Podcasts about street songs

This is a difficult artistic puzzle to sort out: a) Why is this, Doris Day's signature song, the only cover that Sly ever recorded?; and, b), Is its delivery of “cheerful fatalism” a positive or a negative? The motto, cribbed by song writers Jay Livingston and Ray Evans for the Hitchcock film THE MAN WHO KNEW TOO MUCH, from another film THE BAREFOOT CONTESSA, has a rich history of memento mori application going back centuries, and yet, here it appears in a fresh, compelling funk version for the modern era. It's a brain teaser.For me it's all positive, albeit bittersweet. The young woman, voiced by Sly's sister Rose, asks her mother and lover to allay her apprehensions about the future, and Sly, taking the lead on the response, bursts into an ecstatic response: “Whatever will be, will be…” which turns the angsty inquiry on its head. BE HERE NOW, is the imperative. The future will take care of itself. 

I miss Amoeba Records in Hollywood. When I was working a few blocks north of there, I'd visit a few times a week during my lunch break. They had a warehouse full of oddities of all mediums and genres, books, films and memorabilia. It was on one of these mid day excursions that I came across an album entitled: “The Rough Guide to Psychedelic Africa”. This was earmarked and marketed for people just like me. The music contained therein varied quite a bit from my idea of psych, but I love discovering new stuff so I couldn't pass it by.“Guitar Boy” was one of the tracks on this collection, by Nigerian national hero - the musician, writer, sculptor, and musical instrument inventor Sir Victor Uwaifo (1941-2021), who achieved the very first gold record there with “Jeromi” in 1965. The genre is called High Life, developed in Ghana, a former British Colony on the west coast of Africa. It's style is immediately recognizable as Afro-Cuban, with it's fusion of Afro beats with western melodies played by guitars plucked in staccato arpeggios. Guitar Boy was banned for awhile because of it's connection to a failed coup in April '67, which was led by a Lt. Samuel Arthur (later executed), who marched prematurely into Broadcasting House Accra, announced the coup, and ordered the record to be played. Wow! You can't make this shit up.

By fan request, Frankie and Golden J take a listen to Rick James's album Street Songs!   www.goldenmojoent.com   As always find us on all your favorite streaming sites Linktree https://linktr.ee/thegoldenimage80s   Follow us on our social media Facebook:  https://www.facebook.com/profile.php?id=100092241900860 Youtube:   Instagram: https://www.instagram.com/thegoldenimage80s/ Hosted by Jeremy Golden and Brandon Taylor Produced and edited by Jeremy Golden Art by Esteban Gomez Reyes https://instagram.com/esteban.gomezr?utm_medium=copy_link Theme music by REDproduction  Golden 80's is a product of Golden Mojo Entertainment   And here are some other great shows from Golden Mojo Entertainment MurdNerds Facebook: https://www.facebook.com/MurdNerds www.linktr.ee/murdnerds The Call Guys Facebook: https://www.facebook.com/theCallGuysPod www.linktr.ee/thecallguyspodcast The United States of Paranormal Facebook: https://www.facebook.com/theunitedstatesofparanormal www.theunitedstatesofparanormal.com Indiana Chiefs Fans Facebook: https://www.facebook.com/INChiefsFansPod Golden Image Podcast Facebook: https://www.facebook.com/GoldenImagePodcast www.linktr.ee/goldenimagepodcast A Court of Books and Booze Facebook; www.facebook.com/ACourtofBaB https://linktr.ee/acobab   #Goldenmojoentertainment  #Goldenmojo  #Goldenimage  #Goldenimagepodcast #IndianaChiefsFans  #TheUnitedStatesofParanormal  #TheCallGuys  #Murdnerds #ACourtofBooksandBooze #Music #Adventure #food #Wine #MiniGolf #spotifypodcast  #applepodcast  #podcast #80s #Golden80s 

It's jangly and jarring, but irresistibly hypnotic.  Mark E Smith chants this incantation as if he is literally crawling out of his skin. The performance is teeth grinding punk rock in its distilled essence. a portrait of a poet in service to anarchy. And, funny. Deeply biting and ironical, this was DJ champion, John Peel's favorite group. The lyrics here seem improvised, but he's a gonzo beat poet extraordinaire - he's written it all down, and delivers it with his signature repetition in a discordant bray.  “You don't have to be weird to be wiredYou don't have to be an American to be strangeYou don't have to be strange to be strangeYou don't have to be weird to be weird”After seeing the Sex Pistols in '76 Mr Smith had a vision that carried him for 42 years through a ridiculous number of personnel changes. It doesn't matter who is playing as long as Mark is at the mic. He said once, “if it's me and your granny, it's The Fall”.Mark was a difficult, complex man who died in 2018 at the age of 60, leaving behind 32 studio albums and countless live versions. One could pick out practically any Fall tune, and experience that singular voice - “attitude personified,” one journalist dubbed it. I chose this cut because it makes me smile every time I hear it. I hate being in that condition myself, but it's fun to vicariously share Mark's flirtation with psychosis. 

I'M ALWAYS DRUNK IN SAN FRANCISCO by Carmen McRae (Atlantic, 1968)Here's my San Francisco story: In the 1980s, Chemayne and I went there on our honeymoon, spending a week before flying to Hawaii. We stayed at The Red Victorian, a reconverted townhouse in the Haight run by a dedicated, middle aged hippie, Sammy Sun-Child. It was adjacent to the Red Vic movie house, where you lounged on comfortable couches and ate homemade delicacies.  The movie that week was Meryl Streep's Dingo ate my baby film “Cry in the Dark”. We made the pilgrimage, and had martinis at John's Grill, the legendary steakhouse where Dashiell Hammett wrote The Maltese Falcon. It was a week lovingly emblazoned on my memory forever.This song evokes these ruminations. The piano playing chanteuse, Carmen McRae weaves a sophisticated memoir of ironic delight, and I am in the throes of her conjurations. I discovered the tune on an obscure Atlantic box set entitled The Ertegun's New York: New York Cabaret Music, meant to memorialize that special, hoity-toity Manhattan crowd, and it's mythic entertainers.  This version was released on the label's 1968 album “Portrait of Carmen”, arranged and conducted by Benny Carter, in a much more fleshed out version. Carmen, who started off aspiring to be like her mentor, Billie Holiday, perfected her own brand of behind the beat phrasing and ironic interpretation, finding her unique voice and style as a story teller of the first rank, honed by way of a disciplined acting training, which led to her success in the worlds of Cabaret, television, and film. 

Any self respecting devotee of fuzz and farfisa will genuflect at the mention of Talk Talk by The Music Machine, the brain busting bombshell that exploded in 1966 at the height of the garage band culture. Along with Psychotic Reaction by The Count V, and 96 Tears by ? And The Mysterians, The Music Machine ruled the airwaves that year. My middle school band, The Full House, could play 96 tears, but Talk Talk was a bronco that was harder to ride. And, the guttural snarl of lead singer Sean Bonniwell, as he spit out the red meat of his teenage angst, was an inimitable storm surge of passion. But, as so often happens, the complications of keeping a band together pulled at the group's threadbare fabric, and by '69 the band was in shreds, and Sean was on his own. This cut, Absolutely Positively is off the album THE BONNIWELL MUSIC MACHINE (because he was the only one left), but features some of the original players before they split. After that, the Music Machine was no more, and Sean soldiered on through an unforgiving solo career. But, I'm thrilled hearing the roiling organ arpeggios on the verses as Sean expresses the ambivalence of not knowing what he wants, but then, emerging with determination, as he stands firm during the choruses, declaring: “Absolutely Positively I want your love!”.

I'd like to say that this is one of the best love duets ever recorded, but I demur from superlatives generally. However, I can say with certainty that it's one of my favorites. Maybe it's the simple, straightforward vocal delivery of these two raw-boned, pioneer types that makes me cry every time they ease into the sinuous harmonies of the chorus. And, the lyrics complement the American Gothic soundscape as they sing: “See how the bramble and the rose intertwine…” It's a performance for the ages from two people who obviously loved and trusted each other and were dedicated to their mission to share the folk music they cherished.I'd never heard of Mary McCaslin or Jim Ringer when I ran across their album in the cut out bin at the old Rhino Records store on Westwood in Los Angeles. And, I'm not sure what induced me to buy it - perhaps it was the inclusion on the track list of “Oh, Death,” - a song I knew from Ralph Stanley-, that clinched the deal; Maybe it was the primitive portrait of the two lovers: Mary, with her modest, down cast eyes opposite the barrel chested, ruddy cheeked Ringer, who stares directly, and challengingly, from the cover. Whatever the draw, I'm thankful I spent the $3.99, and I've kept it close to my heart ever since for solace, to remind me that true love, even with all its thorns, is worth fighting for.

I discovered this track on a WB compilation set named “My Mind Gets High”, and boy… upon hearing this cut did I ever started experiencing flashbacks. In 1968, The Holy Mackerel was explicitly created as a vehicle for young, up and coming singer-songwriter Paul Williams, whose heavily processed vocal, along with the sitar, places this psychedelic artifact squarely into its late 60s time zone, and although I didn't start my hallucinogenic experiments until a bit later (around 1970), Wildflowers sonic acid bath trips me out nostalgically. Paul Williams became a household name in the 1970s when his elfin voice and tiny stature captured America's imagination on tv, radio, and film. It didn't hurt that he had a prodigious songwriting talent, too: (We've Only Just Begun; Old Fashioned Love Song, etc). His brother, Mentor - also a songwriting Colossus (Drift Away) was recruited for his sibling's manufactured band, as well - it was a hastily, and often reassembled group of rotating membership, which only lasted about a year or so. Interestingly, Paul didn't write this tune; it was penned by bassist Bob Harvey, who later worked for Elvis - and, indeed, it lacks the sentimental tendencies of its lead singer's writing. This is more of a mood piece, which perfectly captures that moment when the acid starts to come on. Sublime. 

Haven't we all wanted to just get away from the complexities of modern life? Escape the city, quit our jobs, and hit the hammock on some island in the South Pacific? This has been a predominant theme of Ray Davies' lyrical output. Life today is too stressful; the past was more orderly and harmonious. In this song Ray goes WAY BACK to an imagined eden, a primordial jungle, when there are no jobs, obligations, or need for financial security. Perhaps Ray's tunes were initially instigated by a compelling feeling of angst, frustration, and resentment, but, consummate artist that he is, he transformed those cringey feelings into ironic, joyous fuck yous for our vicarious pleasure. Well, maybe it's not so simple; maybe we can't afford the time lost or the hefty cost of such a longed-for retirement. But, we can, at least, slip away for a few moments of psychic refreshment with our pals, The Kinks. 

