure that you get your weekly dose of music that matters.  The show kicked off with Axel Rudi Pell and a track called 'Gunfire'.  We followed with Black Sabbath and  'Tomorrow's Dream' which at the moment is looking like a nightmare.  It is very easy to go off on a tirade about this so I will resist but just know that as relaxed as the show may sound I am in a constant war with wifi throughout.  I even set up a whole separate router system during the show which didn't work either.I played Beatallica which is a very odd mash-up of The Beatles and Metallica, it sounds ridiculous I know but just listen to it, the guy has Hetfield down to a T.  I played another Sinner track off There Will  Be Execution, really enjoying the band, I paid tribute to the amazing Francois Van Coke and celebrated his fantastic victory over rugby star Derick Hougaat last Saturday.  Rock gave rugby a lekker klap, we took a listen to Fokofpolisiekar with 'Tygerberg Vliegtuig' to celebrate.  Then it was time for some UK punk in the form of the Sex Pistols with 'Holidays in the Sun' and The Clash.  Another notable mention was that it's 10 years to the day that I was in Germany for Rock Im Park.  We took a listen to Avenged Sevenfold and Bring Me The Horizon to mark that momentous event.  It's 2 years since Piet Botha passed and I played 'Die Gemmerbroodman' and told you a little bit about who I had been told that song is about.  Incidentally on my iTunes copy of Die Mamba Piet Botha is called 'Pie Botha' so if you are living in another country and have the album, his name was Piet........not Pie.  I played the brand new Buckcherry called 'Hellbound' and I went on yet another big gushy rave about Sunken State.  It has been a long time since I have been as excited about a band as I am with SA's own Sunken State.  The album gets released on 11 June.   We wound up with The Parlotones and 'Disappear Without a Trace'  because that is how the future in SA feels right now and we said happy birthday to Charlie Watts by playing 'Street Fighting Man' and closed out by continuing the love affair with Brody Dalle and The Distillers with a track called 'Seneca Falls'.  Adios amoebas, check you next week.    Artists featured:  Axel Rudi-Pell, Black Sabbath, Alice in Chains, Bush, Keel, Seether, Sinner, Ratt, The Winery Dogs, 12th Avenue, Rammstein, Type O Negative, ACDC, Aerosmith, Beatallica, Machine Head, The Band, Matthew Goode Band, Fokofpolisiekar, Sex Pistols, the Clash, Piet Botha, ZZ Top, Avenged Sevenfold, Bring Me the Horizon, Hollywood Vampires, Buckcherry, Mark Morton, Greta Van Fleet, Halford, Iron Maiden, Sunken State, The Parlotones, The Rolling Stones, the Distillers. 

We start the new season with an exclusive and wide-ranging interview with foremost political thinker, prolific writer and original street fighting man Tariq Ali.

On this Tony Talks we talk COVID , Obamas Podcast, and Usher at the strip club....ENJOY!!!!Follow Everyone:@tonytalkspc (IG and Twitter)@elementgmedia (IG)@ru5hx_ (IG)

In this episode, David Harris, Holly Hazelwood and Eric Mellor are joined by special guest, writer Anthony DeCurtis, to discuss the Rolling Stones.Support the show (https://www.patreon.com/bePatron?u=35658686)

