Podcasts about Sugarfoot

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Best podcasts about Sugarfoot

Latest podcast episodes about Sugarfoot

Wild West Podcast
Doc Holliday: Southern Charm, Reckless Abandon, and Legendary Myths in the Wild West

Wild West Podcast

Play Episode Listen Later Dec 10, 2024 28:31 Transcription Available


Send us a textDiscover the untamed spirit of the Wild West as Mike King takes us on an exhilarating ride through the life of the infamous Doc Holliday. From his early days in Georgia as a dignified dentist to becoming a feared and notorious figure in the American frontier, Holliday's journey is anything but ordinary. Narrated by the talented Brad Smalley we explore a youthful incident that laid bare the racial tensions of the era and propelled him towards his fate in the sun-baked lands of Dallas, Texas, where he hoped the climate might mend his ailing health. With multiple sources at hand, we uncover the nuances of Holliday's character—a blend of southern charm and reckless abandon that left an indelible mark on history.The stakes rise as we recount the thrilling race day drama under a military post, where Holliday's threat for Sugarfoot to win or else, becomes the center of attention. The narrative then leads us to Holliday's return to Fort Griffin, where a contentious encounter at the gambling table between Holliday and Ed Bailey unfolds. The blurred lines between myth and reality add intrigue, as we question the authenticity of tales that have become legendary. The bond between Holliday and Big Nose Kate emerges as a testament to loyalty and survival amid the chaos, highlighted by her daring rescue of her lover, Doc Holliday from a lynch mob. Don't miss this compelling episode that captures the essence of a man whose legacy echoes across the Wild West.Support the show

BWAAA! King of the Hill Rewatch Podcast
Season 4 Episode 13: Hanky Panky (Feb 6, 2000)

BWAAA! King of the Hill Rewatch Podcast

Play Episode Listen Later Aug 28, 2023 72:21


Buck Strickland is getting a divorce. Since Texas is a community property state, he sells Sugarfoot's Barbecue to Hank until the divorce is final. Directors Jeff Myers Klay Hall John Rice Writers Mike Judge Greg Daniels Jim Dauterive Stars Mike Judge Kathy Najimy Pamela Adlon Brittany Murphy Johnny Hardwick Stephen Root Toby Huss David Herman Phil Hendrie Lane Smith Kathleen Turner Reese Witherspoon Are you ready to feel more energized, focused, and supported? Go to zen.ai/bwaaa12 and add nourishing, plant-based foods to fuel you from sunrise to sunset. Use my special link zen.ai/bwaaa12 to save 12% at blendjet.com. The discount will be applied at checkout! Try Cure today and feel the difference for yourself! Use my special link zen.ai/bwaaa20 for 20% off your order, coupon activated at checkout! Use my special link zen.ai/bwaaa10 to save 10% at wongopuzzles.com. The discount will be applied at checkout! Find us at @bwaaakoth on Social Media and at roguemedianetwork.com or at bwaaakoth.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Being Black- The '80s
Ice Cube x Dopeman: The Good, The Bad, & The Crazy