I have always been drawn to fables of underdogs and the unrecognized. This affinity was engendered early on in childhood, and marinated throughout 30 years in the acting trade, where I've seen many of the finest talents of my generation wither on the vine of show biz obscurity. This catchy girl-group number from the Cameo catalogue is spunkily delivered by a couple of black Philadelphia teens, whose exciting vocal energy belies some of the mysterious whispers of chicanery that surround the story of the record's creation, and, afterward, the group's precipitous disappearance.  Ann and Lillian Storey of The Twinkles created this ode to black rock n roll culture in 1957, (immortalized in the film Hairspray) - when Ann, or Lillian, (I've seen both credited) submitted their song to a contest run by local DJ Kal Williams, who put his name on it as co-writer, and then took it to Baltimore musician and record label owner Al Browne, who also put his name on it. Browne released it on his indie label, Peak Records in 1957. The following year Cameo, who had national distribution, changed the group's name to The Storey Sisters and rereleased it nationally, where it went to #45 on the national charts. It was at this point that Ann, or Lillian's name disappear from the credits. In short order, The Storey sister's career was over, after having recorded only two more sides. Bad Motorcycle is said to be slang for “Bad Motherfucker”, and these young women may have encountered some bad motorcycles during their short ride out of fame's parking lot. VOOM VOOM VOOM!

This goofy confection of Sunshine Pop was so at odds with the popular music of the day that it seemed doomed from the start. The Dedrick family, (Chris, Sandy, Bruce, Ellen, and Stephanie), were so unhip that the classical-jazz compositional genius of Chris Dedrick and the sublime sibling harmonies on display were incomprehensible to the rock intelligentsia. (There were The Cowsills, of course…but….) For God's sake, The Free Design were produced by Enoch Light, of all people - ( I always loved that name) - my dad's “Easy Listening” guru; it was the music he had on in the background when he did his weekend paperwork.They only existed as a group from '67-'72, after which Chris pursued an award winning, film composing and arranging career in Canada. And, here's where the trajectory of this esoteric ditty arcs interestingly: their only charting song, Kites Are Fun barely peaked at 114 on the “bubbling under the hot 100” list, after which the group plummeted to obscurity.  But, later, much later, like an excavated Paleolithic fossil, their catalogue was uncovered in the 1990's, and reissued by Trattoria, a Japanese record label. Since then, this tune has been lauded, covered extensively, TikTok'ed, and featured in numerous tv commercials and shows. And, now, no one can deny that kites are most assuredly fun.

What if your Amazon packages could talk? What if they had palpitating, expectant hearts as they sped to your house? And, what a let down, after you'd ripped them open, shredded them, and left them for the recycler. What ingratitude, after their selfless commitment to your happiness.Tool-maker, turned bassist Gary Unwin brings this anthropomorphic idea to life, abetted by lead singer and Vox Continental organist Brian Bennett. Here, courtesy of the Hi Fi's, a busy, up and coming band of wannabe British invaders plying their rock n roll trade in Germany (as the Silver Beetles had done before them) - you get all the cringy, crooning drama (along with thumping timpani) you could want - and it's TNT.I discovered this diamond on an obscure Star-Club singles vinyl collection that Rich sent me after I bought my new turntable, and it captivated me from the first play. Of all the possible lyrical manifestations, a monologue delivered by a cardboard box, once lovingly wrapped and sent by one ardent lover to another via “the parcel farm,” and then abandoned, was beyond unexpected… and, just what I needed.

Blame it on the Bossa Nova's magic spell that the Samba craze swept the nation in the mid-‘60s. And, two of the main proponents of this joyful, sun-splashed celebration were Sergio Mendes and Herb Alpert. Herbie had the record label, A&M, and Sergio had the secret sauce, not to mention the lovely lead singer Lani Hall, who later became Mrs. Alpert. Mas Que Nada, translated from the Portuguese, means “Whatever,” and the lyrics are insisting that whatever else may be happening, the singer passionately craves the Samba. The rolling syncopation of Mendes's piano, along with the percussion and the siren call of Lani and her partner Janis make the seduction irresistible: this is just, good sexy fun, and you don't have to understand the lyrics to get the message. The song, originally written, recorded, and made a hit in Brasil by Jorge Ben, was spread around the world by Sergio and Herbie, making it to #47 on the Billboard Top 100. I hope that the tune's creator took some pride and pleasure it that - (along with the royalties)… so, “whatever!”

“Bless the Weather” by Iain David McGeachy, OBE (1948-2009)— known to the public as John Martyn, is an emblem of the unfathomable mysteries of the universe: How could music so divinely comforting have emanated from one so troubled? Of course, treading the path of this maestro's biography we find the familiar signposts of drug addiction, marital abuse, alcoholism, and psychic distress. And yet. this spiritual offering translates as only gentleness and pure peace. 'Tis a puzzlement.Well, humans are complex, or as he himself wrote: “some people are crazy.”  In 1980, after Martyn's break up with wife and partner Beverly, this “father of TripHop” created “Grace and Danger”, which his friend and label owner, Chris Blackwell refused to release for a year because he felt it was “too disturbing”. So, I guess it wasn't all hearts and flowers. And yet, even there, the folk-jazz improvisations, abetted by the agile bass fingerings of Danny Thompson, lull, even as they hint at a provocation. Be that as it may, on this cut the soothing, vibrational waves of guitar and voice align my brain waves in such a way that I can feel my heart rate immediately relax. It is a meditation; a connection to the eternal one-ness. 

She'll Return it is an obscure, minor league number from the Animals catalogue, a B-Side to their Ma Rainy cover of See See Rider. I first heard it on the album Animalization, which, along with Animalism are my two favorite collections by that band. It's just a simple, 12 bar, blues progression, with basic lyrics insistently repeating one central phrase - “Love her -, she'll return it.” Over the years that mantra has burrowed deep within me, engraving itself into my consciousness as a prescription for all relationships - friends, lovers, children, students, even chance encounters. It's a clarion call for kindness and empathy: (What the world needs now is love, sweet love; Cast your bread upon the waters; what goes around comes around) - delivered with funky syncopation, and good humor, never failing to bring me around when I'm sinking in the quicksands of alienation.Eric Burdon is one of the all time great rhythm and blues therapists of any color or nationality. Take a seaton his rock n roll couch and get some perspective.

Redd Foxx was one funny motherfucker. And, hell on wheels. Apparently, he was the scourge of taxi drivers in Las Vegas, where he lived, worked, and is buried - because he would either throw up in the backseat of their cabs, or refuse to pay his fare, or both. As the “King of the Party Records”, Redd made 50 dirty albums (I have a few on 8 track) - before hitting national gold on Sanford and Son, that show about a junkman and his boy that ran for six seasons, starting in 1972. I just found out that Foxx's birth name actually WAS Sanford - a factoid that makes me smile. If fact everything about him made me smile. I loved it each time he'd clutch his chest feigning a heart attack, and groaning “Elizabeth, I'm comin' to join you, honey!” And, now, hearing Quincy Jone's theme song again, I'm sporting a broad grin again in remembrance.Q was a master of innumerable musical genres, coming up as he did as Dinah Washington's arranger, Sinatra's band leader, Film scorer par excellence, and Michael Jackson's record producer, etc, etc. Here he's channelling Herbie Hancock's “Watermelon Man” - and the funky clavinet makes me want to bob my head along with the syncopation.Although the character of Fred Sanford was supposed to be in his sixties, Redd was only in his 40s when he made Sanford and Son, and he was only 68 when he died in 1991, having exhausted himself through a jam-packed roller-coaster existence. Rumor has it he died broke because the IRS has seized his assets two years earlier, so Eddie Murphy footed the bill to pay for his funeral.  As Arthur Miller once wrote: “Attention must be paid!”

There was something magical about Rosemary Clooney: the girl next door with the velvet tones. A 1950s dreamboat that you imagined might bring you cocoa on a chilly evening, and rub your temples after you had labored for hours, toiling to create the perfect arrangement for her. A game lady. I admit I may have been dazzled by the Show Biz glow reflected onto this goddess from her husband, Academy Winning actor, Jose Ferrer; her brother, Nick, the eminent broadcaster; her son, moody Thespian Miguel; and her handsome ne'er-do well nephew, George…But, bottom line: It was Rosemary's voice — the dulcet sound from one of the swingiest jazz divas ever, that kept me, and millions like me, listening.  Her career took a dip, but like I said she was “game” — game enough to attempt to make a record with Wild Man Fischer - the psychotic that Frank Zappa had discovered. She eventually made a comeback that had staying power: this recording was made in 1984, and here, the seasoned, knowing conjurer invites us to drink her feel-good potion, and become re-intoxicated. 

Oh, I know what you're thinking: the Mez has finally lost it with this twee, Oscar winning anthem to persistence. But, my instincts tell me that someone might need to hear it again. Because, judging from my daily struggle with the urge to chuck it, do nothing, and give in to cynicism, I suspect I'm not alone. The world is just too exhausting. But, then I hear Frankie-boy giving me this nudge, and I figure “what the hell”, I should hang in there a little longer.It's also remembered for being John F. Kennedy's 1960 presidential campaign song, when the world was young, during those halcyon days when Camelot's Rat Pack assured us that all things were possible.  Later, Frank was bitterly disappointed by Jack's ingratitude, and Jack was assassinated three years after that. The world was plunged into a cataclysm of despair. But, then, the uproariously joyful Beatles appeared, and we had “High Hopes” once again. So, hang in there. Let's have another cup of coffee, and let's have another piece of pie, while we wait for daylight. 

Hang on to your hats, folks, it's Frank Zappa time! Love ‘im or Hate ‘im, you have to admit that Zappa was an all-American original. Virtuoso guitarist, ground-breaking jazz-fusion orchestral arranger, and scathing social satirist, Zappa stood alone against legions of corporate sycophants, carving out a successful empire built from sheer hubris and talent. Plus, he was funny as hell.In this cut from his 1973 Over-nite Sensation album, all of the classic Zappa elements are on display: the ironic lead vocal, the blistering guitar solo, the off-beat background harmonies (courtesy of Tina Turner and the Ikettes) and a suite of tempo and time changes. And, all in the service of the silliest, yet most relatable of premises: that fantasy of breaking away from the pack to live life on one's own terms… as a dental floss rancher. 