Episode one hundred and eleven of A History of Rock Music in Five Hundred Songs looks at "Heat Wave" by Martha and the Vandellas, and the beginnings of Holland-Dozier-Holland. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "My Boyfriend's Back" by the Angels. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more----   Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown, including Martha and the Vandellas. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era, including Martha and the Vandellas. And Dancing in the Street: Confessions of a Motown Diva  by Martha Reeves and Mark Bego is Reeves' autobiography. And this three-CD set contains all the Vandellas' Motown singles, along with a bunch of rarities.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at the career of one of the great girl groups to come out of Motown, and at the early work of the songwriting team that went on to be arguably the most important people in the definition of the Motown Sound. We're going to look at "Heatwave" by Martha and the Vandellas, and the beginning of the career of Holland, Dozier, and Holland: [Excerpt: Martha and the Vandellas, "Heatwave"] By the time she started recording for Motown, Martha Reeves had already spent several years in groups around Detroit, with little success. Her singing career had started in a group called The Fascinations, which she had formed with another singer, who is variously named in different sources as Shirley Lawson and Shirley Walker. She'd quickly left that group, but after she left them, the Fascinations went on to make a string of minor hit records with Curtis Mayfield: [Excerpt: The Fascinations, "Girls Are Out To Get You"] But it wasn't just her professional experience, such as it was, that Reeves credited for her success -- she had also been a soloist in her high school choir, and from her accounts her real training came from her High School music teacher, Abraham Silver. In her autobiography she talks about hanging around in the park singing with other people who had been taught by the same teacher -- Mary Wilson and Florence Ballard, who would go on to form the Supremes, Bobby Rogers and Claudette Robinson, who were founder members of the Miracles, and Little Joe Harris, who would later become lead singer of the minor Motown act The Undisputed Truth. She'd eventually joined another group, the Del-Phis, with three other singers -- Gloria Williams (or Williamson -- sources vary as to what her actual surname was -- it might be that Williamson was her birth name and Williams a stage name), Annette Beard, and Rosalind Ashford. The group found out early on that they didn't particularly get on with each other as people -- their personalities were all too different -- but their voices blended well and they worked well on stage. Williams or Williamson was the leader and lead singer at this point, and the rest of the DelPhis acted as her backing group. They started performing at the amateur nights and talent contests that were such a big part of the way that Black talent got known at that time, and developed a rivalry with two other groups -- The Primes, who would later go on to be the Temptations, and The Primettes, who had named themselves after the Primes, but later became the Supremes. Those three groups more or less took it in turns to win the talent contests, and before long the Del-Phis had been signed to Checkmate Records, one of several subsidiaries of Chess, where they released one single, with Gloria on lead: [Excerpt: The Del-Phis, "I'll Let You Know"] The group also sang backing vocals on various other records at that time, like Mike Hanks' "When True Love Comes to Be": [Excerpt: Mike Hanks, "When True Love Comes to Be"] Depending on who you believe, Martha may not be on that record at all -- the Del-Phis apparently had some lineup fluctuations, with members coming and going, though the story of who was in the group when seems to be told more on the basis of who wants credit for what at any particular time than on what the truth is. No matter who was in the group, though, they never had more than local success. While the Del-Phis were trying and failing to become big stars as a group, Martha also started performing solo, as Martha LaVelle. Only a couple of days after her first solo performance, Mickey Stevenson saw her perform and gave her his card, telling her to pop down to Hitsville for an audition as he thought she had talent. But when she did turn up, Stevenson was annoyed at her, over a misunderstanding that turned out to be his fault. She had just come straight to the studio, assuming she could audition any time, and Stevenson hadn't explained to her that they had one day a month where they ran auditions -- he'd expected her to call him on the number on the card, not just come down. Stevenson was busy that day, and left the office, telling Martha on his way out the door that he'd be back in a bit, and to answer the phone if it rang, leaving her alone in the office. She started answering the phone, calling herself the "A&R secretary", taking messages, and sorting out problems. She was asked to come back the next day, and worked there three weeks for no pay before getting herself put on a salary as Stevenson's secretary. Once her foot was in the door at Motown, she also started helping out on sessions, as almost all the staff there did, adding backing vocals, handclaps, or footstomps for a five-dollar-per-session bonus.  One of her jobs as Stevenson's secretary was to phone and book session musicians and singers,  and for one session the Andantes, Motown's normal female backing vocal group, were unavailable. Martha got the idea to call the rest of the DelPhis -- who seem like they might even have been split up at this point, depending on which source you read -- and see if they wanted to do the job instead. They had to audition for Berry Gordy, but Gordy was perfectly happy with them and signed them to Motown. Their role was mostly to be backing vocalists, but the plan was that they would also cut a few singles themselves as well.  But Gordy didn't want to sign them as the Del-Phis -- he didn't know what the details of their contract with Checkmate were, and who actually owned the name. So they needed a new name. At first they went with the Dominettes, but that was soon changed, before they ever made a record What happened is a matter of some dispute, because this seems to be the moment that Martha Reeves took over the group -- it may be that the fact that she was the one booking them for the sessions and so in charge of whether they got paid or not changed the power dynamics of the band -- and so different people give different accounts depending on who they want to seem most important. But the generally accepted story is that Martha suggested a name based on the street she lived on, Van Dyke Street, and Della Reese, Martha's favourite singer, who had hits like "Don't You Know?": [Excerpt: Della Reese, "Don't You Know?"] The group became Martha and the Vandellas -- although Rosalind Ashford, who says that the group name was not Martha's work, also says that the group weren't "Martha and the Vandellas" to start with, but just the Vandellas, and this might be the case, as at this point Gloria rather than Martha was still the lead singer. The newly-named Vandellas were quickly put to work, mostly working on records that Mickey Stevenson produced. The first record they sang on was not credited either to the Vandellas *or* to Martha and the Vandellas, being instead credited to Saundra Mallett and the Vandellas – Mallett was a minor Motown singer who they were backing for this one record. The song was one written by Berry Gordy, as an attempt at a "Loco-Motion" clone, and was called "Camel Walk": [Excerpt: Saundra Mallett and the Vandellas, "Camel Walk"] More famously, there was the record that everyone talks about as being the first one to feature the Vandellas, even though it came out after "Camel Walk", one we've already talked about before, Marvin Gaye's "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] That became Gaye's breakout hit, and as well as singing in the studio for other artists and trying to make their own records, the Vandellas were now also Marvin Gaye's backing vocalists, and at shows like the Motortown Revue shows, as well as performing their own sets, the Vandellas would sing with Gaye as well. While they were not yet themselves stars, they had a foot on the ladder, and through working with Marvin they got to perform with all sorts of other people -- Martha was particularly impressed by the Beach Boys, who performed on the same bill as them in Detroit, and she developed a lifelong crush on Mike Love. But while the Vandellas were Motown's go-to backing vocalists in 1962, they still wanted to make their own records. They did make one record with Gloria singing lead, "You’ll Never Cherish A Love So True (‘Til You Lose It)": [Excerpt: The Vells, "You’ll Never Cherish A Love So True (‘Til You Lose It)"] But that was released not as by the Vandellas, but by the Vells, because by the time it was released, the Vandellas had more or less by accident become definitively MARTHA and the Vandellas. The session that changed everything came about because Martha was still working as Mickey Stevenson's secretary. Stevenson was producing a record for Mary Wells, and he had a problem. Stevenson had recently instituted a new system for his recordings at Motown. Up to this point, they'd been making records with everyone in the studio at the same time -- all the musicians, the lead singer, the backing vocalists, and so on. But that became increasingly difficult when the label's stars were on tour all the time, and it also meant that if the singer flubbed a note a good bass take would also be wrecked, or vice versa. It just wasn't efficient. So, taking advantage of the ability to multitrack, Stevenson had started doing things differently. Now backing tracks would be recorded by the Funk Brothers in the studio whenever a writer-producer had something for them to record, and then the singer would come in later and overdub their vocals when it was convenient to do that. That also had other advantages -- if a singer turned out not to be right for the song, they could record another singer doing it instead, and they could reuse backing tracks, so if a song was a hit for, say, the Miracles, the Marvelettes could then use the same backing track for a cover version of it to fill out an album. But there was a problem with this system, and that problem was the Musicians' Union. The union had a rule that if musicians were cutting a track that was intended to have a vocal, the vocalist *must* be present at the session -- like a lot of historical union rules, this seems faintly ridiculous today, but no doubt there were good reasons for it at the time.  Motown, like most labels, were perfectly happy to break the union rules on occasion, but there was always the possibility of a surprise union inspection, and one turned up while Mickey Stevenson was cutting "I'll Have to Let Him Go". Mary Wells wasn't there, and knowing that his secretary could sing, Stevenson grabbed her and got her to go into the studio and sing the song while the musicians played. Martha decided to give the song everything she had, and Stevenson was impressed enough that he decided to give the song to her, rather than Wells, and at the same session that the Vandellas recorded the songs with Gloria on lead, they recorded new vocals to the backing track that Stevenson had recorded that day: [Excerpt: Martha and the Vandellas, "I'll Have to Let Him Go"] That was released under the Martha and the Vandellas name, and around this point Gloria left the group. Some have suggested that this was because she didn't like Martha becoming the leader, while others have said that it's just that she had a good job working for the city, and didn't want to put that at risk by becoming a full-time singer. Either way, a week after the Vandellas record came out, Motown released "You’ll Never Cherish A Love So True (‘Til You Lose It)" under the name The Vells.  Neither single had any chart success, but that wouldn't be true for the next one, which wouldn't be released for another five months. But when it was finally released, it would be regarded as the beginning of the "Motown Sound". Before that record, Motown had released many extraordinary records, and we've looked at some of them. But after it, it began a domination of the American charts that would last the rest of the decade; a domination caused in large part by the team of Holland, Dozier, and Holland. We've heard a little from the Holland brothers and Lamont Dozier, separately, in previous episodes looking at Motown, but this is the point at which they go from being minor players within the Motown organisation to being the single most important team for the label's future commercial success, so we should take a proper look at them now. Eddie Holland started working with Berry Gordy years before the start of Motown -- he was a singer who was known for having a similar sounding voice to that of Jackie Wilson, and Gordy had taken him on first as a soundalike demo singer, recording songs written for Wilson so Wilson could hear how they would sound in his voice, and later trying to mould him into a Wilson clone, starting with Holland's first single, "You": [Excerpt: Eddie Holland, "You"] Holland quickly found that he didn't enjoy performing on stage -- he loved singing, but he didn't like the actual experience of being on stage. However, he continued doing it, in the belief that one should not just quit a job until a better opportunity comes along. Before becoming a professional singer, Holland had sung in street-corner doo-wop groups with his younger brother Brian. Brian, unlike Eddie, didn't have a particularly great voice, but what he did have was a great musical mind -- he could instantly figure out all the harmony parts for the whole group, and had a massive talent for arrangement. Eddie spent much of his early time working with Gordy trying to get Gordy to take his little brother seriously -- at the time,  Brian Holland was still in his early teens, and Gordy refused to believe he could be as talented as Eddie said. Eventually, though, Gordy listened to Brian and took him under his wing, pairing him with Janie Bradford to add music to Bradford's lyrics, and also teaching him to engineer. One of Brian Holland's first engineering jobs was for a song recorded by Eddie, written as a jingle for a wine company but released as a single under the name "Briant Holland" -- meaning it has often over the years been assumed to be Brian singing lead: [Excerpt: Briant Holland, "(Where's the Joy) in Nature Boy?"] When Motown started up, Brian had become a staffer -- indeed, he has later claimed that he was the very first person employed by Motown as a permanent staff member. While Eddie was out on the road performing, Brian was  writing, producing, and singing backing vocals on many, many records. We've already heard how he was the co-writer and producer on "Please Mr. Postman" by the Marvelettes: [Excerpt: The Marvelettes, "Please Mr. Postman"] That had obviously been a massive hit, and Motown's first number one, but Brian was still definitely just one of the Motown team, and not as important a part of it as Berry Gordy, Smokey Robinson, or Mickey Stevenson. Meanwhile, Eddie finally had a minor hit of his own, with "Jamie", a song co-written by Barrett Strong and Mickey Stevenson, and originally recorded by Strong -- when Strong left the label, they took the backing track intended for him and had Holland record new vocals over it. [Excerpt: Eddie Holland, "Jamie"] That made the top thirty, which must have been galling at the time for Strong, who'd quit in part because he couldn't get a hit. But the crucial thing that lifted the Holland brothers from being just parts of the Motown machine to being the most important creative forces in the company was when Brian Holland became friendly with Anne Dozier, who worked at Motown packing records, and whose husband Lamont was a singer. Lamont Dozier had been around musical people all his life -- at Hutchins Junior High School, he was a couple of years below Marv Johnson, the first Motown star, he knew Freda Payne, and one of his classmates was Otis Williams, later of the Temptations. But it was another junior high classmate who, as he puts it, "lit a fire under me to take some steps to get my own music heard by the world", when one of his friends asked him if he felt like coming along to church to hear another classmate sing. Dozier had no idea this classmate sang, but he went along, and as it happens, we have some recordings of that classmate singing and playing piano around that time: [Excerpt: Aretha Franklin, "There Is a Fountain Filled With Blood"] That's fourteen-year-old Aretha Franklin, and as you can imagine, being classmates with someone who could perform like that caused Lamont Dozier to radically revise his ideas of what it was possible for him to do. He'd formed a doo-wop group called the Romeos, and they released their first single, with both sides written by Lamont, by the time he was sixteen: [Excerpt: The Romeos, "Gone Gone Get Away"] The Romeos' third single, "Fine Fine Fine", was picked up by Atlantic for distribution, and did well enough that Atlantic decided they wanted a follow-up, and wrote to them asking them to come into the studio. But Lamont Dozier, at sixteen, thought that he had some kind of negotiating power, and wrote back saying they weren't interested in just doing a single, they wanted to do an album. Jerry Wexler wrote back saying "fair enough, you're released from your contract", and the Romeos' brief career was over before it began. He joined the Voice Masters, the first group signed to Anna Records, and sang on records of theirs like "Hope and Pray", the very first record ever put out by a Gordy family label: [Excerpt: The Voice Masters, "Hope and Pray"] And he'd continued to sing with them, as well as working for Anna Records doing odd jobs like cleaning the floors. His first solo record on Anna, released under the name Lamont Anthony, featured Robert White on guitar, James Jamerson on bass, Harvey Fuqua on piano, and Marvin Gaye on drums, and was based on the comic character "Popeye": [Excerpt: Lamont Anthony, "Popeye the Sailor Man"] Unfortunately, just as that record was starting to take off, King Features Syndicate, the owners of Popeye, sent a cease and desist order. Dozier went back into the studio and recut the vocal, this time singing about Benny the Skinny Man, instead of Popeye the Sailor Man: [Excerpt: Lamont Anthony, "Benny the Skinny Man"] But without the hook of it being about Popeye, the song flopped. Dozier joined Motown when that became the dominant part of the Gordy family operation, and signed up as a songwriter and producer. Robert Batemen had just stopped working with Brian Holland as a production team, and when Anne Dozier suggested that Holland go and meet her husband who was just starting at Motown, Holland walked in to find Dozier working at the piano, writing a song but stuck for a middle section. Holland told him he had an idea, sat next to him at the piano, and came up with the bridge. The two instantly clicked musically -- they discovered that they almost had a musical telepathy, and Holland got Freddie Gorman, his lyricist partner at the time, to finish up the lyrics for the song while he and Dozier came up with more ideas. That song became a Marvelettes album track, "Forever", which a few years later would be put out as a B-side, and make the top thirty in its own right: [Excerpt: The Marvelettes, "Forever"] Holland and Dozier quickly became a strong musical team -- Dozier had a great aptitude for coming up with riffs and hooks, both lyrical and musical, and rhythmic ideas, while Brian Holland could come up with great melodies and interesting chord changes, though both could do both. In the studio Brian would work with the drummers, while Lamont would work with the keyboard players and discuss the bass parts with James Jamerson. Their only shortfall was lyrically. They could both write lyrics -- and Lamont would often come up with a good title or hook phrase -- but they were slow at doing it. For the lyrics, they mostly worked with Freddie Gorman, and sometimes got Janie Bradford in. These teams came up with some great records, like "Contract on Love", which sounds very like a Four Seasons pastiche but also points the way to Holland and Dozier's later sound: [Excerpt: Little Stevie Wonder, "Contract on Love"] Both Little Stevie Wonder and the backing vocalists on that, the Temptations, would do better things later, but that's still a solid record. Meanwhile, Eddie Holland had had a realisation that would change the course of Motown. "Jamie" had been a hit, but he received no royalties -- he'd had a run of flop singles, so he hadn't yet earned out the production costs on his records. His first royalty statement after his hit showed him still owing Motown money. He asked his brother, who got a royalty statement at the same time, if he was in the same boat, and Brian showed him the statement for several thousand dollars that he'd made from the songs he'd written. Eddie decided that he was in the wrong job. He didn't like performing anyway, and his brother was making serious money while he was working away earning nothing. He took nine months off from doing anything other than the bare contractual minimum, -- where before he would spend every moment at Hitsville, now he only turned up for his own sessions -- and spent that time teaching himself songwriting. He studied Smokey Robinson's writing, and he developed his own ideas about what needed to be in a lyric -- he didn't want any meaningless filler words, he wanted every word to matter. He also wanted to make sure that even if people misheard a line or two, they would be able to get the idea of the song from the other lines, so he came up with a technique he referred to as "repeat-fomation", where he would give the same piece of information two or three times, paraphrasing it.  When the next Marvelettes album, The Marvellous Marvelettes, was being finished up by Mickey Stevenson, Motown got nervous about the album, thinking it didn't have a strong enough single on it, and so Brian Holland and Dozier were asked to come up with a new Marvelettes single in a hurry. Freddie Gorman had more or less stopped songwriting by this point, as he was spending most of his time working as a postman, and so, in need of another writing partner, they called on Eddie, who had been writing with various people. The three of them wrote and produced "Locking Up My Heart", the first single to be released with the writing credit "Holland-Dozier-Holland": [Excerpt: The Marvelettes, "Locking Up My Heart"] That was a comparative flop for the Marvelettes, and the beginning of the downward slump we talked about for them in the episode on "Please Mr. Postman", but the second Holland-Dozier-Holland single, recorded ten days later, was a very different matter. That one was for Martha and the Vandellas, and became widely regarded as the start of Motown's true Golden Age -- so much so that Brian and Eddie Holland's autobiography is named after this, rather than after any of the bigger and more obvious hits they would later co-write. The introduction to "Come and Get These Memories" isn't particularly auspicious -- the Vandellas singing the chorus: [Excerpt: Martha and the Vandellas, "Come and Get These Memories"] Hearing all three of the Vandellas, all of whom have such strong, distinctive voices, sing together is if anything a bit much -- the Vandellas aren't a great harmony group in the way that some of the other Motown groups are, and they work best when everyone's singing an individual line rather than block harmonies. But then we're instantly into the sound that Holland, Dozier, and Holland -- really Brian Holland and Lamont Dozier, who took charge of the musical side of things, with Eddie concentrating on the lyrics -- would make their own. There's a lightly swung rhythm, but with a strong backbeat with handclaps and tambourine emphasising the two and four-- the same rhythmic combination that made so many of the very early rock and roll records we looked at in the first year of the podcast, but this time taken at a more sedate pace, a casual stroll rather than a sprint. There's the simple, chorded piano and guitar parts, both instruments often playing in unison and again just emphasising the rhythm rather than doing anything more complex. And there's James Jamerson's wonderful, loping bass part, doing the exact opposite of what the piano and guitar are doing. [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] In almost every record in the rock and roll, soul, and R&B genres up to this point -- I say "almost every" because, as I've said many times before, there are always exceptions and there is never a first of anything -- the bass does one of two things: it either plods along just playing the root notes, or it plays a simple, repeated, ostinato figure throughout, acting as a backbone while the other instruments do more interesting things. James Jamerson is the first bass player outside the jazz and classical fields to prominently, repeatedly, do something very different -- he's got the guitars and piano holding down the rhythm so steadily that he doesn't need to. He plays melodies, largely improvised, that are jumping around and going somewhere different from where you'd expect.  "Come and Get These Memories" was largely written before Eddie's involvement, and the bulk of the lyric was Lamont Dozier's. He's said that in this instance he was inspired by country singers like Loretta Lynn, and the song's lyrical style, taking physical objects and using them as a metaphor for emotional states, certainly seems very country: [Excerpt: Martha and the Vandellas, "Come and Get These Memories"] "Come and Get These Memories" made number twenty-nine on the pop charts and number six on the R&B charts. Martha and the Vandellas were finally stars. As was the normal practice at Motown, when an artist had a hit, the writing and production team were given the chance to make the follow-up with them, and so the followup was another Holland/Dozier/Holland song, again from an idea by Lamont Dozier, as most of their collaborations with the Vandellas would be. "Heat Wave" is another leap forward, and is quite possibly the most exciting record that Motown had put out to this point. Where "Come and Get These Memories" established the Motown sound, this one establishes the Martha and the Vandellas sound, specifically, and the style that Holland, Dozier, and Holland would apply to many of their more uptempo productions for other artists. This is the subgenre of Motown that, when it was picked up by fans in the North of England, became known as Northern Soul -- the branch of Motown music that led directly to Disco, to Hi-NRG, to electropop, to the Stock-Aitken-Waterman hit factory of the eighties, to huge chunks of gay culture, and to almost all music made for dancing in whatever genre after this point. Where "Come and Get These Memories" is mid-tempo, "Heat Wave" races along. Where "Come and Get These Memories" swings, "Heat Wave" stomps. "Come and Get These Memories" has the drums swinging and the percussion accenting the backbeat, here the drums are accenting the backbeat while the tambourine is hitting every beat dead on, four/four. It's a rhythm which has something in common with some of the Four Seasons' contemporary hits, but it's less militaristic than those. While "Pistol" Allen's drumming starts out absolutely hard on the beat, he swings it more and more as the record goes on, trusting to the listener once that hard rhythm has been established, allowing him to lay back behind the beat just a little. This is where my background as a white English man, who has never played music for dancing -- when I tried to be a musician myself, it was jangly guitar pop I was playing -- limits me. I have a vocabulary for chords and for melodies, but when it comes to rhythms, at a certain point my vocabulary goes away, and all I can do is say "just... *listen*" It's music that makes you need to dance, and you can either hear that or you can't -- but of course, you can: [Excerpt: Martha and the Vandellas, "Heat Wave"] And Martha Reeves' voice is perfect for the song. Most female Motown singers were pop singers first and foremost -- some of them, many of them, *great* pop singers, but all with voices fundamentally suited to gentleness. Reeves was a belter. She has far more blues and gospel influence in her voice than many of the other Motown women, and she's showing it here. "Heat Wave" made the top ten, as did the follow-up, a "Heat Wave" soundalike called "Quicksand". But the two records after that, both still Holland/Dozier/Holland records, didn't even make the top forty, and Annette left, being replaced by Betty Kelly. The new lineup of the group were passed over to Mickey Stevenson, for a record that would become the one for which they are best remembered to this day. It wasn't as important a record in the development of the Motown sound as "Come and Get These Memories" or "Heat Wave", but "Dancing in the Street" was a masterpiece. Written by Stevenson, Marvin Gaye, and Ivy Joe Hunter, it features Gaye on drums, but the most prominent percussive sound is Hunter, who, depending on which account you read was either thrashing a steel chain against something until his hands bled, or hitting a tire iron.  And Martha's vocal is astonishing -- and has an edge to it. Apparently this was the second take, and she sounds a little annoyed because she absolutely nailed the vocal on the first take only to find that there'd been a problem recording it. [Excerpt: Martha Reeves and the Vandellas, "Dancing in the Street"] That went to number two in the charts, and would be the group's cultural and commercial high point. The song also gained some notoriety two years later when, in the wake of civil rights protests that were interpreted as rioting, the song was interpreted as being a call to riot -- it was assumed that instead of being about dancing it was actually about rioting, something the Rolling Stones would pick up on later when they released "Street Fighting Man", a song that owes more than a little to the Vandellas classic. The record after that, "Wild One", was so much of a "Dancing in the Streets" soundalike that I've seen claims that the backing track is an alternate take of the earlier song. It isn't, but it sounds like it could be. But the record after that saw them reunited with Holland/Dozier/Holland, who provided them with yet another great track, "Nowhere to Run": [Excerpt: Martha Reeves and the Vandellas, "Nowhere to Run"] For the next few years the group would release a string of classic hits, like "Jimmy Mack" and "Honey Chile", but the rise of the Supremes, who we'll talk about in a month, meant that like the Marvelettes before them the Vandellas became less important to Motown. When Motown moved from Detroit to LA in the early seventies, Martha was one of those who decided not to make the move with the label, and the group split up, though the original lineup occasionally reunited for big events, and made some recordings for Ian Levine's Motorcity label. Currently, there are two touring Vandellas groups. One, Martha Reeves and the Vandellas, consists of Martha and two of her sisters -- including Lois, who was a late-period member of the group before they split, replacing Betty in 1967. Meanwhile "The Original Vandellas" consist of Rosalind and Annette. Gloria died in 2000, but Martha and the Vandellas are one of the very few sixties hitmaking groups where all the members of their classic lineup are still alive and performing. Martha, Rosalind, Betty, Annette, and Lois were all also inducted into the Rock and Roll Hall of Fame in 1995, becoming only the second all-female group to be inducted.  The Vandellas were one of the greatest of the Motown acts, and one of the greatest of the girl groups, and their biggest hits stand up against anything that any of the other Motown acts were doing at the time. When you hear them now, even almost sixty years later, you're still hearing the sound they were in at the birth of, the sound of young America.  