Being Black- The '80s

Play Episode Listen Later Aug 14, 2023 32:08


NWA's Ice Cube talks about the influence of crack on their hit song “Dopeman” and the contradiction of how drug money destroyed the community and propelled his career. “Dopeman” Is one of the illest songs ever made because it takes you deep into the drug dealer's perspective on selling drugs. The crack dealer was evil but we should still seek to understand what drove him and when we look into his soul we find that like the fiends he served, he too was an addict, but he was addicted to power and money. Crack dealers and their culture had a deep influence on hiphop culture and the Black community. In this ep we go into "Dopeman” with The D.O.C. from NWA and talk to several former drug dealers about how dealers changed the world around them.   Guests: Nelson George, Filmmaker Royce Da 5'9, Rapper Biba Adams, Writer The D.O.C., Rapper Samson Styles, Journalist and Filmmaker Kevin Chiles, CEO Don Diva Magazine Jim Jones, Rapper Credits: NWA - Dope Man Writer: Ice Cube, Dr. Dre, Sugarfoot, Junie Morrison, Marshall “Rock” Jones, Greg Webster, Ralph Middlebrooks, Marvin Pierce, Norman Napier & Andrew Noland  Label: Ruthless Records Publisher: Ruthless Attack Muzick & Bridgeport Music    NWA - Fuck Tha Police Writer: The D.O.C., Ice Cube & MC Ren Label: Universal Music Group, Ruthless Records & Priority Records Publisher: Universal Music Group   Notorious BIG - The Ten Crack Commandments Writer: The Notorious B.I.G. & DJ Premier Label: Bad Boy Entertainment Publisher: B.I.G. Poppa Music, Gifted Pearl Music, Justin Combs Music & EMI April Music   Alpo Martinez, FEDS MagazineSee omnystudio.com/listener for privacy information.

Pu'u Muay Thai Podcast
Ep. 122 - Josh Soliva in Santa Barbara

Pu'u Muay Thai Podcast

Play Episode Listen Later Jun 23, 2023 47:22


 Sponsored by: http://www.PMTLIFESTYLE.COMOptimize Your Training With: ONNIT Supplements: https://bit.ly/pmt-onnit--Welcome to Episode 122 of the Pu'u Muay Thai Podcast! Our friend Josh Soliva is back, joining us live from Pu'u Muay Thai Santa Barbara in sunny California. We catch up on his life stateside, discuss ONE Championship's impact on Thailand, and share his experience cornering Felipe Lobo. Plus, hear about Josh's trip to Cali Muay Thai Series, meeting and training with Peter "Sugarfoot" Cunningham, and the growth of striking programs in America. Don't miss this exciting episode!

Touré Show
Toure Show presents Being Black - The 80's

Touré Show

Play Episode Listen Later Jun 20, 2023 36:05


N.W.A's “Dopeman” Is one of the illest songs ever made because it takes you deep into the drug dealer's perspective on selling drugs. The crack dealer was evil but we should still seek to understand what drove him and when we look into his soul we find that like the fiends he served, he too was an addict, but he was addicted to power and money. Crack dealers and their culture had a deep influence on hiphop culture and the Black community. In this ep we go into "Dopeman” with The D.O.C. from NWA and talk to several former drug dealers about how dealers changed the world around them. Guests: Nelson George, Filmmaker Royce Da 5'9, Rapper Biba Adams, Writer The D.O.C., Rapper Samson Styles, Journalist and Filmmaker Kevin Chiles, CEO Don Diva Magazine Jim Jones, Rapper Credits: NWA - Dope Man   •  Writer: Ice Cube, Dr. Dre, Sugarfoot, Junie Morrison, Marshall “Rock” Jones, Greg Webster, Ralph Middlebrooks, Marvin Pierce, Norman Napier & Andrew Noland    •  Label: Ruthless Records   •  Publisher: Ruthless Attack Muzick & Bridgeport Music    NWA - Fuck Tha Police   •  Writer: The D.O.C., Ice Cube & MC Ren   •  Label: Universal Music Group, Ruthless Records & Priority Records   •  Publisher: Universal Music Group   Notorius BIG - The Ten Crack Commandments   •  Writer: The Notorious B.I.G. & DJ Premier   •  Label: Bad Boy Entertainment   •  Publisher: B.I.G. Poppa Music, Gifted Pearl Music, Justin Combs Music & EMI April Music Support the show: https://www.dcpofficial.com/toureshow See omnystudio.com/listener for privacy information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Being Black- The '80s
NWA x Selling Crack