Let's get this out of the way up front:  when you think of rock albums, Rick James is not the artist that immediately comes to mind.  But when former founding podcaster Brian Dickhute comes back and wants to do the album, we find it difficult to deny him.James Ambrose Johnson, Jr. was born in Buffalo where he was in a number of groups and bands as a teenager.  He joined the US Navy Reserves to avoid being drafted, then moved to Toronto in 1964 where he formed the rock band “The Minah Byrds.”  Unfortunately he failed to let Uncle Sam know of his change of address, and would spend a few months in jail on charges of desertion.  Shortly after his release he moved to California where he honed his craft in a number of rock and funk bands.  He became a bigger hit and better known after signing with Gordy Records in 1977.  Street Songs is Rick James' fifth solo studio album, and his most successful.  It was an immediate success and went to number 3 on the US pop charts, while also spending 20 weeks at the number 1 spot on the US R&B chart.James would go on to be a successful producer and songwriter.  His personal life would be unstable, and a hard life including drug abuse contributed to his early death in 2004.  WTR Host Lynch is out this week, so former founding host Brian Dickhute comes back with his funk on for this podcast. Give It To Me BabyThe lead single and lead-off track to the album went to number 40 on the Billboard Hot 100 and number 1 on the US R&B chart.  It is a big dance song with a strong horn section, and the lyrics are pretty straightforward.  Surprisingly, this is the best selling single from the album, even better than “Super Freak,” though that song would have more longevity. Ghetto LifeThis deeper cut was released as the third single from the album, though it barely missed cracking the Billboard charts when it reached number 102.  The lyrics in this funk song depict life in a depressed Buffalo inner city, where hustles were needed to make ends meet.Super FreakHere is the single that would become Rick James' signature song.  This ode to “a very kinky girl” reached number 16 on the Billboard Hot 100, and features background vocals from the Temptations.  James would get further benefit when the song was used by MC Hammer as the foundation for his hit single “U Can't Touch This.”Below the Funk (Pass the J)Another deeper cut, this funky track is somewhat autobiographical, describing how James grew up on the street as the child of a single mother “on the corners hangin' out with all the hoodlums.”  Rick James would struggle with drug addiction throughout his life. ENTERTAINMENT TRACK:Maybellene by Chuck Berry (from the motion picture “Porky's”)This is the movie that started the teen sex genre, with practical jokes and run-ins with corrupt authority figures. STAFF PICKS:Blood Stains by Agent OrangeWayne opens the staff picks with a heavy metal power punk trio.  The group takes its name from both the defoliant used by the military in Vietnam and the county in metro Los Angeles from which the group hails.  The song is considered “skate punk,” and was used in Tony Hawk's pro skater video game.Alien by the Atlanta Rhythm SectionBruce brings us the sole single from ARS's tenth studio album Quinella.  The lyrics are about feeling out of place and away from home.  This keyboard-heavy song peaked at number 29 on the Billboard Hot 100, and was the last top 40 hit by the group.Winning by SantanaRob features a song originally written and performed by Russ Ballard, and covered by Santana with Alex Ligertwood singing lead.  It went to number 17 on the Billboard Hot 100, one of Santana's biggest hits.  It is a positive song about overcoming difficulties.Say Goodbye to Hollywood by Billy JoelBrian closes out the staff picks with this song paying homage to Ronnie Spector.  While this track premiered several years prior on the Turnstyles album, the live version from the Songs In the Attic album came out in 1981.  It was recorded in the Milwaukee arena, and was more successful as a live song than as a studio song. INSTRUMENTAL TRACK:Hooked on Classics by the Royal Philhormonic Orchestra and Louis ClarkThis instrumental mosaic of well known classics from the symphony was a hit on the charts in 1981. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Are you ready? Ready for action? Ready for… whatever? I hope you are, because when opportunity knocks you better at least have your drawers on when you answer the door. They say success is when preparation meets opportunity, so you best be ready to jump when the light goes on.This sassy stop-time number was written by the Mozart of the blues, bassist Willie Dixon for the one and only Muddy Waters, and with Little Walter's chromatic harp chords chugging along behind the legendary frontman, it's one of the most invigorating concoctions ever recorded. Muddy is in full command of his ripeness, and when he declares that he's been drinking TNT and smoking dynamite, I believe him. He's ready to fight, fuck, Rock n roll - or, maybe all three at the same time. “I'm ready for you - I hope you ready for me,” he warns, and that ain't no mere boast. 

Back in the day there was a commercial for a pain reliever called Anacin, which was so psychotically hilarious that its catch phrase instantly became a “viral” meme, way before that term was invented. Even as 10 year olds, we would go around screaming: “Mother, PLEASE, I'd rather do it myself!!” Imitating the emotionally wrecked housewife in the ad. Nowadays, such an outburst would probably result in a Xanax, Valium, Klonopin, or Ativan prescription.Jo Ann Campbell and the folks at Cameo Parkway records wasted no daylight in capitalizing on this phenomenon when they created this winking homage. The singer growls at her mother when the poor parent is only trying to keep her little virgin from getting pregnant. But, the teen has other ideas: She's out to learn about sex the old fashioned way (just like mom did) - and, when you see videos of Ms. Campbell, “The Blonde Bombshell” you'll understand why there was to be no containing that character's animal energy. 

This is the story of a love song that sings from beyond the grave. Lovin' You started life as a lullaby for baby Maya Rudolph, the child of singer Minnie Riperton and songwriter Richard Rudolph.  Stevie Wonder, who co-produced the record, plays the gorgeous electronic keyboard accompaniment. It was a late-entry addition to MInnie's solo album Perfect Angel, and the baby oriented lyrics had to be adapted to make it more about romantic love. But the gentle feeling of bliss it conveys is a perfect rendering of maternal devotion, and to insure the communication of its original intent Minnie chants: “Maya, Maya, Maya, Maya” at the end - (a secret message to the future), before the record fades out. Four years later Minnie Riperton was dead from breast cancer, and young Maya was deprived of her mother's earthly presence. But her song of maternal love plays on.At the time of its release, Lovin' You went to the top of the charts, buoyed by Minnie's extraordinary range, showcasing an unearthly cascade of descending notes. Listening to the song 50 years on, the composition, with its edenic landscape of ethereal chords and birdsong, and the voice of a perfect angel at the center - is the personification of a Sunny Song. 

Harry Nilsson was a man in a hurry. There's no time, people! Life is happening now, and if you don't act fast and grab it, you'll be outta luck. Dead at 52, the former Wunderkind, one of Rock's most innovative song stylists, exited this earthly realm, having burned out his candle from both ends - in terms of life, work, and alcohol consumption - but, thankfully, he left behind a clutch of living monuments to his originality. This song started life as a B-side to the magisterial Without You, whose soaring vocal allegedly caused Harry to burst a hemorrhoid. He never did anything half-way. And, almost 40 years later, it re-emerged as the musical fulcrum for Natasha Lyonne's zany existential Netflix series Russian Doll, causing a reported 3,300 percent jump in Spotify streams. It seems you can't keep a good song down, and every time Lyonne's character re-awakens, Harry's ear worm reanimates, winding her back up - a bobbing apple in the enigmatic tub of time. So, you got something to do? Do it now; don't hesitate! Make that phone call; say what you need to say. Tempus Fugit!

Can a song about unrequited love be considered a “Sunny Song”? Absolutely, if it's as poppy and refreshing as this cut by Cleveland one hit wonders, The Choir, previously known as The Mods. At the time of the song's recording, the midwest was teeming with British Invasion, Carnaby St wanna-be bands who had longer hair than their peers and groovier clothes, and managed to cobble together enough money to cut a single. In the case of The Choir, their local hit record got picked up and nationally distributed by Roulette, becoming a hit. And, it lives on in the Nuggets collection.In Actor training, we are taught that subtext is everything. One doesn't play the literal meaning of a line, but rather the intention underneath, which is often at odds with the words being spoken. Such is the case with this song, whose subtext - (the music) - is in direct opposition to the lyrics. The words are saying the situation is sad and hopeless; the music assures us that not only is hope possible, but I'm really ok, even at this given moment. Perhaps because the composer imagines that when the object of his desire hears him on the radio, they will surely love him. How could they not? 

One of the greatest rock and roll songwriters, Jackie De Shannon has a way of marrying a catchy pop melody with a fresh lyrical insight that is unparalleled. During that shift from Rockabilly into the British Invasion, Jackie (often with partner Sharon Sheeley), kept the pop charts humming - amassing an impressive discography for anyone - let alone little Sharon Lee Myers from Hazel, Kentucky, a pert blonde girl singer with a husky alto, who was being marketed as cheese cake. But Jackie had far too much grit and ambition to have her career begin and end as a Brenda Lee knock-off. She drove through the 60s racking up 2 top ten hits along the way.When You Walk in the Room is an excellent example of that magical melding of a great hook with an original turn of phrase. Starting as a B-Side in 1963, it was re-released a year later as an A side, and included in her album BREAKIN' IT UP ON THE BEATLES TOUR! That's right … She opened for the fucking Beatles. What with all this, It might seem odd to say, but I believe that Jackie was underrated. Of her two biggest hits as a vocalist, one (What the World Needs Now) was written by Burt Bacharach and Hal David, and the other one (Put a Little Love in Your Heart) was a bit of treacle co-written with her brother and two other folks. Neither of these tunes exhibit the wit, the grit, the sexiness, or the spark of her own tunes. 

In my opinion, the song was better than the sit-com that spawned it. And, it had staying power, making it to the top of the pop charts.  There is something transcendent being expressed here. As Thomas Wolfe said: “you can't go home again,” Maybe not, but it's something we all long for, and in this joyful three minute tune John Sebastian ties a ribbon around that sentiment. You left home with a desire to see the world and make your fortune; you've been beaten down and turned around, and find yourself back where you started from. But, son, we never left, and we'll welcome you with open arms (and, some gentle teasing). It's so good to have you back.My first ever concert, at age 13, ten years earlier, was the Lovin' Spoonful at Princeton New Jersey. The good-time jug band music of John Sebastian has always been a warming presence in my life. His inclusion at Woodstock was no accident; he is one of the all-time greats. What a coup it was for Hollywood to get him to compose a jaunty theme song for a goofy, yet heart warming show about “sweat-hogs” - those ne'er do well high school students that had to be quarantined in their own remedial class. When approach by the producer to consider the assignment, he composed it in one night, and when asked how he did it so fast, he owned up to the fact that he had been a sweat hog himself. I believe that it was that identification which inspired John Sebastian to go beyond “jaunty” to an honest evocation of romantic universality. I'm not crying; you're crying.

Not to glorify the use of narcotics, or anything, but this is the most joyous celebration of bored nihilism I've ever heard. Joey Ramone said he wrote the song when he was stranded in London during Christmastime, with nothing to do and nowhere to go. And, here, the boys are symbolically kicking down the doors of their hotel room and running amok for our pleasure.These were my contemporaries: they were playing CBGB's on the Bowery, while I was plying my singer-songwriter hack across town in the West Village. Geographically close, but two different worlds, and I, theatrically trained emoter that I was, missed the whole punk revolution that was brewing right under my nose. Talk about not seeing the forest for the tree! We might have been close in age, and just like me they had been born and bred across the east river - but they were the real deal: dedicated to the rock and roll lifestyle, while I was just visiting. They're all dead now - but, man, did they rage against the dying of the light. They immolated themselves, these four similarly named Icaruses, in pursuit of rock immortality. And, they achieved it. And, you can feel that undeniable energy in this romp - their call to arms against banality. 