Episode one hundred and eleven of A History of Rock Music in Five Hundred Songs looks at “Heat Wave” by Martha and the Vandellas, and the beginnings of Holland-Dozier-Holland. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “My Boyfriend’s Back” by the Angels. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—-   Resources As usual, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I’ve used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy’s own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown, including Martha and the Vandellas. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown’s thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier’s autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers’. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era, including Martha and the Vandellas. And Dancing in the Street: Confessions of a Motown Diva  by Martha Reeves and Mark Bego is Reeves’ autobiography. And this three-CD set contains all the Vandellas’ Motown singles, along with a bunch of rarities.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take a look at the career of one of the great girl groups to come out of Motown, and at the early work of the songwriting team that went on to be arguably the most important people in the definition of the Motown Sound. We’re going to look at “Heatwave” by Martha and the Vandellas, and the beginning of the career of Holland, Dozier, and Holland: [Excerpt: Martha and the Vandellas, “Heatwave”] By the time she started recording for Motown, Martha Reeves had already spent several years in groups around Detroit, with little success. Her singing career had started in a group called The Fascinations, which she had formed with another singer, who is variously named in different sources as Shirley Lawson and Shirley Walker. She’d quickly left that group, but after she left them, the Fascinations went on to make a string of minor hit records with Curtis Mayfield: [Excerpt: The Fascinations, “Girls Are Out To Get You”] But it wasn’t just her professional experience, such as it was, that Reeves credited for her success — she had also been a soloist in her high school choir, and from her accounts her real training came from her High School music teacher, Abraham Silver. In her autobiography she talks about hanging around in the park singing with other people who had been taught by the same teacher — Mary Wilson and Florence Ballard, who would go on to form the Supremes, Bobby Rogers and Claudette Robinson, who were founder members of the Miracles, and Little Joe Harris, who would later become lead singer of the minor Motown act The Undisputed Truth. She’d eventually joined another group, the Del-Phis, with three other singers — Gloria Williams (or Williamson — sources vary as to what her actual surname was — it might be that Williamson was her birth name and Williams a stage name), Annette Beard, and Rosalind Ashford. The group found out early on that they didn’t particularly get on with each other as people — their personalities were all too different — but their voices blended well and they worked well on stage. Williams or Williamson was the leader and lead singer at this point, and the rest of the DelPhis acted as her backing group. They started performing at the amateur nights and talent contests that were such a big part of the way that Black talent got known at that time, and developed a rivalry with two other groups — The Primes, who would later go on to be the Temptations, and The Primettes, who had named themselves after the Primes, but later became the Supremes. Those three groups more or less took it in turns to win the talent contests, and before long the Del-Phis had been signed to Checkmate Records, one of several subsidiaries of Chess, where they released one single, with Gloria on lead: [Excerpt: The Del-Phis, “I’ll Let You Know”] The group also sang backing vocals on various other records at that time, like Mike Hanks’ “When True Love Comes to Be”: [Excerpt: Mike Hanks, “When True Love Comes to Be”] Depending on who you believe, Martha may not be on that record at all — the Del-Phis apparently had some lineup fluctuations, with members coming and going, though the story of who was in the group when seems to be told more on the basis of who wants credit for what at any particular time than on what the truth is. No matter who was in the group, though, they never had more than local success. While the Del-Phis were trying and failing to become big stars as a group, Martha also started performing solo, as Martha LaVelle. Only a couple of days after her first solo performance, Mickey Stevenson saw her perform and gave her his card, telling her to pop down to Hitsville for an audition as he thought she had talent. But when she did turn up, Stevenson was annoyed at her, over a misunderstanding that turned out to be his fault. She had just come straight to the studio, assuming she could audition any time, and Stevenson hadn’t explained to her that they had one day a month where they ran auditions — he’d expected her to call him on the number on the card, not just come down. Stevenson was busy that day, and left the office, telling Martha on his way out the door that he’d be back in a bit, and to answer the phone if it rang, leaving her alone in the office. She started answering the phone, calling herself the “A&R secretary”, taking messages, and sorting out problems. She was asked to come back the next day, and worked there three weeks for no pay before getting herself put on a salary as Stevenson’s secretary. Once her foot was in the door at Motown, she also started helping out on sessions, as almost all the staff there did, adding backing vocals, handclaps, or footstomps for a five-dollar-per-session bonus.  One of her jobs as Stevenson’s secretary was to phone and book session musicians and singers,  and for one session the Andantes, Motown’s normal female backing vocal group, were unavailable. Martha got the idea to call the rest of the DelPhis — who seem like they might even have been split up at this point, depending on which source you read — and see if they wanted to do the job instead. They had to audition for Berry Gordy, but Gordy was perfectly happy with them and signed them to Motown. Their role was mostly to be backing vocalists, but the plan was that they would also cut a few singles themselves as well.  But Gordy didn’t want to sign them as the Del-Phis — he didn’t know what the details of their contract with Checkmate were, and who actually owned the name. So they needed a new name. At first they went with the Dominettes, but that was soon changed, before they ever made a record What happened is a matter of some dispute, because this seems to be the moment that Martha Reeves took over the group — it may be that the fact that she was the one booking them for the sessions and so in charge of whether they got paid or not changed the power dynamics of the band — and so different people give different accounts depending on who they want to seem most important. But the generally accepted story is that Martha suggested a name based on the street she lived on, Van Dyke Street, and Della Reese, Martha’s favourite singer, who had hits like “Don’t You Know?”: [Excerpt: Della Reese, “Don’t You Know?”] The group became Martha and the Vandellas — although Rosalind Ashford, who says that the group name was not Martha’s work, also says that the group weren’t “Martha and the Vandellas” to start with, but just the Vandellas, and this might be the case, as at this point Gloria rather than Martha was still the lead singer. The newly-named Vandellas were quickly put to work, mostly working on records that Mickey Stevenson produced. The first record they sang on was not credited either to the Vandellas *or* to Martha and the Vandellas, being instead credited to Saundra Mallett and the Vandellas – Mallett was a minor Motown singer who they were backing for this one record. The song was one written by Berry Gordy, as an attempt at a “Loco-Motion” clone, and was called “Camel Walk”: [Excerpt: Saundra Mallett and the Vandellas, “Camel Walk”] More famously, there was the record that everyone talks about as being the first one to feature the Vandellas, even though it came out after “Camel Walk”, one we’ve already talked about before, Marvin Gaye’s “Stubborn Kind of Fellow”: [Excerpt: Marvin Gaye, “Stubborn Kind of Fellow”] That became Gaye’s breakout hit, and as well as singing in the studio for other artists and trying to make their own records, the Vandellas were now also Marvin Gaye’s backing vocalists, and at shows like the Motortown Revue shows, as well as performing their own sets, the Vandellas would sing with Gaye as well. While they were not yet themselves stars, they had a foot on the ladder, and through working with Marvin they got to perform with all sorts of other people — Martha was particularly impressed by the Beach Boys, who performed on the same bill as them in Detroit, and she developed a lifelong crush on Mike Love. But while the Vandellas were Motown’s go-to backing vocalists in 1962, they still wanted to make their own records. They did make one record with Gloria singing lead, “You’ll Never Cherish A Love So True (‘Til You Lose It)”: [Excerpt: The Vells, “You’ll Never Cherish A Love So True (‘Til You Lose It)”] But that was released not as by the Vandellas, but by the Vells, because by the time it was released, the Vandellas had more or less by accident become definitively MARTHA and the Vandellas. The session that changed everything came about because Martha was still working as Mickey Stevenson’s secretary. Stevenson was producing a record for Mary Wells, and he had a problem. Stevenson had recently instituted a new system for his recordings at Motown. Up to this point, they’d been making records with everyone in the studio at the same time — all the musicians, the lead singer, the backing vocalists, and so on. But that became increasingly difficult when the label’s stars were on tour all the time, and it also meant that if the singer flubbed a note a good bass take would also be wrecked, or vice versa. It just wasn’t efficient. So, taking advantage of the ability to multitrack, Stevenson had started doing things differently. Now backing tracks would be recorded by the Funk Brothers in the studio whenever a writer-producer had something for them to record, and then the singer would come in later and overdub their vocals when it was convenient to do that. That also had other advantages — if a singer turned out not to be right for the song, they could record another singer doing it instead, and they could reuse backing tracks, so if a song was a hit for, say, the Miracles, the Marvelettes could then use the same backing track for a cover version of it to fill out an album. But there was a problem with this system, and that problem was the Musicians’ Union. The union had a rule that if musicians were cutting a track that was intended to have a vocal, the vocalist *must* be present at the session — like a lot of historical union rules, this seems faintly ridiculous today, but no doubt there were good reasons for it at the time.  Motown, like most labels, were perfectly happy to break the union rules on occasion, but there was always the possibility of a surprise union inspection, and one turned up while Mickey Stevenson was cutting “I’ll Have to Let Him Go”. Mary Wells wasn’t there, and knowing that his secretary could sing, Stevenson grabbed her and got her to go into the studio and sing the song while the musicians played. Martha decided to give the song everything she had, and Stevenson was impressed enough that he decided to give the song to her, rather than Wells, and at the same session that the Vandellas recorded the songs with Gloria on lead, they recorded new vocals to the backing track that Stevenson had recorded that day: [Excerpt: Martha and the Vandellas, “I’ll Have to Let Him Go”] That was released under the Martha and the Vandellas name, and around this point Gloria left the group. Some have suggested that this was because she didn’t like Martha becoming the leader, while others have said that it’s just that she had a good job working for the city, and didn’t want to put that at risk by becoming a full-time singer. Either way, a week after the Vandellas record came out, Motown released “You’ll Never Cherish A Love So True (‘Til You Lose It)” under the name The Vells.  Neither single had any chart success, but that wouldn’t be true for the next one, which wouldn’t be released for another five months. But when it was finally released, it would be regarded as the beginning of the “Motown Sound”. Before that record, Motown had released many extraordinary records, and we’ve looked at some of them. But after it, it began a domination of the American charts that would last the rest of the decade; a domination caused in large part by the team of Holland, Dozier, and Holland. We’ve heard a little from the Holland brothers and Lamont Dozier, separately, in previous episodes looking at Motown, but this is the point at which they go from being minor players within the Motown organisation to being the single most important team for the label’s future commercial success, so we should take a proper look at them now. Eddie Holland started working with Berry Gordy years before the start of Motown — he was a singer who was known for having a similar sounding voice to that of Jackie Wilson, and Gordy had taken him on first as a soundalike demo singer, recording songs written for Wilson so Wilson could hear how they would sound in his voice, and later trying to mould him into a Wilson clone, starting with Holland’s first single, “You”: [Excerpt: Eddie Holland, “You”] Holland quickly found that he didn’t enjoy performing on stage — he loved singing, but he didn’t like the actual experience of being on stage. However, he continued doing it, in the belief that one should not just quit a job until a better opportunity comes along. Before becoming a professional singer, Holland had sung in street-corner doo-wop groups with his younger brother Brian. Brian, unlike Eddie, didn’t have a particularly great voice, but what he did have was a great musical mind — he could instantly figure out all the harmony parts for the whole group, and had a massive talent for arrangement. Eddie spent much of his early time working with Gordy trying to get Gordy to take his little brother seriously — at the time,  Brian Holland was still in his early teens, and Gordy refused to believe he could be as talented as Eddie said. Eventually, though, Gordy listened to Brian and took him under his wing, pairing him with Janie Bradford to add music to Bradford’s lyrics, and also teaching him to engineer. One of Brian Holland’s first engineering jobs was for a song recorded by Eddie, written as a jingle for a wine company but released as a single under the name “Briant Holland” — meaning it has often over the years been assumed to be Brian singing lead: [Excerpt: Briant Holland, “(Where’s the Joy) in Nature Boy?”] When Motown started up, Brian had become a staffer — indeed, he has later claimed that he was the very first person employed by Motown as a permanent staff member. While Eddie was out on the road performing, Brian was  writing, producing, and singing backing vocals on many, many records. We’ve already heard how he was the co-writer and producer on “Please Mr. Postman” by the Marvelettes: [Excerpt: The Marvelettes, “Please Mr. Postman”] That had obviously been a massive hit, and Motown’s first number one, but Brian was still definitely just one of the Motown team, and not as important a part of it as Berry Gordy, Smokey Robinson, or Mickey Stevenson. Meanwhile, Eddie finally had a minor hit of his own, with “Jamie”, a song co-written by Barrett Strong and Mickey Stevenson, and originally recorded by Strong — when Strong left the label, they took the backing track intended for him and had Holland record new vocals over it. [Excerpt: Eddie Holland, “Jamie”] That made the top thirty, which must have been galling at the time for Strong, who’d quit in part because he couldn’t get a hit. But the crucial thing that lifted the Holland brothers from being just parts of the Motown machine to being the most important creative forces in the company was when Brian Holland became friendly with Anne Dozier, who worked at Motown packing records, and whose husband Lamont was a singer. Lamont Dozier had been around musical people all his life — at Hutchins Junior High School, he was a couple of years below Marv Johnson, the first Motown star, he knew Freda Payne, and one of his classmates was Otis Williams, later of the Temptations. But it was another junior high classmate who, as he puts it, “lit a fire under me to take some steps to get my own music heard by the world”, when one of his friends asked him if he felt like coming along to church to hear another classmate sing. Dozier had no idea this classmate sang, but he went along, and as it happens, we have some recordings of that classmate singing and playing piano around that time: [Excerpt: Aretha Franklin, “There Is a Fountain Filled With Blood”] That’s fourteen-year-old Aretha Franklin, and as you can imagine, being classmates with someone who could perform like that caused Lamont Dozier to radically revise his ideas of what it was possible for him to do. He’d formed a doo-wop group called the Romeos, and they released their first single, with both sides written by Lamont, by the time he was sixteen: [Excerpt: The Romeos, “Gone Gone Get Away”] The Romeos’ third single, “Fine Fine Fine”, was picked up by Atlantic for distribution, and did well enough that Atlantic decided they wanted a follow-up, and wrote to them asking them to come into the studio. But Lamont Dozier, at sixteen, thought that he had some kind of negotiating power, and wrote back saying they weren’t interested in just doing a single, they wanted to do an album. Jerry Wexler wrote back saying “fair enough, you’re released from your contract”, and the Romeos’ brief career was over before it began. He joined the Voice Masters, the first group signed to Anna Records, and sang on records of theirs like “Hope and Pray”, the very first record ever put out by a Gordy family label: [Excerpt: The Voice Masters, “Hope and Pray”] And he’d continued to sing with them, as well as working for Anna Records doing odd jobs like cleaning the floors. His first solo record on Anna, released under the name Lamont Anthony, featured Robert White on guitar, James Jamerson on bass, Harvey Fuqua on piano, and Marvin Gaye on drums, and was based on the comic character “Popeye”: [Excerpt: Lamont Anthony, “Popeye the Sailor Man”] Unfortunately, just as that record was starting to take off, King Features Syndicate, the owners of Popeye, sent a cease and desist order. Dozier went back into the studio and recut the vocal, this time singing about Benny the Skinny Man, instead of Popeye the Sailor Man: [Excerpt: Lamont Anthony, “Benny the Skinny Man”] But without the hook of it being about Popeye, the song flopped. Dozier joined Motown when that became the dominant part of the Gordy family operation, and signed up as a songwriter and producer. Robert Batemen had just stopped working with Brian Holland as a production team, and when Anne Dozier suggested that Holland go and meet her husband who was just starting at Motown, Holland walked in to find Dozier working at the piano, writing a song but stuck for a middle section. Holland told him he had an idea, sat next to him at the piano, and came up with the bridge. The two instantly clicked musically — they discovered that they almost had a musical telepathy, and Holland got Freddie Gorman, his lyricist partner at the time, to finish up the lyrics for the song while he and Dozier came up with more ideas. That song became a Marvelettes album track, “Forever”, which a few years later would be put out as a B-side, and make the top thirty in its own right: [Excerpt: The Marvelettes, “Forever”] Holland and Dozier quickly became a strong musical team — Dozier had a great aptitude for coming up with riffs and hooks, both lyrical and musical, and rhythmic ideas, while Brian Holland could come up with great melodies and interesting chord changes, though both could do both. In the studio Brian would work with the drummers, while Lamont would work with the keyboard players and discuss the bass parts with James Jamerson. Their only shortfall was lyrically. They could both write lyrics — and Lamont would often come up with a good title or hook phrase — but they were slow at doing it. For the lyrics, they mostly worked with Freddie Gorman, and sometimes got Janie Bradford in. These teams came up with some great records, like “Contract on Love”, which sounds very like a Four Seasons pastiche but also points the way to Holland and Dozier’s later sound: [Excerpt: Little Stevie Wonder, “Contract on Love”] Both Little Stevie Wonder and the backing vocalists on that, the Temptations, would do better things later, but that’s still a solid record. Meanwhile, Eddie Holland had had a realisation that would change the course of Motown. “Jamie” had been a hit, but he received no royalties — he’d had a run of flop singles, so he hadn’t yet earned out the production costs on his records. His first royalty statement after his hit showed him still owing Motown money. He asked his brother, who got a royalty statement at the same time, if he was in the same boat, and Brian showed him the statement for several thousand dollars that he’d made from the songs he’d written. Eddie decided that he was in the wrong job. He didn’t like performing anyway, and his brother was making serious money while he was working away earning nothing. He took nine months off from doing anything other than the bare contractual minimum, — where before he would spend every moment at Hitsville, now he only turned up for his own sessions — and spent that time teaching himself songwriting. He studied Smokey Robinson’s writing, and he developed his own ideas about what needed to be in a lyric — he didn’t want any meaningless filler words, he wanted every word to matter. He also wanted to make sure that even if people misheard a line or two, they would be able to get the idea of the song from the other lines, so he came up with a technique he referred to as “repeat-fomation”, where he would give the same piece of information two or three times, paraphrasing it.  When the next Marvelettes album, The Marvellous Marvelettes, was being finished up by Mickey Stevenson, Motown got nervous about the album, thinking it didn’t have a strong enough single on it, and so Brian Holland and Dozier were asked to come up with a new Marvelettes single in a hurry. Freddie Gorman had more or less stopped songwriting by this point, as he was spending most of his time working as a postman, and so, in need of another writing partner, they called on Eddie, who had been writing with various people. The three of them wrote and produced “Locking Up My Heart”, the first single to be released with the writing credit “Holland-Dozier-Holland”: [Excerpt: The Marvelettes, “Locking Up My Heart”] That was a comparative flop for the Marvelettes, and the beginning of the downward slump we talked about for them in the episode on “Please Mr. Postman”, but the second Holland-Dozier-Holland single, recorded ten days later, was a very different matter. That one was for Martha and the Vandellas, and became widely regarded as the start of Motown’s true Golden Age — so much so that Brian and Eddie Holland’s autobiography is named after this, rather than after any of the bigger and more obvious hits they would later co-write. The introduction to “Come and Get These Memories” isn’t particularly auspicious — the Vandellas singing the chorus: [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] Hearing all three of the Vandellas, all of whom have such strong, distinctive voices, sing together is if anything a bit much — the Vandellas aren’t a great harmony group in the way that some of the other Motown groups are, and they work best when everyone’s singing an individual line rather than block harmonies. But then we’re instantly into the sound that Holland, Dozier, and Holland — really Brian Holland and Lamont Dozier, who took charge of the musical side of things, with Eddie concentrating on the lyrics — would make their own. There’s a lightly swung rhythm, but with a strong backbeat with handclaps and tambourine emphasising the two and four– the same rhythmic combination that made so many of the very early rock and roll records we looked at in the first year of the podcast, but this time taken at a more sedate pace, a casual stroll rather than a sprint. There’s the simple, chorded piano and guitar parts, both instruments often playing in unison and again just emphasising the rhythm rather than doing anything more complex. And there’s James Jamerson’s wonderful, loping bass part, doing the exact opposite of what the piano and guitar are doing. [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] In almost every record in the rock and roll, soul, and R&B genres up to this point — I say “almost every” because, as I’ve said many times before, there are always exceptions and there is never a first of anything — the bass does one of two things: it either plods along just playing the root notes, or it plays a simple, repeated, ostinato figure throughout, acting as a backbone while the other instruments do more interesting things. James Jamerson is the first bass player outside the jazz and classical fields to prominently, repeatedly, do something very different — he’s got the guitars and piano holding down the rhythm so steadily that he doesn’t need to. He plays melodies, largely improvised, that are jumping around and going somewhere different from where you’d expect.  “Come and Get These Memories” was largely written before Eddie’s involvement, and the bulk of the lyric was Lamont Dozier’s. He’s said that in this instance he was inspired by country singers like Loretta Lynn, and the song’s lyrical style, taking physical objects and using them as a metaphor for emotional states, certainly seems very country: [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] “Come and Get These Memories” made number twenty-nine on the pop charts and number six on the R&B charts. Martha and the Vandellas were finally stars. As was the normal practice at Motown, when an artist had a hit, the writing and production team were given the chance to make the follow-up with them, and so the followup was another Holland/Dozier/Holland song, again from an idea by Lamont Dozier, as most of their collaborations with the Vandellas would be. “Heat Wave” is another leap forward, and is quite possibly the most exciting record that Motown had put out to this point. Where “Come and Get These Memories” established the Motown sound, this one establishes the Martha and the Vandellas sound, specifically, and the style that Holland, Dozier, and Holland would apply to many of their more uptempo productions for other artists. This is the subgenre of Motown that, when it was picked up by fans in the North of England, became known as Northern Soul — the branch of Motown music that led directly to Disco, to Hi-NRG, to electropop, to the Stock-Aitken-Waterman hit factory of the eighties, to huge chunks of gay culture, and to almost all music made for dancing in whatever genre after this point. Where “Come and Get These Memories” is mid-tempo, “Heat Wave” races along. Where “Come and Get These Memories” swings, “Heat Wave” stomps. “Come and Get These Memories” has the drums swinging and the percussion accenting the backbeat, here the drums are accenting the backbeat while the tambourine is hitting every beat dead on, four/four. It’s a rhythm which has something in common with some of the Four Seasons’ contemporary hits, but it’s less militaristic than those. While “Pistol” Allen’s drumming starts out absolutely hard on the beat, he swings it more and more as the record goes on, trusting to the listener once that hard rhythm has been established, allowing him to lay back behind the beat just a little. This is where my background as a white English man, who has never played music for dancing — when I tried to be a musician myself, it was jangly guitar pop I was playing — limits me. I have a vocabulary for chords and for melodies, but when it comes to rhythms, at a certain point my vocabulary goes away, and all I can do is say “just… *listen*” It’s music that makes you need to dance, and you can either hear that or you can’t — but of course, you can: [Excerpt: Martha and the Vandellas, “Heat Wave”] And Martha Reeves’ voice is perfect for the song. Most female Motown singers were pop singers first and foremost — some of them, many of them, *great* pop singers, but all with voices fundamentally suited to gentleness. Reeves was a belter. She has far more blues and gospel influence in her voice than many of the other Motown women, and she’s showing it here. “Heat Wave” made the top ten, as did the follow-up, a “Heat Wave” soundalike called “Quicksand”. But the two records after that, both still Holland/Dozier/Holland records, didn’t even make the top forty, and Annette left, being replaced by Betty Kelly. The new lineup of the group were passed over to Mickey Stevenson, for a record that would become the one for which they are best remembered to this day. It wasn’t as important a record in the development of the Motown sound as “Come and Get These Memories” or “Heat Wave”, but “Dancing in the Street” was a masterpiece. Written by Stevenson, Marvin Gaye, and Ivy Joe Hunter, it features Gaye on drums, but the most prominent percussive sound is Hunter, who, depending on which account you read was either thrashing a steel chain against something until his hands bled, or hitting a tire iron.  And Martha’s vocal is astonishing — and has an edge to it. Apparently this was the second take, and she sounds a little annoyed because she absolutely nailed the vocal on the first take only to find that there’d been a problem recording it. [Excerpt: Martha Reeves and the Vandellas, “Dancing in the Street”] That went to number two in the charts, and would be the group’s cultural and commercial high point. The song also gained some notoriety two years later when, in the wake of civil rights protests that were interpreted as rioting, the song was interpreted as being a call to riot — it was assumed that instead of being about dancing it was actually about rioting, something the Rolling Stones would pick up on later when they released “Street Fighting Man”, a song that owes more than a little to the Vandellas classic. The record after that, “Wild One”, was so much of a “Dancing in the Streets” soundalike that I’ve seen claims that the backing track is an alternate take of the earlier song. It isn’t, but it sounds like it could be. But the record after that saw them reunited with Holland/Dozier/Holland, who provided them with yet another great track, “Nowhere to Run”: [Excerpt: Martha Reeves and the Vandellas, “Nowhere to Run”] For the next few years the group would release a string of classic hits, like “Jimmy Mack” and “Honey Chile”, but the rise of the Supremes, who we’ll talk about in a month, meant that like the Marvelettes before them the Vandellas became less important to Motown. When Motown moved from Detroit to LA in the early seventies, Martha was one of those who decided not to make the move with the label, and the group split up, though the original lineup occasionally reunited for big events, and made some recordings for Ian Levine’s Motorcity label. Currently, there are two touring Vandellas groups. One, Martha Reeves and the Vandellas, consists of Martha and two of her sisters — including Lois, who was a late-period member of the group before they split, replacing Betty in 1967. Meanwhile “The Original Vandellas” consist of Rosalind and Annette. Gloria died in 2000, but Martha and the Vandellas are one of the very few sixties hitmaking groups where all the members of their classic lineup are still alive and performing. Martha, Rosalind, Betty, Annette, and Lois were all also inducted into the Rock and Roll Hall of Fame in 1995, becoming only the second all-female group to be inducted.  The Vandellas were one of the greatest of the Motown acts, and one of the greatest of the girl groups, and their biggest hits stand up against anything that any of the other Motown acts were doing at the time. When you hear them now, even almost sixty years later, you’re still hearing the sound they were in at the birth of, the sound of young America.  