Being Black- The '80s

Play Episode Listen Later Jun 1, 2023 30:21


N.W.A's “Dopeman” Is one of the illest songs ever made because it takes you deep into the drug dealer's perspective on selling drugs. The crack dealer was evil but we should still seek to understand what drove him and when we look into his soul we find that like the fiends he served, he too was an addict, but he was addicted to power and money. Crack dealers and their culture had a deep influence on hiphop culture and the Black community. In this ep we go into "Dopeman” with The D.O.C. from NWA and talk to several former drug dealers about how dealers changed the world around them. Guests: Nelson George, Filmmaker Royce Da 5'9, Rapper Biba Adams, Writer The D.O.C., Rapper Samson Styles, Journalist and Filmmaker Kevin Chiles, CEO Don Diva Magazine Jim Jones, Rapper Credits: NWA - Dope Man Writer: Ice Cube, Dr. Dre, Sugarfoot, Junie Morrison, Marshall “Rock” Jones, Greg Webster, Ralph Middlebrooks, Marvin Pierce, Norman Napier & Andrew Noland  Label: Ruthless Records Publisher: Ruthless Attack Muzick & Bridgeport Music    NWA - Fuck Tha Police Writer: ​The D.O.C., Ice Cube & MC Ren Label: Universal Music Group, Ruthless Records & Priority Records Publisher: Universal Music Group   Notorius BIG - The Ten Crack Commandments Writer: The Notorious B.I.G. & DJ Premier Label: Bad Boy Entertainment Publisher: B.I.G. Poppa Music, Gifted Pearl Music, Justin Combs Music & EMI April Music   Alpo Martinez, FEDS MagazineSee omnystudio.com/listener for privacy information.

The Drum Department
Drumming With The Best Selling Artists Of All Time

The Drum Department

Play Episode Listen Later Mar 10, 2023 61:48


Jonathan “Sugarfoot” Moffett is back! Sugarfoot gives us a glimpse behind the curtain of some of the biggest shows and tours he's played with the best-selling artists of all time. From what it was like working with the King Of Pop to all the insane shows he played with Madonna and many others! Plus, he'll be teaching Groove Of The Week!

Horse Girls
Episode 27: Blazing Crugglez

Horse Girls

Play Episode Listen Later Mar 8, 2023 89:57


Welcome to Jenna and Alex's epic equestrian journey through the trails, pastures, and rings of nostalgia as they attempt to turn Tim into a full-fledged Horse Girl!  Have you ever known one man to cause so much pain, so much horror, so much... just MUCH as John Steinbeck? No me either. If you want to find evil approaching the level of Sugarfoot then look no further than the man who penned The Red Pony. Probably with the blood of a thousand foals.  New episode every other Wednesday! 

Beyond The Music
Jonathan Moffett: Drumming for Michael Jackson and the world's biggest stars

Beyond The Music

Play Episode Listen Later Jan 24, 2023 41:00


Jonathan “Sugarfoot” Moffett has the enviable experience of touring with Michael Jackson, Elton John, and some of pop music's biggest stars. In this episode, “Sugarfoot” shares how he stood out in a highly competitive space and became one of the world's most in-demand drummers. Join us as he shares five tenets that every working musician should follow to succeed in their craft.

Trivia Tracks With Pryce Robertson

One of several westerns that crowded the TV airwaves in the late '50s, Sugarfoot was part of the Warner Bros. stable of oaters. The show and its theme song were referenced on an episode of Arrested Development in 2005.

Horse Girls
Episode Noel (26.5): The Second Holiday Spectacular

Horse Girls

Play Episode Listen Later Dec 23, 2022 25:15


Once he's been bitten and twice he's shied  Tim keeps his distance, but Sugarfoot catches his eye  Tell me lil' horsie, do you recognize me?  Well, it's been a year, it doesn't surprise me... 