I love that the new home owner portrayed in this song squares off against a threatening demon, declaring: “Ain't no Ha'nt gonna run me off!” This is one ballsy gentleman, Mr. Jumpin' Gene Simmons. And, fittingly Mr. Chaim Witz of Kiss fame, (another ballsy guy),  took his name in tribute to this man. Morris Eugene Simmons (1937-2006) started his career in 1956, at Sun Records, and opened for Elvis Presley, but he hit pay dirt after leaving that label and landing at the fledgling company of Hi, where he made this recording, which peaked at #11 on the Billboard chart. It's simple, repetitive, and silly, but, man, does it cook! And, when he croons “I'll be right here when the morning comes….” It's a statement of unshakeable positivity, a guarantee by a man standing his ground against supernatural forces, and you just know that even if they have to end up living together, Gene ain't gonna be the one leavin'.

This cut off Jeff Beck's second solo effort was produced by the magisterial George Martin, the Beatle's north star. The song was gifted to Jeff by Stevie Wonder, who did so, (according to JB), as an apology for having released the barn-burner Superstition first, after promising to let Jeff have it. He needn't have worried - the plangent tone and human voicing Jeff discovered while creating this track was akin to a 49er striking the motherlode. Fittingly, he dedicated the recording to Roy Buchanan - another guitar master of a similar tonal inclination. It's uncanny - watching Beck's delicate hands on the Live at Ronnie Scott's video: the fluidity that this whammy bar wizard achieves creating the illusion of a cooing human voice, pregnant with longing and passion, takes my breath away. As the bare fingers of his right hand caress the spring loaded whammy bar, sensuously modulating the pitch and vibrato, he makes love to his instrument. It's pure romance.The recent demise of this musical icon came as a shock because he always seemed like Peter Pan, eternally youthful, with his toned, sleeveless arms and bowl haircut - a shredding bad boy. Not just another British Invasion survivor from decades past, but an ever fresh and present musical force. Well, Thanatos, you may have taken his life, but, Death be not proud - his soul will live forever.

In 1948, New Orleans veteran trumpeter and singer Louis Prima stumbled into a young girl named Keely Smith. She was barely a performer at all, almost half his age, destined for a relatively quiet life; their encounter was pure coincidence. But they went on to invent “The Wildest,” the most exciting and successful lounge act Las Vegas has ever seen, an act that became one of the hottest in the U.S. in the late 1950s and early 1960s. Their records were hugely popular, and they were courted by Frank Sinatra, Ed Sullivan, Robert Mitchum, and other well-known entertainers of the day. Their professional success helped bring about the rise of Las Vegas as a mecca of American entertainment. Their love story ended soon after they helped usher in John F. Kennedy's presidency–singing “That Old Black Magic” for him at his inauguration–but their influence is still evident.

The Meaning of “Once in a Lifetime”Byrne might have used preacher cadences as a jumping-off point for the song. But his message is more universal than regional, as he hints at the idea of someone living a life that has developed almost beyond their control. The refrain of You may find yourself supports this notion. Byrne implies that a person's location, car, and spouse might not be anything they've actually chosen.In the second verse, consciousness and free will bubbles to the surface. This is not my beautiful house, the unnamed protagonist snaps. This is not my beautiful wife. In the final verse, he looks for a way out. Where does that highway go to? he wonders. And then, in a killer of a final line, he realizes that somewhere along the way, his journey has created consequences: My God, what have I done?In the refrains, water, both to baptize this lost soul and to wash away his sins, floods over the proceedings. But even that isn't enough to effect any meaningful change in the course of a life. Same as it ever was, Byrne direly intones. That stagnancy might have affected the folks struggling within “Once in a Lifetime.” But Talking Heads made sure with songs like this that they were never settling for the same-old, same-old.

Inspired by a quote attributed to the eastern mystic Meyer Baba, Bobby McFerrin created this a cappella masterpiece. And, although Michael Musto of the Village Voice has proclaimed it the “worst song of all time”, and Blender Magazine snarked “it's difficult to think of a song more likely to plunge you into suicidal despondency,” this irrepressible ditty stands as the cornerstone of a singular musical career, festooned with awards and encomiums, including a Grammy for Lifetime achievement in 2022. It's not so much the possibly insipid - (depending on your level of cynicism) - lyrics, it's the purity and perfection of Bobby's voice alone, albeit overdubbed, that communicates its message of joy. The son of an opera singer and a voice teacher, Mr. McFerrin possesses a preternatural perfection of pitch and tone that has enabled him, among many other extraordinary feats, to trade horn parts with the Marsalis brothers, or deliver a flawless William Tell Overture solo.As a philosopher and exponent of music's healing potential for the human brain, Bobby continues to spread his message. Since 2021, he has conducted “Circlesongs” at Freight and Salvage in Berkeley, CA, where audience members are encouraged to improvise alongside the master - a unique fusion of jazz and therapy. Here's an ironic side-note: George H.W. Bush used the song for his presidential campaign, and Bobby protested, saying he would not vote for him. Then, he stopped performing the song in protest. I guess he wasn't too happy. 

What was that Frankenstein music machine with all the dials, sliders, patch cords etc., that made other-worldly sounds that were supposed to resemble “real” instruments, like strings, horns and flutes, but didn't? It was the mighty Moog, invented by Cornell doctoral student and Theremin salesman, Robert Moog. He hooked up with musician-educator Herb Deutsch, developed the voltage regulation for oscillators and modulators, and the thing caught on.The first time most of us heard it was on Wendy Carlos' SWITCHED ON BACH record, which, by aligning itself to one of the world's most beloved composers, became a sensation in 1968, and was a defining feature of Stanley Kubrick's A Clockwork Orange.  Not long after that it became an absolute must have for the Prog matadors like Keith Emerson of ELP.  The Beatles also used it extensively on Abby Road, etc. The list goes on and on. Speaking for myself, I've always found the Moog and the electronic sounds it made cold and clinical (though fascinating). However, on this record its positively cuddly, and it makes me smile when I recall that it was used by the Muppets for the Swedish Chef routine.  Composed by Gershon Kingsley, this hit version of Popcorn was recorded by Stan Free of Hot Butter, and its lighter than air. 

At the outset, let me apologize for liking this song. It was outre almost immediately after its release. At this point it is so retrograde that I think a person might be able to enjoy it once again for it's ironic naïveté. But, I have always loved the way her voice swoops up on the name “Bobby”. It still brings chills. I was nine years old, and I wanted to be Bobby for my crush. It's so interesting with the sober goggles of reflection to realize how programmed I was by popular culture to accept certain societal dogmas in terms of the relations between the sexes.  Marcie Blane was only 16 when she recorded it, and it was her only chart hit. Born Marcia Blank in Brooklyn, NY in 1944, Marci was discovered by Marv Holzman, an A&R man for Seville records, off of a demo she had recorded as a favor for a songwriter friend. The company changed her name and gave her this song to record, which she did, and, then, she went off to be a counsellor at summer camp. When she returned, she was a star. But, the supernova of fame burned out quickly, and by '65 it was all over - by her choice. She decided to go back to college and didn't promote her records. The music business was too stressful for this simple girl, who just wanted to marry, teach, and raise a family - which is what she did.An interesting side-note: On October 9, 2017, it was erroneously reported that a homeless Marcie Blane had died with out enough funds for a burial.  It turned out that it wasn't her: it was a woman named Mildred Maxwell, who had told everyone for 30 years that she was Marcie Blane. I guess a lot of ladies just wanted to be “Bobby's Girl”. 

It came roaring out of the car radio speakers like a sonic boom, powered by Dave Clark's “Air Hammer” pulsating drum beats and Denis Payton's beefy saxophone.  (Clearly, this was inspirational to Clarence Clemons, when crafting Bruce Springsteen's, E-Street sound.) Mike Smith, on double-tracked lead vocal and Vox organ may have looked like the leader, with his cute Paul McCartney face, but without a doubt this was the drummer's party. Dave Clark, (b.1939) is an entrepreneurial former stunt-man, who parlayed his Tottenham sound into a multi-million dollar concern; he owned all his masters from day one, re-releasing them, to universal acclaim, on CD in 1993;  the other song writers in the group shared writing credits with Clark unquestioningly - even if he hadn't written a line. The Dave Clark 5 started as a teenage skiffle group to raise funds for his school football team to go to the Netherlands, and, fittingly, this song became an anthem for several teams throughout the years. Can't you just picture the screaming hordes bellowing GLAD ALL OVER when their team scores a goal?Glad All Over nudged the indomitable Beatles' I Want To Hold Your Hand off the UK's #1 slot, and the band was inducted into the Rock Hall of Fame in 2008. It's the pinnacle of Sunny Songdom - nothing but pure, adrenalized fun.

Herb Alpert: you'll never find a more beloved figure in the pop music world. A mensch. Did you think he was Latin? Nope. He IS an Angeleno, but….he was a Jewish kid, born in Boyle Heights; went to Fairfax High and USC. Before “cultural appropriation” became a dirty word, Herbie had a revelation while attending a bullfight in Baja - came back with “The Lonely Bull”, and ignited a career that has won him a Tony, 8 Grammies, and, a National Medal of Arts. He is the only musician to have #1 hits, both as a vocalist and instrumentalist. In his mid-sixties heyday he outsold The Beatles, The Rolling Stones, and Frank Sinatra. Always smiling behind his trumpet, the handsome Mr. Alpert became an unlikely pin-up, then he scored big-time as a record producer and mogul (with partner Jerry Moss), and today, at 88, as an artist of renown, crafting massive sculptural installations and paintings, he continues to thrive creatively. I guess you could say that in addition to being a dedicated, hard worker, that he also was blessed.The Mexican Shuffle, (or, as some may remember from the chewing gum commercials)- The Teaberry Shuffle, was ubiquitous. It was all over the tv. This is happy music, pure and simple. In the ad folks of all walks of life, just going about their business, start dancing whenever they pop in a stick of Teaberry gum. And, Herbie's percolating soundtrack conveys that propulsion perfectly. (I recommend YouTubing it). The record received a sizable boost of recognition from this exposure - as did A Taste Of Honey (from the Whipped Cream and Other Delights album) - as The Dating Game theme song. Along with Motown and The Beatles, Herb Alpert and the Tijuana Brass were the soundtrack of the 60s. 