When you poke around his recording studio, right away it’s clear that Dave Mason is not your average Rock and Roll Hall of Famer. The story is on the walls. There’s the platinum record from the first Traffic album, the band he co-founded with Steve Winwood. His role in Traffic alone, including writing the ubiquitous classic “Feelin’ Alright,” automatically solidifies Mason’s rarefied rock status. But keep perusing all the records on the wall and it hits you: that’s just the beginning… He came of age during England’s tumultuous musical explosion of the early 1960s, always working his way up close to the stage to watch, among many others, the Beatles, the Stones and Dylan. Unlike the thousands of others around him however, a few years later he’d be working with all of them (and many other legends). It all comes back to all of the gold and platinum LPs on the walls. Mason played in recording sessions with his friend Jimi Hendrix, crafting guitar parts and singing background vocals on some of Hendrix’s most iconic hits. When the Rolling Stones recorded “Street Fighting Man” in 1968, they didn’t know it would become one of their best-loved anthems. But they did know they wanted Dave Mason playing on the session. Bob Dylan brought Mason in to record with him because of how much he respected his singing and songwriting. And long after Mason sat in on some Beatle sessions, Paul McCartney enlisted Mason to play lead guitar with him on McCartney & Wings’ number one song, “Listen to What the Man Said.” If all you documented were the memorable moments Dave Mason added his magic to the work of legends, that alone could fill a book. George Harrison. Crosby & Nash. Delaney & Bonnie. Eric Clapton. It just goes on. But it’s Mason’s vaunted gold and platinum solo career that truly defines this artist; a storied and unforgettable ride that started in the clubs and wound up selling out theaters, arenas and stadiums all over the world for the last 50 years – and is still going strong today. From pop-rock standards like “Only You Know and I Know” and “We Just Disagree” to many other beloved classics, Mason’s knack for soulful, insightful songwriting coupled with his expressive guitar playing endears him to generations of faithful fans and listeners. So broad are his skills and accomplishments that he becomes hard, if not impossible to define. Sensitive poet? Gritty guitar gunslinger? Revered inspiration to countless singer/songwriters? He’s all of those things and more; an eclectic, enigmatic musical everyman whose countless artistic achievements place him in the rarest of company. The “quiet giant” sits at the console of his studio while the visitor continues to fixate on the gold and platinum albums adorning the walls. Mason doesn’t have time to live in the past. Rather, he’s hard at work crafting and sculpting his next sonic collection, looking ahead, focused on the future. “This is what I know how to do,” he laughs. “This is what I do.”