The Alexei Sayle Podcast
29: Sugarfoot

The Alexei Sayle Podcast

Play Episode Listen Later Oct 18, 2022 66:36 Transcription Available


Howdy folks! Mosey on down to the Alexei Sayle Podcast Saloon and pull up a spittoon as your favourite podcast posse crack their quips and rustle up some anecdotes and updates for your hungry ears! Ahem... What I mean is WELCOME to this palate-cleansing, no-guest, meandering edition of the podcast. Alexei and Talal catch up on how Alexei's recordings of his Imaginary Sandwich Bar went (airing on BBC Radio4 on 20th October), what TV shows they've been enjoying and answer some questions sent to us by our valued listeners. Oh, and they also invent a new political party... again. So gather round in a hearty corral, help yourself to a bowl of beans and enjoy the show! Send your fan art, questions and friendship applications to alexeisaylepodcast@gmail.com Become a Patron here to support the show and get access to live episodes of The Alexei Sayle Podcast - patreon.com/AlexeiSaylePodcast. Subscribe to Alexei's YouTube channel here and join him for his Bike Rides. The Alexei Sayle Podcast is produced and edited by Talal Karkouti Music by Tarboosh Records Photograph from the Andy Hollingworth Archive 

Horse Girls
Episode 24: The First Foël

Horse Girls

Play Episode Listen Later Jul 27, 2022 57:37


Welcome to Jenna and Alex's epic equestrian journey through the trails, pastures, and rings of nostalgia as they attempt to turn Tim into a full-fledged Horse Girl! On this episode we are joined by Willa! The world renowned voice of *REDACTED* for a beautiful episode of Horse Girls where it is Christmas and no one is sad and definitely no one or nothing dies and Sugarfoot for sure 100% does not wear the skin of another creature as a disguise. No Tim for the last time we CANNOT REAVEAL THAT WILLA IS THE VOICE OF TEXT MESSAGE THEATRE! New episode every other Wednesday!

JORGY'S STRIPPING THE DIPPING
Jorgy's Stripping The Dipping S01 Ep23 Special episode With AMG Denz Ft Jonathan SUGARFOOT Moffett

JORGY'S STRIPPING THE DIPPING

Play Episode Listen Later May 10, 2022 35:46


To take a small break from F1, We had the opportunity to have the man himself Jonathan Sugarfoot Moffett for a small chat with us. | The origin of the legendary drummer Sugarfoot | The life with Michael Jackson | The life as a musician and a producer and more | Tune in with us for more amazing episodes and follow us on TWITTER and IG under: @jmoffettmjm @JorginaDonna @AMGDenz | Remember to subscribe our channel on YouTube jorgy's Stripping The Dipping

Share The Tea Tuesday's
Sugarfoot & Company Bath and Body Products

Share The Tea Tuesday's

Play Episode Listen Later Mar 30, 2022 55:22


Share The Tea Tuesday's segment with LaTonya Wesley Ward owner of Sugarfoot & Company Bath and Body offers handmade luxury body care that is a treat to your skin. All of her products are made with LOVE. Support Small Business and Advocate for Autism in April. Follow, like, and support a small business Website: www.sugarfootandcompany.com Facebook: https://www.facebook.com/sugarfootandcompany/ Instagram: https://www.instagram.com/sugarfoot_luxurybody/ Follow me on social media @sharetheteawithv Thank you for following Share The Tea Tuesday's --- Send in a voice message: https://anchor.fm/sharetheteawithv/message

Percussion Discussion.
Guy Pratt - (Pink Floyd - David Gilmour - Bryan Ferry - Rockonteurs podcast co-host)

Percussion Discussion.

Play Episode Listen Later Mar 19, 2022 41:09


Percussion Discussion - Episode 79 - Guy PrattSomething a little different today, the first non drummer ever to appear on Percussion Discussion, but.... he is a monster musician, the wonderful bass player Guy Pratt Guy is one of the most respected and revered bass players on the planet, having carved out an incredible career beginning with the Australian band Ice House, Robert Palmer, Womack & Womack, Bryan Ferry, The Smiths, Pink Floyd, David Gilmour, Saucerful Of Secrets to name but a few! I feel very Privileged to have guy along to chat about his experiences playing with some of the finest drummers in existence today! Of course we had to start off with Pink Floyd drummer and founder member Nick Mason (Official) whom Guy has been performing with since the mid 80's and continues to do so with the Saucerful of secrets. We talk about the wonderful drummer and percussionist and mutual friend of both Guy and myself Ged Lynch, Guy and Ged were both involved with a recent recording project with legendary The Who guitarist Pete Townshend.Other notable names mentioned in our chat are Jeff Porcaro - Ginger Baker - Jerry Marotta - Andy Newmark - Vinnie Colaiuta - Jonathon 'Sugarfoot' Moffett and many more! We had to chat about the incredible No1 ranked podcast hosted by Guy & Gary kemp ,