The first time I heard this tune was on Ricky Jay's collection of songs about cards and card players. Subsequently, I heard Steve Earle's story about how, when he was playing some dive for 4 or 5 people, Townes Van Zandt stumbles in and starts heckling him. It's Outlaw Country lore: Townes demands Earle play Wabash Cannonball- repeatedly. Finally, Steve demurs, claiming not to know the song, but lays this - Towne's own lyrically impossible gauntlet, line perfect, on his drunken hero, and thus begins a legendary friendship. The words fly by so fast here that it's hard to follow the narrative, which upon some study, reveals a poignant tale of a royal pair of Anthropomorphic, married playing cards doing battle through the avatars of Mud and Gold - a couple of hapless gambling addicts. The overall message being that winning and losing are matters of destiny, dictated by the fates, and beyond our control, so you might as well keep raising the stakes. Townes, an acknowledged tortured genius whose untimely death at age 52, left behind a sumptuous body of work, kept raising his stakes, living his addict's life as though his demise was pre-ordained. Even with this song, which he claimed was not written by himself, but by a “giant pencil in the sky”. Is it odd that Mr Mudd and Mr Gold would qualify as a “sunny” song? Not to me. Maybe that's because I loved Ricky Jay's winking panache, and he introduced it to me. Plus, Townes's break-neck torrent of lyrical showmanship is a thrill ride, and I smile as my brain endeavors to keep up with the writer's masterstrokes. Also, a good, ripping yarn will always bring a smile.

A Cherry Bomb is a spherical exploding device, banned in 1966, but whose pop is enjoyed throughout the nation as a salute by rebellious teenagers everywhere. A “cherry” is also a moniker for a virgin's hymen, the “popping” of which was a badge of honor for teenage boys everywhere. Cherie Curry, the lead singer of The Runaways, an all-girl, hard rocking band devised by notorious L.A. huckster Kim Fowley, sang the anthemic Cherry Bomb - the explosive debut single by that group. And there you have it: a circle within a circle, a wheel within a wheel - a brilliant conceptual confluence for rock n roll rejuvenation.But it wasn't just hype and corsets - these players: Joan Jett, Lita Ford, Cherrie Curry, Jackie Fox, and Sandy West were the real deal, and this song - written on the spot by Joan for Cherie's audition, exploded in people's ears just like its gunpowder namesake, and it catapulted to #6 on the Billboard chart. What is it about that (ch-ch-ch) stutter, used by David Bowie in Changes, and in a “G” variation by Roger Daltrey in The Who's My Generation that lights up our fuses? It's like the ticking of the ignition device right before the big explosion. And, the way Cherie calls out: “Hello Daddy, Hello Mom, I'm your ch-ch-ch-ch CHERRY BOMB!” is so defiant, and so perfect in that snide, teenage delinquent way, that I just can't help but identify.

There was nobody like Lou Reed, and there is no Sunny Song like Dirty Blvd: a black and white hellscape, described by a cynic past being surprised by any indignity - yet, still managing to extract beauty and hope out of the filthy miasma. When the Statue of Bigotry says: “give me your hungry, your tired, your poor, I'll piss on them” you know this Jeremiah is decrying the bitter truth about our present times. Still, at the very last moments of his life, Lou was doing poetic Tai Chi moves on his deathbed to ease himself into the portal of eternity.In the song, the cursed, downtrodden boy, Pedro finds a book of magic in a trashcan and dreams of flying away from the dirty blvd. For an urban portrait this grim, it's amazing how uplifting the song becomes, and as the final chorus swells and Dion jumps in to add: “fly, fly away…” my spirit is soaring.  Lou was a Rock n Roll Animal through and through, but he was also a serious artist who aspired to lift the genre to the heights of great literature. And, on Dirty Blvd., those two poles are fused and magnetized, creating a Dante-esque journey from hell to heaven.  He had gotten to the place artistically where he could say anything, in language so direct and stark, and still get you to sing along. 

Noel Coward (1899-1973), that epitome of British sophistication, was an invention. He was entirely self educated, having left school at 9 years old to pursue a career on the stage. After a modest success as an actor, he switched to playwriting in 1924 with The Vortex - (in order to write a good part for himself) - and set the theatrical world on fire. The combination of his jaw-dropping verbal dexterity, bravado verging on ballsiness, and tender insight into the frailty of humanity bordered on the supernatural. In the 1920s he became the brightest of “The Bright Young Things,” the Beatles of his era.His life story (too enormous to recount here) encompasses a litany of glittering highs, gut wrenching lows, dramatic intrigues, and an unparalleled output of creative work that would crash a computer. Yet, through it all the manufactured elan, the stylish ease with which he presented himself - as he encapsulated it his: “talent to amuse” never failed him.This parody of Riviera society, recorded towards the end of his career, was written in 1938 for the Broadway revue Set To Music, and originally performed by Beatrice Lillie, a frequent collaborator. What's amazing to me as I drink it in, is that despite being so specific in subject matter and execution, Coward's universal appeal is undeniable.

Get yourself right for this one, we're headed into the wild world of punk funk, the 80s, and Rick James.Hilary and Cody wade through the legend of Rick James, touch on the storied history of Motown, and chat about an album that is simply a masterclass in groove.Street Songs is the album most representative of Rick James's vision. Bombastic, opulent, and pretty much every superlative that can be applied to him, you can apply to this record!Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

Becky is back to make a mixtape with Tiffany & Russ. I guess there may have been some confusion about the topic, but we made it through anyway. Check out the entire mixtape on Spotify @ https://open.spotify.com/playlist/4mSUFUVqnANU2ODEnl67YM?si=6c2ee2e5e92e41ae

“Eric and Eddy get super freaky with their good friend Samuel Wetz to discuss Rick James and his classic 1981 album Street Songs. In addition to a track-by-track review of the album, we discuss Rick James' history and legacy, how he unfairly got overshadowed by bigger artists in the ‘80s, the classic Chappelle skit, and how he avoided getting killed by Charles Manson and Linda Blair. And Eric and Sam digress about the band Firehouse. It's an episode so funky, we might have to rename the show the Funk All Over You Podcast!”

On this episode I'm revisiting four more classic albums and a recent release. Teena Marie's It Must Be Magic, Rick James Street Life, Lenny Kravitz Let Love Rule, DeBarge In A Special Way and Thriller 40Th Anniversary bonus songs. Another fun episode and I talk about my experience at a Lenny Kravitz concert. Enjoy the show!!

We've lost 3 musical legends, we explain what makes them legends. Rolling Stone Magazine had to be exactly that when they released this latest list of 200 greatest singers of all-time The fake florida 'doctor' Malachi-Love strikes again.... and whatever happened to Tyrone Hankerson? How the Buster Corley, of Dave & Buster, suicide reminds me of. Also come outside Charlie Kirk and the rest of the right-wing nuts. Storytime: my latest NSFW project. --- Support this podcast: https://anchor.fm/jason-clark-fox/support

Griselda Records i Buffalo blev något av den sista utposten för klassisk östkusthiphop. Med ett stall bestående av bland andra Conway the Machine, Westside Gunn och Benny the Butcher lyckades de göra 90-tals boombap med gangstersmak relevant igen. Griselda fängslade omvärlden med spöklig, olycksbådande lofihiphop kopplat med intresse för mode och konst. Drömmen om att återskapa känslan hos Wu-Tang Clan och Mobb Deep när de var på sin kreativa topp väckte något till liv hos både äldre och yngre lyssnare. Samtidigt är det ett bolag präglat av det våldshärjade östra Buffalo, en gång Rick James hemvist (punkfunkmästerverket "Street Songs").Stallets mest begåvade rappare Conway the Machine drabbades av ansiktsförlamning efter en skjutning som tvingde honom att förändra sin stil, sitt flyt och sitt liv. Du möter Conway och får historien om Griselda. Programmet innehåller även intervjuer med Raekwon, RZA, Ghostface Killah, Method Man, Prodigy (Mobb Deep), Willie D (Geto Boys) och Alchemist.

Many moons ago our special guest Frank Nicotero was the host of a wonderful show called Street Smarts. In honor of this very important part of Mr. Nicotero's resume, we've thrown together a simple but fun concept. "Street" Songs are songs that have the word "street" or "streets" in the title. Everybody got that? Good. In all seriousness this was a load of fun and we always enjoy when Frank joins the pod. We hope you dig this lighthearted romp and our temporary obsession with one word in the english language.As Frank mentions during the show, many episodes of Street Smarts are now available on Youtube and their team is adding more all the time. Check out the Street Smarts Youtube channel:https://www.youtube.com/channel/UCKck9ygIRF8NwsiOYkdUZnAFrank is more than likely doing stand up comedy in a town near you very soon. Keep up with all of his tour dates and other cool stuff he's up to at his Instagram:https://www.instagram.com/franknicotero/Get access to the Patreon thing, the archives and more at our website:https://alltimetoptenpod.com

In true tradition Michelle brings the funk to podcast! This week the Critics are listening to and discussing Street Songs by Rick James. Featuring a rehearsal recording of The Debonairs.

As we all recover from another wild championship game in the NFL, Sid and Lakeena hit the "Big Game" from all angles, including the commercials and the groundbreaking halftime with Dr. Dre and Co. Also, the latest on hoops in the NBA and college and what's going on with the MLB lockout talks? Plus, Sid's salute to Rick James' "Street Songs" and Erin Jackson makes history at the Winter Olympics. 2:30 - Super Bowl LVI recap: is this the start of a Rams dynasty?; will the Bengals be back?; which ads stood out?; how good was the Hip-Hop halftime?; other standouts 59:25 - Bulls/NBA talk: Zach LaVine goes to a knee specialist; Joel Embiid continues his MVP push; Warriors outlast the Lakers; this week's games 1:24:25 - NCAAB talk: llinois holds off NU; Loyola gets a big win over UNI; Purdue bounces back; USC beats UCLA; this week's games 1:42:39 - No progress in the MLB talks 1:45:50 - Sid spotlights Rick James' Street Songs, which included the top-5 hit "Super Freak" 1:50:08 - Erin Jackson wins the 500m in speedskating, becoming the first Black woman to win an individual gold medal in the Winter Olympics You can catch 2CS each Monday and Friday live from 12 pm to 2 pm on SportsZone Chicago's platforms. Download the SportsZone Chicago app for more information on their programs and where to watch them. Subscribe to WARR on Anchor and follow WARR Media for all the latest on our movement and stay tuned for upcoming episodes and specials from your comrades at WARR. Weareregalradio.com provides the best independent coverage of sports and culture -- feel free to share our content and rate us well here or wherever else you find our podcasts. Thanks for listening. twitter.com/warrmedia facebook.com/regalradio1 instagram.com/warrmedia --- Send in a voice message: https://anchor.fm/warrmedia/message Support this podcast: https://anchor.fm/warrmedia/support

This is the fifth album from Rick James.  Kingcow discovered him in the dance clubs.  James brings a nice funk with a hint of humor and reality.  If you want to get freaky, pick this album up!