When you poke around his recording studio, right away it’s clear that Dave Mason is not your average Rock and Roll Hall of Famer. The story is on the walls. There’s the platinum record from the first Traffic album, the band he co-founded with Steve Winwood. His role in Traffic alone, including writing the ubiquitous classic “Feelin’ Alright,” automatically solidifies Mason’s rarefied rock status. But keep perusing all the records on the wall and it hits you: that’s just the beginning… He came of age during England’s tumultuous musical explosion of the early 1960s, always working his way up close to the stage to watch, among many others, the Beatles, the Stones and Dylan. Unlike the thousands of others around him however, a few years later he’d be working with all of them (and many other legends). It all comes back to all of the gold and platinum LPs on the walls. Mason played in recording sessions with his friend Jimi Hendrix, crafting guitar parts and singing background vocals on some of Hendrix’s most iconic hits. When the Rolling Stones recorded “Street Fighting Man” in 1968, they didn’t know it would become one of their best-loved anthems. But they did know they wanted Dave Mason playing on the session. Bob Dylan brought Mason in to record with him because of how much he respected his singing and songwriting. And long after Mason sat in on some Beatle sessions, Paul McCartney enlisted Mason to play lead guitar with him on McCartney & Wings’ number one song, “Listen to What the Man Said.” If all you documented were the memorable moments Dave Mason added his magic to the work of legends, that alone could fill a book. George Harrison. Crosby & Nash. Delaney & Bonnie. Eric Clapton. It just goes on. But it’s Mason’s vaunted gold and platinum solo career that truly defines this artist; a storied and unforgettable ride that started in the clubs and wound up selling out theaters, arenas and stadiums all over the world for the last 50 years – and is still going strong today. From pop-rock standards like “Only You Know and I Know” and “We Just Disagree” to many other beloved classics, Mason’s knack for soulful, insightful songwriting coupled with his expressive guitar playing endears him to generations of faithful fans and listeners. So broad are his skills and accomplishments that he becomes hard, if not impossible to define. Sensitive poet? Gritty guitar gunslinger? Revered inspiration to countless singer/songwriters? He’s all of those things and more; an eclectic, enigmatic musical everyman whose countless artistic achievements place him in the rarest of company. The “quiet giant” sits at the console of his studio while the visitor continues to fixate on the gold and platinum albums adorning the walls. Mason doesn’t have time to live in the past. Rather, he’s hard at work crafting and sculpting his next sonic collection, looking ahead, focused on the future. “This is what I know how to do,” he laughs. “This is what I do.”

Joseph starts things off by discussing "In Search Of" and how he uses the classic show in his classroom, then it's off to Mt. Retromore where the guys give TV Moms their due. The main event is a review/discussion about the movie "The Legend of Baron To'a" and a side discussion about the 'Islander' gimmick in professional wrestling in the 70s and 80s. It's the penultimate show of 2020!

Together with American Songwriter and Sean Ulbs of The Eiffels, we had the pleasure of interviewing Dave Mason over Zoom video! When you poke around his recording studio, right away it’s clear that Dave Mason is not your average Rock and Roll Hall of Famer. The story is on the walls. There’s the platinum record from the first Traffic album, the band he co-founded with Steve Winwood. His role in Traffic alone, including writing the ubiquitous classic “Feelin’ Alright,” automatically solidifies Mason’s rarefied rock status. But keep perusing all the records on the wall and it hits you: that’s just the beginning…He came of age during England’s tumultuous musical explosion of the early 1960s, always working his way up close to the stage to watch, among many others, the Beatles, the Stones and Dylan. Unlike the thousands of others around him however, a few years later he’d be working with all of them (and many other legends). It all comes back to all of the gold and platinum LPs on the walls. Mason played in recording sessions with his friend Jimi Hendrix, crafting guitar parts and singing background vocals on some of Hendrix’s most iconic hits. When the Rolling Stones recorded “Street Fighting Man” in 1968, they didn’t know it would become one of their best-loved anthems. But they did know they wanted Dave Mason playing on the session. Bob Dylan brought Mason in to record with him because of how much he respected his singing and songwriting. And long after Mason sat in on some Beatle sessions, Paul McCartney enlisted Mason to play lead guitar with him on McCartney & Wings’ number one song, “Listen to What the Man Said.” If all you documented were the memorable moments Dave Mason added his magic to the work of legends, that alone could fill a book. George Harrison. Crosby & Nash. Delaney & Bonnie. Eric Clapton. It just goes on.But it’s Mason’s vaunted gold and platinum solo career that truly defines this artist; a storied and unforgettable ride that started in the clubs and wound up selling out theaters, arenas and stadiums all over the world for the last 50 years – and is still going strong today. From pop-rock standards like “Only You Know and I Know” and “We Just Disagree” to many other beloved classics, Mason’s knack for soulful, insightful songwriting coupled with his expressive guitar playing endears him to generations of faithful fans and listeners. So broad are his skills and accomplishments that he becomes hard, if not impossible to define. Sensitive poet? Gritty guitar gunslinger? Revered inspiration to countless singer/songwriters? He’s all of those things and more; an eclectic, enigmatic musical everyman whose countless artistic achievements place him in the rarest of company.The “quiet giant” sits at the console of his studio while the visitor continues to fixate on the gold and platinum albums adorning the walls. Mason doesn’t have time to live in the past. Rather, he’s hard at work crafting and sculpting his next sonic collection, looking ahead, focused on the future. “This is what I know how to do,” he laughs. “This is what I do.”We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

Dave Mason is a founding member of Traffic and was inducted into the Rock And Roll Hall of Fame in 2004. Dave talks about his new album, "Alone Together, Again", playing guitar on "All Along The Watchtower" with Jimi Hendrix, appearing on "Street Fighting Man" by The Rolling Stones and if he thinks Lyndsey Buckingham will ever return to Fleetwood Mac. Dave was a member of Fleetwood Mac in the 90's with the album "Time" in 1995. www.davemasonmusic.com

This is the first of a new monthly feature that will run alongside the main podcast -- once a month I'll be doing a ten-minute bonus episode looking at non-music news from the time we're covering in the podcast. These can be skipped if you're only interested in the music, but add valuable context about the culture in which those records were made. This month's is on the Cuban Missile Crisis. Year three of the podcast starts in a few days' time, with "Telstar". Click through for the episode transcript: ----more----  Welcome to "I read the news today, Oh boy", a new feature for this podcast. One of the things I've been doing during the series is trying to put the music I'm talking about into a wider context, and part of that has involved explaining things about the Civil Rights movement or strikes that affected the industry and so on. As we enter the sixties, the music we're talking about gets a lot more socially conscious, and music will start to interact far more with other events. For example, in a few weeks time we're going to be looking at the March on Washington, and at a song that was sung there, and some of the performers who were there. While there is no such thing as music that is completely apolitical -- every piece of music is affected by the circumstances in which it was written and performed, in a myriad ways -- there is a difference between Little Richard singing "Tutti Frutti" and the Beatles singing "Revolution" or the Rolling Stones singing "Street Fighting Man".  The sixties were also a time of radical social change, which shaped the music that was being made. In many ways, society in at least the US and the UK, the two countries we're mostly going to be looking at in this history, was unrecognisable in 1974 from the way it was in 1964, and we're still living in a world shaped by the arguments then -- largely because we're currently ruled by the generation that grew up in that time period. Now, anything that directly affects the music gets explained as part of the episode -- so the March on Washington will be explained in that episode. But I was reading a book on the Beatles recently, and it mentioned the Profumo affair in passing. And I was pretty sure that about 95% of my listeners will have no idea what that was. It probably indirectly affected every event that's happened in Britain in the ensuing fifty-seven years, and shaped every British thing we're going to talk about, but there aren't any songs about it, at least not that we're going to cover. So, once a month, I'm going to do a ten-minute podcast where I do a quick overview of what was happening in the non-music news at the time we're looking at, to provide cultural context. That will go up to twenty minutes if the Patreon hits its next target. You can skip these, which will all be clearly labelled, if you're not interested. Other than this episode, done in a skip week, they'll go up the same day as the first proper podcast of the month. To start with, we're going to look at the Cuban Missile Crisis. The roots of the Cuban Missile Crisis go back to 1952, when a US-backed right-wing dictator, Batista, led a military coup that got rid of the elected President of Cuba, and handed most of the country over to American organised crime bosses to run. As you can imagine, this was not very popular among the people of Cuba, and for several years there was an armed resistance, which eventually turned into a revolution which overthrew Batista in 1959. Unfortunately, instead of returning to the democracy that had been in place before the Batista coup, the revolutionaries replaced it with another dictatorship, albeit a left-wing one, under the leadership of Fidel Castro.  Now, the Castro regime decided to take away all the vast wealth that had been put in the hands of American citizens by the Batista regime. They then tried to become friends with the USA, as all previous Cuban administrations had. However, the USA has never been keen on governments that take money from rich US citizens, and so they soon gave up on the idea of friendship. The Cuban leadership became even less keen on the idea of friendship with the US after an event known as the Bay of Pigs invasion. What happened there was that the CIA and the Mafia teamed up to train huge numbers of Cuban exiles who hated the new Cuban government. The idea was that these "independent" fighters would go in to invade Cuba, quickly have some success, then "ask the US for help", and the US would send in troops and planes to help them. They reasoned that Castro would be unpopular in Cuba, that the invaders would be welcomed as liberators, and that they would lead to a popular uprising against Castro. What they failed to take into account was that Castro was in fact very popular in Cuba, certainly at the time. Batista was a monster, and while Castro was also a dictator, he was one who gave people healthcare and education and got rid of the Mafia from the country. Given the choice between Castro and Batista, people were very fond of Castro. The invasion force didn't get the immediate response that was expected, the rest of the world soon found out what was going on and disapproved, and the US decided it wasn't going to get any more involved. The end result was that the Castro regime was left more secure than ever, and Castro remained in power for another fifty years, while Kennedy had to go public and admit that they'd made a colossal error. And as a result of this, Castro decided that given that he had an unfriendly superpower close by, it would be a good idea to get in the good books of a friendly superpower, and so he turned to the USSR. This happened to be exactly what the USSR was looking for. At the time, America had allies throughout Western Europe, who let US troops and missiles be stationed in their countries. That meant that at any time the US could launch an attack on the USSR from right on its border. The USSR, though, had no allies anywhere near the American border, and at this point in time there were very few intercontinental missiles. The only way they could launch a nuclear attack of more than a handful of missiles on the US was to send a load of planes on a twelve-hour journey, including a refueling stop at the Arctic. That was not ideal from their point of view, as both the US and USSR were run by people who were convinced that the other side was run by madmen who would decide at a moment's notice to launch a nuclear attack, and the only way to prevent this would be to be able to destroy the other side if they tried anything. But Cuba is only ninety miles from the US coast. If the USSR could stick a bunch of missiles there, they could easily destroy the entire East Coast and much of the midwest. So the USSR and Cuba quickly came to an agreement -- the USSR would protect Cuba from US invasion, and in return it would get to put a load of missiles in Cuba. Unfortunately for everyone, the USA found out about these plans before they were complete. And the US Government was very, very, very, unhappy with the idea of Russian nuclear missiles ninety miles away from the US. Tensions stepped up on both sides, to quite an astonishing degree. The US armed forces went to DEFCON-2 for the only time during the Cold War -- DEFCON-1 would be nuclear war. Both countries' armed forces were on such high alert that there were two incidents that came as close as we've ever come to all-out war between the US and Russia. A US spy plane accidentally flew over Soviet territory, and on the same day some small practice depth charges were dropped on a Soviet submarine. Those depth charges were just used for signalling -- they couldn't do any real damage -- but what the people dropping them didn't know was that the submarine in question was armed with nuclear weapons, and had orders to use them if a war started. The submarine was cut off from radio communication, and the captain took the depth charges as a sign that war *had* started. Luckily for everyone on the planet, launching them required the authorisation of all three officers on board, and one of the officers, Vasili Arkhopov, refused to authorise the missile launch. We came that close to the destruction of all life on the planet. Thankfully, while we came that close, we didn't come any closer. Both Kennedy and Khrushchev were, by the standards of the leaders of their respective countries, cautious, intelligent, well-meaning people, and they managed to negotiate an agreement by which the USA would remove its missiles from Turkey and Italy, and in return the Soviet missiles would be removed from Cuba. The crisis was over, but had either of them been even slightly less stable or capable, or had someone other than Arkhopov been on that submarine, we would not be here today.

This is the first of a new monthly feature that will run alongside the main podcast — once a month I’ll be doing a ten-minute bonus episode looking at non-music news from the time we’re covering in the podcast. These can be skipped if you’re only interested in the music, but add valuable context about the culture in which those records were made. This month’s is on the Cuban Missile Crisis. Year three of the podcast starts in a few days’ time, with “Telstar”. Click through for the episode transcript: —-more—-  Welcome to “I read the news today, Oh boy”, a new feature for this podcast. One of the things I’ve been doing during the series is trying to put the music I’m talking about into a wider context, and part of that has involved explaining things about the Civil Rights movement or strikes that affected the industry and so on. As we enter the sixties, the music we’re talking about gets a lot more socially conscious, and music will start to interact far more with other events. For example, in a few weeks time we’re going to be looking at the March on Washington, and at a song that was sung there, and some of the performers who were there. While there is no such thing as music that is completely apolitical — every piece of music is affected by the circumstances in which it was written and performed, in a myriad ways — there is a difference between Little Richard singing “Tutti Frutti” and the Beatles singing “Revolution” or the Rolling Stones singing “Street Fighting Man”.  The sixties were also a time of radical social change, which shaped the music that was being made. In many ways, society in at least the US and the UK, the two countries we’re mostly going to be looking at in this history, was unrecognisable in 1974 from the way it was in 1964, and we’re still living in a world shaped by the arguments then — largely because we’re currently ruled by the generation that grew up in that time period. Now, anything that directly affects the music gets explained as part of the episode — so the March on Washington will be explained in that episode. But I was reading a book on the Beatles recently, and it mentioned the Profumo affair in passing. And I was pretty sure that about 95% of my listeners will have no idea what that was. It probably indirectly affected every event that’s happened in Britain in the ensuing fifty-seven years, and shaped every British thing we’re going to talk about, but there aren’t any songs about it, at least not that we’re going to cover. So, once a month, I’m going to do a ten-minute podcast where I do a quick overview of what was happening in the non-music news at the time we’re looking at, to provide cultural context. That will go up to twenty minutes if the Patreon hits its next target. You can skip these, which will all be clearly labelled, if you’re not interested. Other than this episode, done in a skip week, they’ll go up the same day as the first proper podcast of the month. To start with, we’re going to look at the Cuban Missile Crisis. The roots of the Cuban Missile Crisis go back to 1952, when a US-backed right-wing dictator, Batista, led a military coup that got rid of the elected President of Cuba, and handed most of the country over to American organised crime bosses to run. As you can imagine, this was not very popular among the people of Cuba, and for several years there was an armed resistance, which eventually turned into a revolution which overthrew Batista in 1959. Unfortunately, instead of returning to the democracy that had been in place before the Batista coup, the revolutionaries replaced it with another dictatorship, albeit a left-wing one, under the leadership of Fidel Castro.  Now, the Castro regime decided to take away all the vast wealth that had been put in the hands of American citizens by the Batista regime. They then tried to become friends with the USA, as all previous Cuban administrations had. However, the USA has never been keen on governments that take money from rich US citizens, and so they soon gave up on the idea of friendship. The Cuban leadership became even less keen on the idea of friendship with the US after an event known as the Bay of Pigs invasion. What happened there was that the CIA and the Mafia teamed up to train huge numbers of Cuban exiles who hated the new Cuban government. The idea was that these “independent” fighters would go in to invade Cuba, quickly have some success, then “ask the US for help”, and the US would send in troops and planes to help them. They reasoned that Castro would be unpopular in Cuba, that the invaders would be welcomed as liberators, and that they would lead to a popular uprising against Castro. What they failed to take into account was that Castro was in fact very popular in Cuba, certainly at the time. Batista was a monster, and while Castro was also a dictator, he was one who gave people healthcare and education and got rid of the Mafia from the country. Given the choice between Castro and Batista, people were very fond of Castro. The invasion force didn’t get the immediate response that was expected, the rest of the world soon found out what was going on and disapproved, and the US decided it wasn’t going to get any more involved. The end result was that the Castro regime was left more secure than ever, and Castro remained in power for another fifty years, while Kennedy had to go public and admit that they’d made a colossal error. And as a result of this, Castro decided that given that he had an unfriendly superpower close by, it would be a good idea to get in the good books of a friendly superpower, and so he turned to the USSR. This happened to be exactly what the USSR was looking for. At the time, America had allies throughout Western Europe, who let US troops and missiles be stationed in their countries. That meant that at any time the US could launch an attack on the USSR from right on its border. The USSR, though, had no allies anywhere near the American border, and at this point in time there were very few intercontinental missiles. The only way they could launch a nuclear attack of more than a handful of missiles on the US was to send a load of planes on a twelve-hour journey, including a refueling stop at the Arctic. That was not ideal from their point of view, as both the US and USSR were run by people who were convinced that the other side was run by madmen who would decide at a moment’s notice to launch a nuclear attack, and the only way to prevent this would be to be able to destroy the other side if they tried anything. But Cuba is only ninety miles from the US coast. If the USSR could stick a bunch of missiles there, they could easily destroy the entire East Coast and much of the midwest. So the USSR and Cuba quickly came to an agreement — the USSR would protect Cuba from US invasion, and in return it would get to put a load of missiles in Cuba. Unfortunately for everyone, the USA found out about these plans before they were complete. And the US Government was very, very, very, unhappy with the idea of Russian nuclear missiles ninety miles away from the US. Tensions stepped up on both sides, to quite an astonishing degree. The US armed forces went to DEFCON-2 for the only time during the Cold War — DEFCON-1 would be nuclear war. Both countries’ armed forces were on such high alert that there were two incidents that came as close as we’ve ever come to all-out war between the US and Russia. A US spy plane accidentally flew over Soviet territory, and on the same day some small practice depth charges were dropped on a Soviet submarine. Those depth charges were just used for signalling — they couldn’t do any real damage — but what the people dropping them didn’t know was that the submarine in question was armed with nuclear weapons, and had orders to use them if a war started. The submarine was cut off from radio communication, and the captain took the depth charges as a sign that war *had* started. Luckily for everyone on the planet, launching them required the authorisation of all three officers on board, and one of the officers, Vasili Arkhopov, refused to authorise the missile launch. We came that close to the destruction of all life on the planet. Thankfully, while we came that close, we didn’t come any closer. Both Kennedy and Khrushchev were, by the standards of the leaders of their respective countries, cautious, intelligent, well-meaning people, and they managed to negotiate an agreement by which the USA would remove its missiles from Turkey and Italy, and in return the Soviet missiles would be removed from Cuba. The crisis was over, but had either of them been even slightly less stable or capable, or had someone other than Arkhopov been on that submarine, we would not be here today.

The Pun Jab is still going strong at 68 with jokes, puns and gags on eternal life, hamburgers, butter and more!

My good friend and mentor Doug Casey joins me on the podcast again to discuss world events, politics, U.S. monetary policy, and why Fedcoin isn’t as far-fetched of an idea as it sounds. We pick up on topics we discussed in our first conversation, “The Money System - An interview with Doug Casey.” Doug is known for outlandish opinions, but the situation we find ourselves in now is something that he’s talked about for a long time. While we’re experiencing this turmoil here in the U.S., he’s watching it unfold from his ranch in Uruguay. Doug: I feel rather smug watching the collapse of the U.S. comfortably on my widescreen as opposed to uncomfortably out my front window. Over the next six months I expect I can turn the audio off and put on Rolling Stones’s “Street Fighting Man.”  1984 meets Brave New World We essentially have two major issues coming together: the decline of Western civilization and its Enlightenment values and the rise of a police state. Doug: It’s not quite Orwell’s 1984 and it’s not quite Huxley’s Brave New World, but it takes some of the worst elements of both of them.  The problem is there’s not much anybody as an individual can do at this point. You can try to leave to avoid suffering the unpleasantness and inconvenience — but where can you go? All the countries in the world are going in the wrong direction.  In my upcoming third novel, Assassin, our hero, Charles Knight, becomes an assassin to eliminate malicious government officials. So that’s one route. It’s a good thing I’m saying this in a novel; otherwise the men in black would be knocking on my door. Stoking racial divides When George Floyd was killed, it was the most unified in opinion I have seen America since 9/11. Everyone thought that cop was a piece of [expletive] who needed to be in handcuffs. Everyone thought he should’ve got the perp walk.  A moment when there’s literal total agreement somehow gets turned into the most divisive issue of my lifetime overnight. How does that happen? Doug: The pot was boiling. This was just the catalyst that made it all blow up. It’s been coming for some time. As bad as things are right now, things are still kind of held together because the stock market and bond markets are basically at all-time highs. When they melt down and the banks are in trouble and there’s another wave of unemployment, who can say what’s going to happen? Too many elites Russian-American scientist and writer Peter Turchin studies how societies grow and evolve over time. He’s getting some renewed attention now because in his 2017 book, The Ages of Discord, he warned that things would get worse by 2020. His underlying thesis is that there’s a overpopulation of elites in the U.S. and trouble happens when they start fighting each other, which is happening now. Doug: My friend Jim Rogers said that at some point in the future, the guys driving the Lamborghini’s are going to be the guys driving trackers in the middle of cornfields, because commodities are going to go up. There’s lots of good arguments for buying farmland. At the same time, there’s lots of good arguments for continuing to stay away from them because the longest bear market in all of history is commodities. Monetary reset The monetary system seems set for a reset, something that’s happened a lot in the past. The U.S. dollar as the global reserve currency carries all kinds of implications. Add the fact that, like most countries, we have a huge amount of debt that is unpayable. Americans tend to believe that if something isn’t working right — whether it be education or healthcare — the problem is we’re not allocating enough capital. In an environment where we have all these factors going on, it’s hard to imagine it’s not set for a monetary reset where things fundamentally change.  The rise of Fedcoin? One idea Doug floated a few years ago was the launching of a Federal Reserve cryptocurrency. It doesn’t sound as out there of an idea any more. Doug: It’s going to happen. Bitcoin is popular. Everybody has a cell phone today, and the government loves the idea of something like Fedcoin. If you deal in Fedcoin, it’s all done electronically through your cell phone, which means they know everything that you buy and sell. There’s no cash anymore. At that point if they don’t like you, they can close your account.

Heading into 2000, there are some wonderful #1 songs on my chart this quarter. Enjoy! Song list: "Sexx Laws" by Beck, "You" by George Harrison, "I Had Too Much to Dream (Last Night)" by the Electric Prunes, "Street Fighting Man" by the Rolling Stones, "Take it Away" by Paul McCartney, "Young Americans" by David Bowie, "Darlin'" by the Beach Boys, and "Love Her Madly" by the Doors. --- Support this podcast: https://anchor.fm/musicismyradar/support

Please allow us to introduce one of the 1968 album that changed everything for the Rolling Stones. “Beggars Banquet” is the first in one of the greatest four-album runs in rock history, and starts off with “Sympathy for the Devil,” one of the band’s most iconic tracks. Galen and Alex go beyond “Sympathy” and “Street Fighting Man,” and dive into songs that you might not know as well. They don’t always see eye-to-eye on which lesser-known tracks they prefer, but they agree that this album is a must-listen for any rock fan. Share your thoughts with them by reaching out on Twitter at @doctorgc or @akmccarthy.

The game is Dungeons & Dragons: 5th Edition, by Wizards of the Coast!  The campaign is Tales of the Yawning Portal! Show page:  http://www.chippewavalleygeek.com/2020/05/the-cvg-actual-play-community-theater.html Intro /Outro Music:  "Street Fighting Man" by The Rolling Stones

Der auf dem Album „Beggars Banquet” veröffentlichte Titel „Street Fighting Man” - der vielleicht politischste Song der Rolling Stones - war den Aussagen Mick Jaggers zufolge eine direkte Antwort auf die Pariser Studentenunruhen im Mai 1968. Bei aller Sympathie mit den Demonstranten betont der Text, dass der Musiker nur mit seinen ganz eigenen Mitteln antworten könne. Der Song „Street Fighting Man” tut dies u.a. mit von hoher Aggressivität vorgetragenen Gitarrenriffs in typischer Keith-Richards-Manier.

Der auf dem Album „Beggars Banquet” veröffentlichte Titel „Street Fighting Man” - der vielleicht politischste Song der Rolling Stones - war den Aussagen Mick Jaggers zufolge eine direkte Antwort auf die Pariser Studentenunruhen im Mai 1968. Bei aller Sympathie mit den Demonstranten betont der Text, dass der Musiker nur mit seinen ganz eigenen Mitteln antworten könne. Der Song „Street Fighting Man” tut dies u.a. mit von hoher Aggressivität vorgetragenen Gitarrenriffs in typischer Keith-Richards-Manier.

This Fantasy continues includes Dead Flowers, Live With Me, Love In Vain, Let It Bleed, Monkey Man, It's Only Rock N Roll, Faraway Eyes, Jumpin Jack Flash, Brown Sugar, Paint It Black and Street Fighting Man.

This week we create a Fantasy Double CD inlcudes Start My Up, Rip This Joint, I'm Free, Not Fade Away, You Got Me Rockin, Spider and The Fly, Down In The Bottom, Street Fighting Man, Little Baby, Black Limousine, Tumblin Dice, Slipping Away, and Honky Tonk Women.

The one ... we agree is " ... more Stones than The Stones "In this episode we discussed;the suitcase drum kitKeith the composerMick’s vocal chantand conclude that the song is "... more Stones than The Stones ..."