# Rick James Street songs deluxe edition the original album is 40 years old and it was a music game changer highlighting Rick James as a singer songwriter producer arranger multi instrumentalistz conceptionalist,bandleader and a album that reflects then and now z respect props to the Stone city band,teena marie,Mary Jane girls,Buffalo new york, --- Support this podcast: https://anchor.fm/mr-maxxx/support

Rickie Ricardo of WIP talks about a rock legend that he was good friends with and the meaning behind some big time hits

1/16 (土)にFMヨコハマTravelin' Lightの「HITSBOX」でお送りした、 歴史的名盤紹介！Rick James「Street Songs」特集を再編集したPodcastです。 放送内でお送りしたのはこの３曲！ １：Ghetto Life / Rick James ２：Super Freak / Rick James ３：Fire and Desire / Rick James 　 そして、ぜひFMヨコハマで毎週放送しています、 Travelin' Lightの本編もぜひお聴きくださいね！ ↓　↓　↓　↓ https://radiko.jp/#!/search/live?key=travelin'%20light&filter=&start_day=&end_day=®ion_id=&area_id=JP13&cul_area_id=JP13&page_idx=0 See omnystudio.com/listener for privacy information.

Childhood Simplicity. First Loves. Long Summers. Tree Houses. Street Songs. The memories of someone else's young life.

Immer wieder werden in Songs Strassen besungen. DJ Pesa hat seine liebsten Strassen-Songs mitgebracht. Von «The Streets of San Francisco» zu den «Streets of London», von der «Baker Street» bis «Across 110th Street» und von der «Dead End Street» bis zur «Strass won i dran wohne».

Darwin Hamilton author of the book 25 Years Later: A Sentence from Crime to Redemption, Resilience, Advocacy and Leadership drops by to look at the legacy of Rick James's album Street Songs --- Support this podcast: https://anchor.fm/reviewsanddunn/support

This week on the show, the guys discuss a classic funk album from one of the most controversial figures in music history. Rick James entertained and inspired fans and artists for over 30 years and continues to do so long after his death. Unfortunately, as Harrison and Carlos find out during the researching and recording of this episode, his horrific crimes are impossible to separate from his artistic impact, and appreciating this masterpiece of funk and soul comes with a price. Join us as we discuss Rick James' fifth studio album, Street Songs. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/humanmusic/message

Today on The Covers Face Off we will be discussing Dancing in the Street. It was originally recorded by Martha Reeves & The Vandellas, and covered by Mick Jagger and David Bowie. Thanks for listening to the Scratch a Track podcast!For more information please follow us on twitter as well as our YouTube Channel. There you will be able to take part in polls, suggest albums, and let us know what track you would scratch.Happy Scratching!!Links:https://twitter.com/scratchatrackhttps://www.youtube.com/channel/UC1y5SBLxt4V187J6CKGswgA/https://www.facebook.com/Scratch-A-Track-100105891679603/https://www.instagram.com/scratchatrack/Apple Podcasts: https://podcasts.apple.com/us/podcast/scratch-a-track-presented-by-the-dude-and-grimm-show/id1507247887Spotify: https://open.spotify.com/show/0qBOg1wkxPu5EY0FQQaMgOGoogle Podcast: https://podcasts.google.com/?feed=aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS85ODIyMDQucnNzAll music on this podcast has been provided and used with permission by:...more https://soundcloud.com/user-122188109The Timnz https://soundcloud.com/the-timnz

** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove. Note this is the audio-only podcast version, catch the video version at FUNKNSTUFF.NET or YouTubeFeatured in TIR Episode 129 (Part 4 of 4): LeRoi Johnson, the only surviving full brother of the king of Punk Funk himself, Rick James.Johnson had a front-row seat not only for Slick Rick’s childhood and musical development, but also for his ascension to funk, soul and pop crossover superstardom. And as James scored his biggest triumph with 1981’s platinum-selling Street Songs album, Johnson joined in to manage his brother’s business affairs throughout the decade. That comprised acting as tour manager and overseeing Mary Jane Productions and its stable of acts including the Mary Jane Girls, Process and the Doo Rags, The Stone City Band and Val Young.While James overshadowed his brother in terms of fame, both were blessed with special talents. Johnson holds a law degree and is an accomplished classical guitarist and visual artist. In 2019, Johnson received hometown honors by being inducted into the Buffalo Music Hall of Fame. Here he offers probably the most comprehensive and accurate depiction of Rick James' rise, fame, fall and aftermath.RECORDED JANUARY 2020Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008 

 ** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove. Note this is the audio-only podcast version, catch the video version at FUNKNSTUFF.NET or YouTubeFeatured in TIR Episode 129 (Part 3 of 4): LeRoi Johnson, the only surviving full brother of the king of Punk Funk himself, Rick James.Johnson had a front-row seat not only for Slick Rick’s childhood and musical development, but also for his ascension to funk, soul and pop crossover superstardom. And as James scored his biggest triumph with 1981’s platinum-selling Street Songs album, Johnson joined in to manage his brother’s business affairs throughout the decade. That comprised acting as tour manager and overseeing Mary Jane Productions and its stable of acts including the Mary Jane Girls, Process and the Doo Rags, The Stone City Band and Val Young.While James overshadowed his brother in terms of fame, both were blessed with special talents. Johnson holds a law degree and is an accomplished classical guitarist and visual artist. In 2019, Johnson received hometown honors by being inducted into the Buffalo Music Hall of Fame. Here he offers probably the most comprehensive and accurate depiction of Rick James' rise, fame, fall and aftermath.RECORDED JANUARY 2020Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008.

** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove. Note this is the audio-only podcast version, catch the video version at FUNKNSTUFF.NET or YouTube.Featured in TIR Episode 129 (Part 2 of 4): LeRoi Johnson, the only surviving full brother of the king of Punk Funk himself, Rick James.Johnson had a front-row seat not only for Slick Rick’s childhood and musical development, but also for his ascension to funk, soul and pop crossover superstardom. And as James scored his biggest triumph with 1981’s platinum-selling Street Songs album, Johnson joined in to manage his brother’s business affairs throughout the decade. That comprised acting as tour manager and overseeing Mary Jane Productions and its stable of acts including the Mary Jane Girls, Process and the Doo Rags, The Stone City Band and Val Young.While James overshadowed his brother in terms of fame, both were blessed with special talents. Johnson holds a law degree and is an accomplished classical guitarist and visual artist. In 2019, Johnson received hometown honors by being inducted into the Buffalo Music Hall of Fame. Here he offers probably the most comprehensive and accurate depiction of Rick James' rise, fame, fall and aftermath.RECORDED JANUARY 2020Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008 

** PLEASE SUBSCRIBE **Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music’s foremost masters of the groove. Note this is the audio-only podcast version, catch the video version at FUNKNSTUFF.NET or YouTube.Featured in TIR Episode 129 (Part 1 of 4): LeRoi Johnson, the only surviving full brother of the king of Punk Funk himself, Rick James.Johnson had a front-row seat not only for Slick Rick’s childhood and musical development, but also for his ascension to funk, soul and pop crossover superstardom. And as James scored his biggest triumph with 1981’s platinum-selling Street Songs album, Johnson joined in to manage his brother’s business affairs throughout the decade. That comprised acting as tour manager and overseeing Mary Jane Productions and its stable of acts including the Mary Jane Girls, Process and the Doo Rags, The Stone City Band and Val Young.While James overshadowed his brother in terms of fame, both were blessed with special talents. Johnson holds a law degree and is an accomplished classical guitarist and visual artist. In 2019, Johnson received hometown honors by being inducted into the Buffalo Music Hall of Fame. Here he offers probably the most comprehensive and accurate depiction of Rick James' rise, fame, fall and aftermath.RECORDED JANUARY 2020Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c4008 

OUR TWENTIETH episode!!! We're back, the first in an oncoming AVALANCHE OF MONTHS! The boys again use the R.A.G.S. method to select records from April 1981, come to blows over Flowers of Romance by PIL / Public Image Limited. Other records considered include: Mistaken Identity | Kim CarnesStreet Songs | Rick JamesChariots of Fire | VangelisFaith | The CureMegan, our Social Media Maven - reviews Bryan Ferry show at the Fox Theatre in Detroit, and gives her (completely unbiased) pick of the month!

Janet LaBelle is a singer/songwriter based out of Brooklyn, NY. During her formative years as a teen, she got her start as the vocalist for the New Jersey pop-punk band Avery, which landed her an indie record deal and the band toured nationally and had their music was featured on television shows & commercials. Since those days, Janet continued to grow as an artist and a solo performer, having released a number of EPs: Moon Songs (2010), Blossom & Blue (2011) and Just A Little Rain (2012). Janet has also performed for other bands including Brooklyn’s Sharkmuffin and Jimmy Destri & The Sound Grenade, a project helmed by Blondie keyboardist Jimmy Destri. This week’s episode features Adrian’s conversation with Janet LaBelle, which covers various topics including the songwriting and recording process of her latest EP, 2018’s I Only See You from Loantaka Records as well as New York’s surfing scene and how music can help people therapeutically.

Janet LaBelle is a singer/songwriter based out of Brooklyn, NY. During her formative years as a teen, she got her start as the vocalist for the New Jersey pop-punk band Avery, which landed her an indie record deal and the band toured nationally and had their music was featured on television shows & commercials. Since those days, Janet continued to grow as an artist and a solo performer, having released a number of EPs: Moon Songs (2010), Blossom & Blue (2011) and Just A Little Rain (2012). Janet has also performed for other bands including Brooklyn’s Sharkmuffin and Jimmy Destri & The Sound Grenade, a project helmed by Blondie keyboardist Jimmy Destri. This week’s episode features Adrian’s conversation with Janet LaBelle, which covers various topics including the songwriting and recording process of her latest EP, 2018’s I Only See You from Loantaka Records as well as New York’s surfing scene and how music can help people therapeutically.

Topics: Muhammad Ali, Rick James, Max Robinson (TV). (Bonus Artist: hidingtobefound)   1978   1.    Snap Shots   2.    General News   3.    Jimmy Carter is President   4.    February   5.    The first computer bulletin board system (CBBS) is created in Chicago.  Bulletin board systems were in many ways a precursor to the modern form of the World Wide Web, social networks, and other aspects of the Internet.   6.    Serial killer Ted Bundy is captured in Florida and The Hillside Strangler of Los Angeles, (serial killing cousins) claims a 10th and final victim.   7.    April   8.    Women's Army Corps (WAC) abolished (1943-1978); women integrated into regular Army.   9.    September   10.    The Camp David Accords were signed by Egyptian President Anwar Sadat and Israeli Prime Minister Menachem Begin . The Accords led directly to the Egypt–Israel Peace Treaty a year later. Due to the agreement, Sadat and Begin received the shared 1978 Nobel Peace Prize. In turn, these events led to Sadat's assassination by members of the Egyptian Islamic Jihad in 1981.   11.    November   12.    Mass murder/suicide of 909 Americans in Jonestown, Guyana under the direction of Jim Jones.   13.    December   14.    Chicago serial killer John Wayne Gacy, who is subsequently convicted of the murder of 33 young men, is arrested.   15.    Open Comments:   16.    Economic Snapshots   17.    Min. wage = $2.65hr (+.35) / $106wk / $5,512 yrly) - 2018 = $21,228yrly   18.    Avg. Income per year - $16,975   19.    Avg. Cost of new house - 54,749   20.    Avg. Rent - $260   21.    Avg. Cost new car - $5,405   22.    Postage Stop - $0.15   23.    Unemployment 6.4% vs Black unemployment 14.5%   24.    Open Comments:   25.    Black Snapshots   26.    February   27.    Harriet Tubman is the first African American Woman to be honored on a U.S. postage stamp.   28.    Muhammad Ali loses title to Leon Spinks    29.    May   30.    Ain't Misbehavin' (musical) hits Broadway. Won 1978 Tony Award for Best Musical: Breakout Stars was Nell Carter (sitcom Gimme a Break!) and Irene Cara (Flash Dance: What a Feeling) and Charlayne Woodard (Janice on The Fresh Prince of Bel Air)   31.    June   32.    The SCOTUS bars quota systems in college admissions but affirms the constitutionality of programs which give advantages to minorities.   33.    July   34.    ABC World News Tonight, employing a unique three-anchor setup:  Frank Reynolds serving as lead anchor from Washington, Peter Jennings with international news from London, and Max Robinson presenting national news from Chicago. Robinson is noted as the first African-American broadcast network news anchor in the United States   35.    September   36.    Ali defeats Spinks and regained the WBA heavyweight title, becoming the first man to win the World Heavyweight Championship three times.   37.    Misc.:   38.    Nikki Giovanni Poetry Collections: Cotton Candy and Woman   39.    Open Comments:   40.    Music Snapshots   41.    Record of the Year: Billy Joel for "Just the Way You Are"   42.    Album of the Year: Saturday Night Fever Soundtrack, Various Artist   43.    Song of the Year: Billy Joel for "Just the Way You Are"   44.    Best New Artist: A Taste of Honey   45.    Top Billboard Singles   1.    Shadow Dancing", Andy Gibb 2.    "Night Fever", Bee Gees 3.    "You Light Up My Life", Debby Boone   46.    Open Comments:   47.    Movie Snapshots: Highest-grossing films   1.    Grease 2.    Superman 3.    National Lampoon's Animal House   48.    Open Comments:   49.    TV Snapshots   1.    Laverne & Shirley 2.    Three's Company 3.    Mork & Mindy   50.    Debuts   51.    September - WKRP in Cincinnati (Featuring Tim Reid as Venus Flytrap): BEST THEME SONG EVER!!!   52.    November - Diff'rent Strokes: The series stars Gary Coleman and Todd Bridges as Arnold and Willis Jackson, two Black boys from Harlem who are taken in by a rich white Park Avenue businessman and widower named Phillip Drummond (Conrad Bain) and his daughter Kimberly (Dana Plato), for whom their deceased mother previously worked.   53.    Open Comments:   54.    Social Scene: Ali's Last Dance (Muhammad Ali vs. Leon Spinks I and II)   55.    First Fight (February): THE ONLY TIME ALI LOST HIS TITLE IN THE RING   56.    Tom Gray (Ringtv.com) - "At 36 years of age, the great Muhammad Ali was on the physical descent. The warning signs were clearly visible in prior defenses of his heavyweight championship. Jimmy Young and Ken Norton could easily have been given decisions against Ali in 1976. A European-level fighter like Alfredo Evangelista could last the distance in May 1977. And power-puncher Earnie Shavers, despite falling short on points, had inflicted 10 fights worth of damage on “The Greatest” over 15 brain-shuddering rounds that September. Ali, who should have been enjoying retirement, needed a very easy fight – enter Leon Spinks. The St. Louis product was a decorated amateur star. He had captured bronze at the World Championships in 1974, silver at the Pan-Am Games in 1975 and gold, as a light heavyweight, at the Montreal Olympics in 1976. Great stats, but, alarmingly, the challenger was bringing a (6-0-1, 5 knockouts) professional record into a heavyweight championship fight. The 24-year-old Spinks would be the most inexperienced professional to vie for the title (in 21yrs, since "1957").   57.    Spinks won a split decision   58.    The matchup would win Fight of the Year, Round of the Year (for rnd 15), and Upset of the Year awards.   59.    Aftermath: Spinks signed for a rematch with Ali at the Louisiana Superdome in New Orleans and was stripped of his title for refusing to fight no. 1 contender Ken Norton instead.   60.    The Rematch   61.    70,000 people attended the bout and paid a total of $6 million admission, making it the largest live gate in boxing history at that time.   62.    Ali beat Spinks in a unanimous decision.   63.    When Ali reclaimed the title, he made history by becoming the first man to win the heavyweight championship three times.   64.    After the fight, Ali retired from boxing in 1979 - for the first time.   65.    Subsequently, Ali tried 2 more comebacks: In 1980, against former heavyweight champion Larry Holmes and in 1981 against Trevor Berbick    66.    Both were loses, 1978 rematch the last win of his boxing career.   67.    Legacy   68.    Pro Record: 61 fights / 56 wins / 5 losses [By the end of his career Ali had absorbed ~200,000 hits]   69.    Time magazine named Ali one of the 100 Most Important People of the 20th Century / Sportsman of the Century by Sports Illustrated / Named Sports Personality of the Century in a BBC poll / The Presidential Citizens Medal by President Bill Clinton / The Presidential Medal of Freedom from President George W. Bush / Sports Illustrated renamed its Sportsman Legacy Award to the Sports Illustrated's Muhammad Ali Legacy Award.  (honors former "sports figures who embody the ideals of sportsmanship, leadership and philanthropy as vehicles for changing the world.") / Ring Magazine, named him number 1 greatest heavyweights from all eras / The Associated Press, No. 1 heavyweight of the 20th century / ESPN, the second greatest pound for pound fighter in boxing history (#1 Sugar Ray Robinson) and the second greatest heavyweights of all time, behind Joe Louis    70.    Personally: Ali and James Brown are the only two men I think my father ever admired.   71.    Open Comments:   72.    Music Scene   73.    Billboard Year-End Top 40 Black singles of 1978   74.    #9 - "Boogie Oogie Oogie", A Taste of Honey   75.    #10 - "Three Times a Lady", Commodores   76.    #20 - "Dance, Dance, Dance", Chic   77.    #31 - "Jack And Jill", Raydio   78.    #34 - "Last Dance", Donna Summer   79.    #38 - "The Closer I Get to You", Roberta Flack & Donny Hathaway   80.    Number-One R&B singles of 1978   81.    Jan - "Ffun", Con Funk Shun   82.    Jan - "Our Love", Natalie Cole   83.    Feb - "Theme Song from 'Which Way Is Up'", Stargard   84.    Feb - "Too Hot ta Trot", The Commodores   85.    Feb - "It's You That I Need", Enchantment   86.    Mar - "Flash Light”, Parliament   87.    Mar - "Bootzilla", Bootsy's Rubber Band   88.    Apr - "The Closer I Get to You", Roberta Flack and Donny Hathaway   89.    Apr - "Too Much, Too Little, Too Late", Johnny Mathis and Deniece Williams   90.    May - Take Me to the Next Phase (Part 1)", The Isley Brothers   91.    May - "Use ta Be My Girl", The O'Jays   92.    Jul - "Stuff Like That", Quincy Jones   93.    Jul - "Close the Door", Teddy Pendergrass   94.    Jul - "You and I", Rick James   95.    Aug - "Boogie Oogie Oogie", A Taste Of Honey   96.    Aug - "Three Times a Lady", The Commodores   97.    Aug - "Get Off", Foxy   98.    Sep - "Holding On (When Love Is Gone)", L.T.D.   99.    Sep - "Got to Get You into My Life", Earth, Wind & Fire   100.    Sep - "One Nation Under a Groove (Part 1)", Funkadelic   101.    Nov - "I'm Every Woman", Chaka Khan   102.    Dec - "Le Freak", Chic   103.    Vote:   104.    Jan - All 'N All, Earth, Wind and Fire   105.    Feb - Saturday Night Fever Soundtrack, Bee Gees   106.    Mar - Bootsy? Player of the Year, Bootsy's Rubber Band   107.    Apr - Street Player, Rufus featuring Chaka Khan   108.    Apr - Weekend in L.A., George Benson   109.    May - Showdown, The Isley Brothers   110.    Jun - So Full Of Love, The O'Jays   111.    Jun - Natural High, The Commodores   112.    Aug - Life Is a Song Worth Singing, Teddy Pendergrass   113.    Sep - Blam!, The Brothers Johnson   114.    Oct - Is It Still Good to Ya, Ashford & Simpson   115.    Oct - One Nation Under a Groove, Funkadelic   116.    Nov - The Man, Barry White   117.    Dec - C'est Chic, Chic   118.    Vote:   119.    Key Artist   120.    Who: James Ambrose Johnson Jr., a.k.a. Rick James The Superfreak (@ 30 yrs old): singer-songwriter, multi-instrumentalist, hitmaker, performer, producer, impresario, and pioneer in the fusion of funk groove and rock.  A flamboyant, provocative, charismatic, brilliant, volatile, and outrageous bona fide superstar.    121.    Why is he being featured: Debut solo album, Come Get It!, with hit singles "You and I" & "Mary Jane"   122.    Short Story:  Born and raised in Buffalo, New York, he was one of eight children. His father was abusive and abandoned the family when James was eight. His mother was a former dancer who worked as a housekeeper, but also was a numbers runner. Went to Catholic school and was an altar boy, he also committed petty theft crimes, and spent some time in juvenile detention centers. He also began doing drugs. While James was always musically inclined, it was not until he performed in a talent show in high school that he seriously considered a career in music. He formed a group called the Duprees. At the same time, he joined the Naval Reserve to avoid the draft. As he and his group gained popularity he began to skip out on his naval duties. James was soon drafted, but he fled to Canada.  His uncle was Melvin Franklin of the Temptations. Franklin helped his nephew get a recording contract with Motown Records. This led to James striking a deal with the government and serving some time in prison for draft evasion. After his release, he began to record his first album, which included the hits "You & I," and his ode to marijuana, "Mary Jane." The album sold two million copies.   123.    James's second album, Bustin' Out of L Seven(1979), followed the previous album's success, eventually selling a million copies.   124.    His third album, Fire It Up (1979) and the supporting tour led to James developing a bitter rivalry with one of his opening acts, Prince. Rick accused Prince of ripping off his act.   125.    His fifth album, Street Songs (1981), also proved to be a crossover success. With the Temptations on background vocals, James released "Super Freak."    126.    With the success of "Super Freak," James began to produce for other artists. He formed an all-girl band named the Mary Jane Girls. He also performed duets with R&B singer Teena Marie and Smokey Robinson. He also produced comedian Eddie Murphy's "Party All The Time," which was a hit in the mid-1980s.   127.    James' on-stage persona was one of wild debauchery. Dressed in sequins, tight leather, high-heeled boots, and cornrows or a jheri curl, James oozed sex on stage. Offstage, he smoked marijuana and snorted cocaine. According to the Washington Post, he told the Detroit News in 2004, "The biggest mistake I made is that I tried to become my alter ego. I wanted to be Rick James, wild man, party machine, lady slayer, and the cocaine told me I could. I forgot that I was James Johnson, a nerdy kid who grew up reading Dante's Inferno on Saturday nights."   128.    James' spiral out of control came to a head when he was charged with assault in 1991. He was convicted in 1993 and served three years. He vowed to get clean and live a more sedate life. Upon his release, he married and began having serious health problems.  James was found dead on August 6, 2004; he was 56.  His death was ruled accidental, but nine drugs were found in his system. However, the official cause of death was a heart attack.   129.    Open Comments:   130.    Movie Scene   131.    The Wiz: A musical adventure fantasy film based upon characters from “The Wizard of OZ” featuring an all-black cast, the film was loosely adapted from the 1974 Broadway musical of the same name. It follows the adventures of Dorothy, a shy, twenty-four-year-old Harlem schoolteacher who finds herself magically transported to the urban fantasy Land of Oz, which resembles a dream version of New York City. Befriended by a Scarecrow, a Tin Man and a Cowardly Lion, she travels through the city to seek an audience with the mysterious Wiz, who they say is the only one powerful enough to send her home.   132.    Various reviews: "...Diana Ross, too old to play Dorothy." and ...portrayal of Dorothy was "cold, neurotic and oddly unattractive" / "...cockamamy screenplay" / “the picture finished off Diana Ross's screen career" / "The Wiz was too scary for children, and too silly for adults." / Ray Bolger, who played the Scarecrow in the 1939 The Wizard of Oz film, did not think highly of The Wiz, stating "The Wiz is overblown and will never have the universal appeal that the classic MGM musical has obtained."   133.    Sean Munger - seanmunger.com "...But, despite the fact that it was a bad movie–and it clearly is–there’s a lot of very interesting stuff about The Wiz lurking under the surface. You can make an argument that its failure ended not one but two eras in cinema: the era of the glitzy big-budget musical, and that of what is known, not entirely politically correctly (these days), as the “Blacksploitation” boom. The Wiz also began a professional association between two of its participants that had an effect on popular culture of almost inestimable magnitude: the musical pairing of Michael Jackson and songwriter/producer Quincy Jones."   134.    Open Comments:   135.    TV Scene   136.    Maxie Cleveland "Max" Robinson, Jr. (@39yrs old): American broadcast journalist and founder of the National Association of Black Journalists   137.    Robinson’s first journalism job began and ended in 1959, when he was hired to read news at a Portsmouth, Va., television station. Although the station selected him over an otherwise all-white group of applicants, it still enforced a color barrier by projecting an image of the station’s logo to conceal Robinson as he read the news. He was fired the day after he presented the news without the logo obscuring his face. In 1965 he joined WTOP-TV in Washington, D.C., as a correspondent and camera operator, but he moved quickly to nearby WRC-TV, where he won awards for coverage of race riots and a documentary on life in poor urban neighborhoods. He was hired back by WTOP as its first African American news anchor in 1969 and stayed there until 1978. Robinson moved to Chicago when ABC News chose him as one of three co-anchors for ABC’s World News Tonight. The anchor arrangement ended with the death of co-anchor Frank Reynolds in 1983. Robinson left ABC News shortly thereafter and joined Chicago’s WMAQ-TV as a news anchor (1984–87).   138.    Clarence Page offered a final tribute to his friend Max Robinson in Chicago: "Some journalists are remembered for the stories they covered. Robinson will be remembered for being the story. Like Jackie Robinson, who broke baseball's color bar in 1947, Max Robinson won't be applauded for his home runs, but for the fact that he ran the bases."   139.    Open Comments:   140.    Final Question: Biggest legacy from 1978?