In the poor and tough streets of Odessa, Ukraine, with nothing much for entertainment, street fighting is just “what you did” as a young male. After getting repeatedly picked on and beaten up by his older cousin, Artur, aged 12, joined the local gym and trained every day for 3 years. Once a day soon became twice a day and has been ever since. Today Artur is the World Welterweight Kick Boxing Champion and nobody picks on him anymore. His fight record at the time of recording is an impressive 92 fights and 87 wins. He has only lost 3 competitive fights since 2010. Brought up alone by his mother, Artur won his first championship gold medal at 16. More fights, more wins, more knock outs (KO's) followed and then one famous night in Japan in 2006, Artur fought (and won!) three fights in one night. This incredible K1 Max victory in front of 20,000 screaming fans really launched him onto the international Kick Boxing and Muy Thai scene. Artur's initial motivations to survive became financial as he longed for a better quality of life for himself and his family. With an eye firmly on the future, Artur, now aged 33, has settled in Barcelona, after a brief stint in the Netherlands, and has his own gym by the beach to the north of the city where he trains his own young team. It’s a team which has already produced one world champion. Although still fighting, it’s more about legacy now. “It’s my business, my hobby, my life”, he says proudly. We talk KO’s, mindset, discipline and determination in this knock out podcast. Smash The Box is a personal development business. Everything I do is with the aim of inspiring you to find your purpose so you can make your mark on the world. One way I do this is by sharing people’s stories. Inspiring stories that the world needs to hear. Stories of breakthroughs, of adversity overcome, of achievements, successes, of setbacks and turnarounds, of realisations and lightbulb moments. This audio experience is a natural and perfect complement to the existing services of Life Coaching, Leadership Coaching, Breakthrough Workshops and Inspirational Talks - all of which forms something quite unique and special. If you are looking to find your purpose in life, in work, or both, then don’t just think outside the box. It’s time to Smash The Box! Connect with us! www.smashthebox.me www.youtube.com/channel/UC7fEEvjX52qS928oyLGCtuQ www.facebook.com/SmashTheBoxMarkPitcher/ www.instagram.com/markpitcher_smashthebox/

Image of me and Joe Gagliardi, at the ready to take down a perceived threat. Photo courtesy of Shawn Westfall. Hear the fantastic story of John Papageorgiou and co-host Joe Gagliardi getting into it with a deranged homophobe in DC's famed gay district, Dupont Circle. If you think it would be funny getting homophobic hate speech screamed at you when you're straight, well, IT IS!! Comedian Mikael Johnson's also in studio, that suave, swarthy bastard. Follow this episode's cast on Twitter and Instagram! John Papageorgiou - Twitter - @PapasBasement, Instagram - @PapasBasement Joe Gagliardi - Instagram - @devildawg0602 Mikael Johnson - Twitter - @MikaelLJohn, Instagram - @MikaelLJohn Click here to listen to the latest episode of Papa's Basement in your browser or here to open and listen in iTunes (you can also use the embedded player below). And, if you want to see our faces that very clearly are fit for radio, you can watch videos of our episodes on YouTube

The Rolling StonesMusik ist unser Leben. Wenn ein Song läuft, dann sind wir direkt in der Geschichte drin: Der erste Kuss, das erste Auto, der Urlaub mit der Familie, wie wir gelacht und geweint haben. Oder auch: Mensch, da war ich 18, da war das Fest zu meinem 30igsten. Und es gibt Songs die bleiben einfach für immer!! Die großen 100 Songs der Musikgeschichte, die von den 50igern bis heute unser Leben mit geprägt haben. Die Geschichten zu den Songs, die will ich hier erzählen. Danach hört Ihr die Songs völlig neu und entdeckt unbekannte Zusammenhänge. Jeden Samstag und Sonntag gibt’s eine neue Folge! See acast.com/privacy for privacy and opt-out information.

Interview & Performance Young de Brock band Blues Rock diambil dari rangkaian acara HUT ke-3 #berisikradio Street Fighting Man. Band potensial ini bercerita tentang perjalanan mereka dan anggapan mereka bahwa band adalah bagian dari sebuah keluarga.

Issue 23 of Geek of the Week! News: Discussion of this week's news in comic books and comic book media. • Trailers - Endgame/ Batman V TMNT/ Sabrina • James Gunn back for GotG • Hammer of Justice crossover • & more! Pull or Pass: Fraser and Mark read three new comics published this week, and discuss whether they’d add them to their pull or won’t continue reading the title. • Calamity Kate • Spider-Man Life Story • Teen Titans 28 Trade Off: Fraser and Mark, who have very different tastes, take it in turns to lend a trade paperback to each other. They discuss what they thought of the book. • Monstress (Mark's choice) Binge It Or Bin It: Mark and Fraser pick a comic based TV show pilot, and watch it to decide whether they want to continue watching (binge it) or not bother (bin it). • Outcast Music: Music tracks played on the show. • Street Fighting Man by The Rolling Stones • Cherry Bomb by The Runaways • Revolution by REM • Dredd Song by The Cure

Gestur þáttarins að þessu sinni Olga Björt Þórðardóttir ritstjóri og eigandi Fjarðarpóstsins. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er plata Rolling Stones frá 1968 sem heitir Beggars Banquet. Hún er sjöunda plata Stones í Bretlandi en níunda sem var gefin út í Ameríku. Platan kom út í desember ´68 hjá Decca í Bretlandi en London Records í Ameríku. Á Beggars Banquet fer sveitin til baka í blúsað rokkið sem sveitin var alltaf þekktust fyrir, en plöturnar tvær á undan, Between the Buttons og Their Satanic Majesties Request einkenndust af sækadelíusku rokki og tilraunum. Og blúsrokkið krydda þeir á Beggars Banquet með áhrifum héðan og þaðan, með suður amerísku töktum, conga trommum frá Afríku og Asískum hljóðfærum eins og sítar og tabla. Þetta er síðasta plata Rolling Stones þar sem Brian Jones er með alla leið. Hann er með í tveimur lögum á plötunni á eftir, Let it bleed, en Beggars Banquet er líka síðasta platan sem kom út meðan hann lifði. Jagger og Richards eiga öll lög plötunnar nema eitt og Brian Jones spilar næstum engan gítar á plötunni, en hann spilar á sítar, munnhörpu, Mellotron og tambúrínu t.d. Beggars Banquet er fyrsta plata Rolling Stones sem upptökustjórinn Jimmy Miller gerði með þeim, en hann átti eftir að gera margar plötur með sveitinni. Platan náði fimmta sæti Bandaríska vinsældalistans og því þriðja í Bretlandi. Hún þykir með bestu plötum Stones og er á ýmsum listum yfir bestu plötur sögunnar. Þekktustu lög plötunnar eru Sympathy for the Devil og Street Fighting Man. Við heyrum nokkur lög af Beggars Banquet í þættinum. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með The Buzzcocks. Lagalistinn: 200.000 Naglbítar - Brjótum það sem brotnar Kiss - Detroit rock city Kiss - King of the night time world Scorpions - Rock you like a hurricane Deep Purple - Demons eye Týr - Álvur kóngur Richard Hawley - Off my mind SÍMATÍMI Rolling Blackouts Coastal Fever - Talking straight The Datsuns - What would i know (óskalag) Led Zeppelin - Immigrant song (óskalag) Rolling Stones - Sympathy for the Devil (plata Þáttarins) Uriah Heep - July Morning (óskalag) Beatles - Everybody´s got something to hide except me and my monkey (óskalag) Scorpions - Wind´s of change (óskalag) Iron Maiden - Fear of the dark Girlschool - Race with the Devil GESTUR FUZZ - OLGA BJÖRT ÞÓRÐARDÓTTIR Metallica - Nothing else matters OLGA II Skálmöld og sinfó - Hel OLGA III Skálmöld og sinfó - Kvaðning Rolling Stones - Street fighting man A+B Buzzcocks - Ever fallen i

Gestur þáttarins að þessu sinni Olga Björt Þórðardóttir ritstjóri og eigandi Fjarðarpóstsins. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er plata Rolling Stones frá 1968 sem heitir Beggars Banquet. Hún er sjöunda plata Stones í Bretlandi en níunda sem var gefin út í Ameríku. Platan kom út í desember ´68 hjá Decca í Bretlandi en London Records í Ameríku. Á Beggars Banquet fer sveitin til baka í blúsað rokkið sem sveitin var alltaf þekktust fyrir, en plöturnar tvær á undan, Between the Buttons og Their Satanic Majesties Request einkenndust af sækadelíusku rokki og tilraunum. Og blúsrokkið krydda þeir á Beggars Banquet með áhrifum héðan og þaðan, með suður amerísku töktum, conga trommum frá Afríku og Asískum hljóðfærum eins og sítar og tabla. Þetta er síðasta plata Rolling Stones þar sem Brian Jones er með alla leið. Hann er með í tveimur lögum á plötunni á eftir, Let it bleed, en Beggars Banquet er líka síðasta platan sem kom út meðan hann lifði. Jagger og Richards eiga öll lög plötunnar nema eitt og Brian Jones spilar næstum engan gítar á plötunni, en hann spilar á sítar, munnhörpu, Mellotron og tambúrínu t.d. Beggars Banquet er fyrsta plata Rolling Stones sem upptökustjórinn Jimmy Miller gerði með þeim, en hann átti eftir að gera margar plötur með sveitinni. Platan náði fimmta sæti Bandaríska vinsældalistans og því þriðja í Bretlandi. Hún þykir með bestu plötum Stones og er á ýmsum listum yfir bestu plötur sögunnar. Þekktustu lög plötunnar eru Sympathy for the Devil og Street Fighting Man. Við heyrum nokkur lög af Beggars Banquet í þættinum. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með The Buzzcocks. Lagalistinn: 200.000 Naglbítar - Brjótum það sem brotnar Kiss - Detroit rock city Kiss - King of the night time world Scorpions - Rock you like a hurricane Deep Purple - Demons eye Týr - Álvur kóngur Richard Hawley - Off my mind SÍMATÍMI Rolling Blackouts Coastal Fever - Talking straight The Datsuns - What would i know (óskalag) Led Zeppelin - Immigrant song (óskalag) Rolling Stones - Sympathy for the Devil (plata Þáttarins) Uriah Heep - July Morning (óskalag) Beatles - Everybody´s got something to hide except me and my monkey (óskalag) Scorpions - Wind´s of change (óskalag) Iron Maiden - Fear of the dark Girlschool - Race with the Devil GESTUR FUZZ - OLGA BJÖRT ÞÓRÐARDÓTTIR Metallica - Nothing else matters OLGA II Skálmöld og sinfó - Hel OLGA III Skálmöld og sinfó - Kvaðning Rolling Stones - Street fighting man A+B Buzzcocks - Ever fallen i

Gestur þáttarins að þessu sinni Olga Björt Þórðardóttir ritstjóri og eigandi Fjarðarpóstsins. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er plata Rolling Stones frá 1968 sem heitir Beggars Banquet. Hún er sjöunda plata Stones í Bretlandi en níunda sem var gefin út í Ameríku. Platan kom út í desember ´68 hjá Decca í Bretlandi en London Records í Ameríku. Á Beggars Banquet fer sveitin til baka í blúsað rokkið sem sveitin var alltaf þekktust fyrir, en plöturnar tvær á undan, Between the Buttons og Their Satanic Majesties Request einkenndust af sækadelíusku rokki og tilraunum. Og blúsrokkið krydda þeir á Beggars Banquet með áhrifum héðan og þaðan, með suður amerísku töktum, conga trommum frá Afríku og Asískum hljóðfærum eins og sítar og tabla. Þetta er síðasta plata Rolling Stones þar sem Brian Jones er með alla leið. Hann er með í tveimur lögum á plötunni á eftir, Let it bleed, en Beggars Banquet er líka síðasta platan sem kom út meðan hann lifði. Jagger og Richards eiga öll lög plötunnar nema eitt og Brian Jones spilar næstum engan gítar á plötunni, en hann spilar á sítar, munnhörpu, Mellotron og tambúrínu t.d. Beggars Banquet er fyrsta plata Rolling Stones sem upptökustjórinn Jimmy Miller gerði með þeim, en hann átti eftir að gera margar plötur með sveitinni. Platan náði fimmta sæti Bandaríska vinsældalistans og því þriðja í Bretlandi. Hún þykir með bestu plötum Stones og er á ýmsum listum yfir bestu plötur sögunnar. Þekktustu lög plötunnar eru Sympathy for the Devil og Street Fighting Man. Við heyrum nokkur lög af Beggars Banquet í þættinum. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með The Buzzcocks. Lagalistinn: 200.000 Naglbítar - Brjótum það sem brotnar Kiss - Detroit rock city Kiss - King of the night time world Scorpions - Rock you like a hurricane Deep Purple - Demons eye Týr - Álvur kóngur Richard Hawley - Off my mind SÍMATÍMI Rolling Blackouts Coastal Fever - Talking straight The Datsuns - What would i know (óskalag) Led Zeppelin - Immigrant song (óskalag) Rolling Stones - Sympathy for the Devil (plata Þáttarins) Uriah Heep - July Morning (óskalag) Beatles - Everybody´s got something to hide except me and my monkey (óskalag) Scorpions - Wind´s of change (óskalag) Iron Maiden - Fear of the dark Girlschool - Race with the Devil GESTUR FUZZ - OLGA BJÖRT ÞÓRÐARDÓTTIR Metallica - Nothing else matters OLGA II Skálmöld og sinfó - Hel OLGA III Skálmöld og sinfó - Kvaðning Rolling Stones - Street fighting man A+B Buzzcocks - Ever fallen i

This episode plays songs about Toxic Masculinity and the notion of manhood. Here's the playlist: 1. Toxic Avenger theme song. 2. Britney Spears “Toxic” from In the Zone (2003) 3. Muddy Waters “Mannish Boy” from Muddy "Mississippi" Waters Live (Legacy Edition) (1979) 4. Chicago “I'm a Man” from In Chicago (2011) on Image Entertainment. 5. Bo Diddley “I'm a Man” from The Chess Box (Box Set) (1990) 6. George Thorogood “bad to the bone” from Rock Line, Vol. 2 on M&M 7. Rolling Stones “Street Fighting Man” from Exile On Main Street (CD) 8. The Stanley Brothers “I'm A Man of Constant Sorrow” from The Complete Columbia Stanley Brothers (1959) on Legacy/Columbia 9. Sam Fender “Dead Boys” from Dead Boys - EP on Polydor Records 10. Idles “Colussus” from Colossus - Single on Partisan Records / PIAS / Hostess 11. As It Is “The Stigma (Boys Don’t Cry)” from The Great Depression on Fearless Records 12. EAST AFRICA Ceremonial & Folk Music “Masai Raiding Songs (Kenya)” from EAST AFRICA Ceremonial & Folk Music (2002) on Nonesuch (USA) 13. Peder Mannerfelt “I Stand Up and Say, Toxic Masculinity Has Got to Go Away” from I Stand Up and Say, Toxic Masculinity Has Got to Go Away - Single on Peder Mannerfelt Produktion.