FolkCast: the podcast that brings you the worlds of folk, folk-rock, singer-songwriter and roots music. THIS EDITION: A whale of a show! We meet a British naval hero who wasn’t Lord Nelson; hear topical songs about tragedies averted; and play songs that put the “FUN” into funeral. We get Insanely Mental with an Underground Instrumental, and we find out what happens when you mix bluegrass with thrash metal to create a folkie Frankenstein’s monster! All that, and Stories Behind two Songs recorded just for us by the people who wrote them. FolkCast is produced and presented by 'Folkie' Phil Widdows Music featured: The Intro… GREENLAND WHALE by Sam Kelly & The Lost Boys from the album “Pretty Peggy” (2017) ADMIRAL BENBOW by John Dory from the album “Street Songs” (1996) YouTube BRAVE BENBOW by Laura Smyth & Ted Kemp from the album “The Poacher's Fate” (2017) The Story Behind My Song Jon Bennett tells us about… THE SINGER by Moonrakers from the album “Tides” (2017) ADRIFT, ADRIFT by Rosie Hood from the album “The Beautiful & The Actual” (2017) DARK WATER by The Young ‘Uns from the album “Strangers” (2017) The Insanely Mental Instrumental MIND THE GAP by Assembly Lane from the album “Northbound” (2017) THUNDERHEAD by The Native Howl from the album “Thrash Grass” (2017) FINAL ARRANGEMENTS by The Stoned Cherries from the album “Baked In A Pie” (2017) I WISH I WAS IN HEAVEN SITTING DOWN and A NEW ROAD by Mark T. from the album “From Blues To Rembetika” (2017) QUIET GIANT by Emma Langford from the album “Quiet Giant” (2017) The Story Behind My Song Ian Churchward tells of the mystery of... THE DUBLIN KING by The Legendary Ten Seconds from the album “Murray And Blue” (2017) THE ROCKY ROAD TO DUBLIN by Leatherat from the album “Garden Of Eden” (2007) Leatherat play their final gig on December 16 2017 JOHNNY SANDS by Peter Fergus McClelland from the album “The Turn Of The Tide” (2017) …and The Outro THE ROSE by Sam Kelly & The Lost Boys from the album “Pretty Peggy” (2017) For full details see the Shownotes at www.folkcast.co.uk

Hold onto your balls, it's an all new episode of Jam Sandwich! My good friend Brad VandenBerg returns so we could get down to 1981 Rick James classic Street Songs. He's a very kinky guest, the kinda that makes you call him dad-dah! He also created the Jam Sandwich corporate logo, so you know the man has good taste. We spent the afternoon at a brewery and I want to the good times going, so I picked up a Mary Jane single, he got some more suds puppies and what proceeded next is what you have before you. This is a pretty accurate capsule of me hanging out with one of my best buds. For the full experience: put on some jammy pants, warm up some pizza rolls and get comfy in a beanbag chair. The lava lamp just started to move... This episode is dedicated to /CURB DOGS everywhere. Additional fun sized Jam Sandwiches can be found at: jamsandwichpodcast.com || manontop69.com || Twitter: @jamsandwichpod || Instagram: @jamsandwichpodcast  

Fabled Motown Drumming great Lanise Hughes' incomparable resume features, without exaggeration, some of the biggest, baddest names in music history. Yes… Lanise was the drummer for the one and only Rick James, which included world tours, major television performances, and recordings on many Gold and Platinum certified albums, including the triple platinum classic “Street Songs.”  Throw in other credits like The Temptations, Teena Marie, and Bobby Brown,   greatest live performing Funk/Rock Bands to ever hit a stage! …An adrenaline rush of pure unabashed raw energy!! The Original Stone City Band is ready to “Fire Up That Funk!!”   Formed in 1978, by The King of Punk Funk, Rick James, The Original Stone City Band served as Rick's exclusive recording and touring band from the beginning and through the height of his career. They were responsible for cranking out the memorable sounds to timeless hits such as “You and I”, “Super Freak”, “Mary Jane”, “Bustin' Out”, “Ghetto Life”, “Fire and Desire”, The Temptations' “Standing on the Top”, The Mary Jane Girls' “All Night Long”, “Boys”, “In My House” and many, many more. 

Host Robin Milling remembers the late Super Freak star Rick James on his birthday with her interview on the cusp of his 2002 tour and 20 anniversary of his number one album on the R&B charts, Street Songs. Growing up in the ghetto as James Johnson, Rick describes it as his 'essence,' saying his experiences there whether positive or negative became the inspiration for Street Songs. He attributes his success to singing about ghetto life. Despite temptation to go down a rougher path, he attributes his mother's strength and influence raising eight 'crazy' children, which he says deterred him from becoming a pimp or a drug dealer. James died in 2004 ultimately from a heart attack, having suffered a stroke in 1998. He tells Robin laying in his hospital bed not being able to see or move was a wake-up call to cherish every waking moment. He was determined to make a comeback and prove he could perform again, wanting to give his fans a taste of the simpler life once again. He talks about his heady success in the 80s as a time he would not want to replicate, preferring to slow down and spend more time with his son. James discusses his memoirs The Confessions of Rick James: Memoirs of a Super Freak which was finally published in 2007 and his hopes to make it into a movie with Terrence Howard possibly portraying him. Eerily Rick said he was excited to see how the final chapter of his life would play out.

This week's playlist: • Cold Blooded Man (4:27) by Sugar Blue, from Code Blue (2007); available from CD Baby, the store at his site and the iTunes Music Store. Visit Sugar-Blue.com for more information. • Please Don't Let Me Go (3:16 ) and My Life Will Be Sweeter (4:53) by Tin Pan, from Hound's Tooth (2008); available from the iTMS. Visit TinPanBand.com/wordpress for more information. • Long Way From Home (3:05) and Hurricane (4:25) by Stephen Luke, from No Man's Land (2008); available from CD Baby and the iTMS. Visit StephenLukeMusic.com for more information. • Gettin By (5:06) and Keep On Keeping On (5:49) by Albert Castiglia; from Keepin On (2010); available from the Blues Leaf Records page at CD Universe and the iTMS. Visit AlbertCastiglia.com for more information. • Just Tryin' To Be Me (4:12) and 2-Headed Monstah (4:34) by Al "Coffee" McDaniel, from Blues In My Shoes (2007); available from CDBaby.com and the iTMS. Visit ALMcDaniel.com and AirplayDirect.com/ALfor more information. • Anchor (3:30) by Alejandro Escovedo, from Street Songs of Love (2010); available from TheConnextion.com and the iTMS. You should also read this review from Rolling Stone of Alejandro's July 21st appearance at The Bowery in New York. Visit AlejandroEscovedo.com for more information. Mentioned during this episode: GoDaddy discount codes. The music on Murphy's Saloon comes to you courtesy of the artists and their labels. One of the following fine organizations may have provided assistance as an intermediary: IODA PROMONET, AirplayDirect, RadioSubmit.com, the Podsafe Music Network or Download.com.  

His tenth album, "Street Songs of Love" continues Escovedo's razor sharp focus on poetic Rock and Roll that can change the world, or at least help us survive in it.