Brian Sovryn and Stephanie Murphy welcome Brett to their studio for the final chapter in this series of our frequently requested long-form discussions (-THON). This time, we attempted to have a constructive and compassionate conversation (EMPATH-) about many of the issues I explored in the SPEED AND POLITICS series, even though we have many opposing political, philosophical and cultural views. In the end, it worked out. Today we continue our reflections on the series, talk about recent events and answer some listener questions. Bumper Music: "Street Fighting Man" Motley Crue "Street Fighting Man" John Mellencamp Look Closer: Sex and Science Hour - https://sexandsciencehour.com Sovryn Tech Podcast - https://soundcloud.com/sovryntech Brian's Site: ZOG.ninja - https://zog.ninja Please Support School Sucks Our Amazon Wish List Donate With Bitcoin Or Join the A/V Club Support Us On Patreon Shop With Us At Amazon Your continued support keeps the show going and growing, which keeps us at the top of the options for education podcasts and leads to new people discovering this message. This subscription also grants you access to the A/V Club, a bonus content section with 200+ hours of exclusive audio and video. If you are a regular consumer of our media, please consider making a monthly commitment by selecting the best option for you... A/V Club - Basic Access - $8.00/Month AP Club - "Advanced" Access - $12.00/Month Sigma Sigma Pi - Full Access - $16.00/Month  

NEW FOR JANUARY 15, 2017 For a full 10 years now, (math properly checked this time) BRYHNH producer Rick From New York has been tasked for what has developed into one of each year's most anticipated shows. This annual event is Rick's perspective on the best tracks played on BRYHNH from the previous year, affectionately known as Rick's Picks. Now to be sure, this end of year "Best Of" list is not what you might expect. This is Rick From New York meticulously sifting through Volumes 274 - 300 and choosing the finest tracks, both new releases and classics you may or may not have ever heard before, that graced the BRYHNH feed from the past year. And again, Rick has picked a list of winners like a six year old can pick a booger. As you will read below, there is a dispute over the linear nature of the events that led up to the thematic content dispute between episodes 301 and 302 that Rick attributes to a Mexican cactus debauch. But I heartily say this can only be settled by a Mexican cactus summit on my turf. Where my people can provide protection. It was only business, Rick. I always liked you. So as the bell rings to start round one, I present to you: Not Dead Yet - Rick's Picks 2016 We now join Rick in progress . . . I've been doing this for a while now. In December, every year since 2006, I get a little kernel of anxiety in the pit of my stomach as the deadline for the January 15th "Rick's Picks" approaches. I want to do a good job of representing BRYHNH, staying true to the Brand while inserting my own take on the year's offerings, but... am I up to it? A couple of times I thought about trying to back out because, after all, December can be a crazy-busy time and believe it or not, putting this podcast together has more to it than you might think, as I have written about previously. This year the kernel became a throbbing mass as I realized that my ears had died to most of my musical interests. Because the nature of my obsessions are not fully understood, or under control, I am constantly led down odd streets, and sometimes... blind alleys. How else to explain my year-long obsession with the music of "Hamilton: an American Musical"? December arrived once again, along with the gnawing realization that I had only a very short time to immerse myself in the BRYHNH universe to pull out an acceptable contribution. Well, inspiration arrived just like a shiny Christmas morning; how could I not acknowledge the passing of so many music icons in 2016? All I had to do was cherry-pick the years' podcasts for my dearly departed playlist! Perfect! And easy, I thought. I promptly emailed Perry Bax with my idea, to which he responded with a hearty thumbs up, and encouragement that I was "on a good track". Imagine my surprise when on 01.01.17 "In the Wake of 2016" drops. Bowie, Prince, Russell, Frey and Emerson...all there. Even a belated Leonard Cohen track I had planned on using on my fadeout! Was I upset? No. Taken aback? Definitely. But what's a bit of larceny between friends, eh? I may have emailed during a Mexican Holiday Tequila Debauch and in the cold light of day (ouch!), I'm sure Mr. Bax thought it was HIS idea. Just to prove that I remain light on my feet after all these years, here is my musical riposte to "In the Wake of 2016". Ladies and Gents, I give you "Rick's Picks for 2016: Not Dead Yet". Alive and kicking, Rick from New York Not Dead Yet - Rick's Picks 2016 1. After Midnight (live) - Eric Clapton w/ Derek Truck and Doyle Bramhill Buy From iTunes* 2. Street Fighting Man (live) - The Rolling Stones Buy From iTunes* 3. After The Gold Rush (live) - Neil Young w/ The Promise of Real Buy From iTunes 4. Woodstock (live) - Joni Mitchell Buy From iTunes* 5. Wristband (live) - Paul Simon Buy From iTunes 6. Tomorrow Never Knows (live) - Govt. Mule Buy From iTunes* 7. Hey Joe (live) - Bad Company Buy From iTunes 8. Big Yellow Taxi (live) - Joe Jackson 9. Oops ! I Did It Again (live) - Richard Thompson Buy From iTunes* 10. Peaches en Regalia (live) - Phish Buy From iTunes 11. I Want More (live) - Tedeschi Trucks Band Buy From iTunes* 12. Smash The Mirror / We're Not Gonna Take it (live) - The Who Buy From iTunes 13. The Greatest Thing (live) - Elvis Costello and The Attractions Buy From iTunes* 14. Beautiful (live) - Carole King Buy From iTunes 15. There Will Be Time (live) - Mumford and Sons w/ Baaba Maal, Beatenberg, and The Very Best Buy From iTunes The Best Radio You Have Never Heard. Just another piece of billion year old carbon. Accept No Substitute.

In Minute 56 of The Whole Shebang, Mike and Jenny are broadcasting LIVE from jolly old England, and they've got the most special of special guests… Jenny's sister Cat Anckorn-Harris! In this minute, the three of us cover Roxy Music's penchant for in-jokes within their first single “Virginia Plain,” the references to both “Street-Fighting Man” and “Dancing in the Streets” in Mandy's narration and the difficulties of having a threesome in a small cupboard, the success headline montage and its references to Judy Garland in “A Star is Born,” Brian's stealing of Jack Fairy's posse and their fantastic outfits, the awkward Oscar moment where Whoopi Goldberg dressed as Maxwell Demon, the history of rock and roll airplanes including the legendary “Starship,” Brian's retinue as echo of Warhol's Superstars, and David Hoyle's role in this film as “Freddie,” and on late-night Channel 4. Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.

This week, Dread Media again dives into the "weird heroes" realm. This time it's an all-Miike edition as Takashi Miike has his own little corner of weird cinema nailed down. First up, Desmond and Darryll reckon with his "family-friendly" superhero otaku film Zebraman. Then, they look at the decidedly un-family-friendly creepy prequel Ichi-1. Here are some weird hero songs: "Heroes" by Celtic Frost, "Heroes from Our Past" by Dropkick Murphys, "Street Fighting Man" by Rage Against the Machine, and "Hero of the Soviet Union" by The Dillinger Escape Plan. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, Dread Media again dives into the "weird heroes" realm. This time it's an all-Miike edition as Takashi Miike has his own little corner of weird cinema nailed down. First up, Desmond and Darryll reckon with his "family-friendly" superhero otaku film Zebraman. Then, they look at the decidedly un-family-friendly creepy prequel Ichi-1. Here are some weird hero songs: "Heroes" by Celtic Frost, "Heroes from Our Past" by Dropkick Murphys, "Street Fighting Man" by Rage Against the Machine, and "Hero of the Soviet Union" by The Dillinger Escape Plan. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, Dread Media again dives into the "weird heroes" realm. This time it's an all-Miike edition as Takashi Miike has his own little corner of weird cinema nailed down. First up, Desmond and Darryll reckon with his "family-friendly" superhero otaku film Zebraman. Then, they look at the decidedly un-family-friendly creepy prequel Ichi-1. Here are some weird hero songs: "Heroes" by Celtic Frost, "Heroes from Our Past" by Dropkick Murphys, "Street Fighting Man" by Rage Against the Machine, and "Hero of the Soviet Union" by The Dillinger Escape Plan. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, Dread Media again dives into the "weird heroes" realm. This time it's an all-Miike edition as Takashi Miike has his own little corner of weird cinema nailed down. First up, Desmond and Darryll reckon with his "family-friendly" superhero otaku film Zebraman. Then, they look at the decidedly un-family-friendly creepy prequel Ichi-1. Here are some weird hero songs: "Heroes" by Celtic Frost, "Heroes from Our Past" by Dropkick Murphys, "Street Fighting Man" by Rage Against the Machine, and "Hero of the Soviet Union" by The Dillinger Escape Plan. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

NEW FOR MARCH 15, 2016 The Demagogue That Insisted To Sing - The Best Radio You Have Never Heard - Vol. 281 Sometimes you've just got to give it a rest . . . 1. Chicago (live) - Crosby, Stills, Nash and Young Buy From iTunes 2. Street Fighting Man (live) - The Rolling Stones Buy From iTunes* 3. Dialogue, Pts. 1 & 2 (live) - Chicago Buy From iTunes 4. Mystery and Mayhem / The Pinnacle - Kansas Buy From iTunes 5. Amazing Journey / Sparks / Underture (live) The Who Buy From iTunes* 6. The Rock / Love Reign O'er Me (live) - The Who Buy From iTunes* 7. The Sahara Of Snow (live) - Bruford Buy From iTunes* 8. Karn Evil 9 (second impression) (live) - Paul Gilbert Buy From iTunes 9. The Raven That Refused To Sing (early) - Steven Wilson Buy From iTunes* The Best Radio You Have Never Heard Singing like a canary since 2004 . . . Accept No Substitute Click to join the conversation on the Facebook page.

Rob and Andrew talk about the end of Street Fighter IV at the Capcom Cup and the enduring greatness of Daigo. Then they chat about the new Team Liquid Dota 2 team's success at The Defense, and discuss Riot's major changes to the Korean League of Legends ecosystem.

Ryan Daly and guest Martin Gray review the origin of the Legion of Super Heroes from Secret Origins #25. Then, Gene Hendricks returns to help cover the origin of the Golden Age Atom. Secret Origins Podcast Facebook page: https://www.facebook.com/secretoriginspodcast Secret Origins Podcast on Stitcher: http://www.stitcher.com/podcast/httpsecretoriginspodcastlibsyncom/secret-origins-podcast?refid=stpr Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Check out Martin Gray’s comics review blog at Too Dangerous For A Girl: http://dangermart.blogspot.co.uk And find Gene Hendricks at The Hammer Strikes: http://www.thehammerstrikes.com and The Hammer Podcasts: http://twotruefreaks.com/shows.php?show=35 and The Quantum Cast: http://twotruefreaks.com/shows.php?show=36 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 “Premonition” (Theme for Secret Origins Podcast) written and performed by Neil Daly. Additional music this episode: “My Generation” by The Who; and “Street Fighting Man” by The Rolling Stones. Long Live the Legion!  

Someone mistakes Dave as Linden Vey and throws a punch at him, needless to say, Canucks fans aren't happy with the former Medicine Hat Tiger Geeta, Dave and Ryan are here this week to talk about the Montreal Canadiens making a series out of it against Tampa Bay and Ovi's quest for the Stanley Cup Finals. They're also talking positive direction in Edmonton, Bob Hartley for the Jack Adams award and a look back at Mark Messier in the 2003 Heritage Classic in Edmonton...when he was still an active member of the New York Rangers. They look at Jaromir Jagr's new positive role in the NHL and his quest to climb the all time NHL points leader standings and look back at Carey Price's draft day and Pierre McGuire's absolute shock at their draft pick...needless to say it worked out pretty well from the Habs! Enjoy!

What's going on with our friends at Hub-Bub in November? Today on the podcast, we sit down with Executive Director Cate Ryba and Showroom Director Stephen Long to find out.   On November 15, there might be a little "Sympathy for the Devil" at The Showroom, or maybe even a "Street Fighting Man" and a "Honky Tonk Woman" riding around on a pair of "Wild Horses." We can't say for sure, because the set list for the , featuring local musicians covering songs by The Rolling Stones, is top secret. What we can say for sure is that this is the best chance you'll have all month to see some of Spartanburg's greatest musicians all in one place.     Later in the month, Hub-Bub is hosting the 14th edition of one of Spartanburg's best recurring events, . Always one the most illuminating night's in town, Talk20 features 10 presenters distilling their ideas and passions down to 20 slides...with just 20 seconds to talk about each one. The results being often hilarious, often heartwarming, and always illuminating. Throw in  at the end of the month (on ) to put a dent in that holiday shopping list, and you've got a trifecta of November events you don't want want to miss.

Roland Emmerich, le plus américain des réalisateurs allemands, revient au style qui l’a fait connaitre : le gros film d’action où on casse de la Maison Blanche ! Cela ne pouvait bien sûr pas échapper à 24FPS, le podcast avec ou sans spoiler, et Jérôme et Julien vont se faire un plaisir de décortiquer le tout !Dans la première partie (sans spoiler) de l’émission, ils passent donc rapidement en revue la carrière du metteur en scène avant de s’arrêter sur le scénariste et le casting de cette nouvelle production pour enfin livrer leur avis mais sans dévoiler quoi que ce soit du scénario. Et c’est après le signal sonore que débute la seconde partie de l’émission où toutes les scènes et tous les détails sont passés en revue dans une bonne ambiance de franche rigolade.Bonne écoute et n’hésitez pas à nous dire ce que vous avez pensé de la scène du drapeau !Crédits musicaux : Street Fighting Man des Rolling Stones, issu de l’album Beggars Banquet (1968)