The Tubi Tuesdays Podcast
The Tubi Tuesdays Podcast Episode 56 – Breakin' 2: Electric Boogaloo (1984)

The Tubi Tuesdays Podcast

Play Episode Listen Later Mar 7, 2022 104:34


Welcome back to our podcast series from The Super Network and Pop4D called Tubi Tuesdays Podcast! This podcast series is focused on discovering and doing commentaries/watch a longs for films found on the free streaming service Tubi, at TubiTVYour hosts for Tubi Tuesdays are Super Marcey, ‘The Terrible Australian' Bede Jermyn and Prof. Batch (From Pop4D & Web Tales: A Spider-Man Podcast), will take turns each week picking a film to watch and most of them will be ones we haven't seen before.G'day everyone and welcome to ‘Bede's Redemption' episode of The Tubi Tuesdays Podcast! This is the episode where Bede finally makes up for Hell Of The Living Dead and Santa and the Ice Cream Bunny, or does he? Bede is joined by Prof. Batch and Super Marcey with the trio of awesome watching Bede's redemption pick and a Cannon Films classic with Breakin' 2: Electric Boogaloo (1984), yes there be dancing and fluro!Breakin' 2: Electric Boogaloo was directed by Sam Firstenberg and it stars Lucinda Dickey, Adolfo Quinones, Michael Chambers, Susie Coelho, Harry Caesar, Jo de Winter, Steve Notario and Ice-T.If you have never listened to a commentary before and want to watch the film along with the podcast, here is how it works. You simply need to grab a copy of the film or load it up on Tubi (you may need alcohol), and sync up the podcast audio with the film. We will tell you when to press and you follow along, it is that easy! Because we have watched the films on Tubi, it is a free service and there are ads, however we will give a warning when it comes up, so you can pause the film and provide time stamps to keep in sync.Highlights include:* Does Bede finally redeem himself?* Bede joins Marcey in person this week.* SO MUCH HAIR AND FLURO!* Gosh, that youth center better get saved! * Upside down dancing, whoa!* Apparently a lot of people have the nickname ‘Sugarfoot'* Prof. Batch does not disappear, woohoo!* Marcey wants pop tarts and everyone wants Mrs. Batch to bake a chocolate cake.* Plus much, much more!Check out The Super Network on Patreon to gain early access to The Tubi Tuesdays Podcast as well as the video version!DISCLAIMER: This audio commentary isn't meant to be taken seriously, it is just a humourous look at a film. It is for entertainment purposes, we do not wish to offend anyone who worked on and in the film, we have respect for you all.Please Visit Our Sponsors For This Episode SurfShark VPNFor More http://linktr.ee/TheTubiTuesdaysPodcast Hosted on Acast. See acast.com/privacy for more information.

Horse Girls
Episode Noel (10.5): The Holiday Spectacular

Horse Girls

Play Episode Listen Later Dec 25, 2021 69:32


Alone on the rooftop clop clop clop, Tim hears the hoofbeats and his heart stops stops stops.  Sugarfoot is here click click click he comes down the chimney here he is.  Run from the room Tim run run run if you don't get away you're done done done... He runs from the room and slips slips slips, Sugarfoot has come for Tim and here. He. Is. 

The Martial Arts Mania Podcast

New episode alert! We're back! FINALLY! We apologize about the long hiatus, but both Gavin and I had a ton of cool stuff going on the past few weeks (including hanging out together and training with our sensei Peter "Sugarfoot" Cunningham) which had us a little preoccupied. However, we have a special new episode where we catch you up on everything that's been going on, including a New Beverly double Kung Fu screening, Gavin meeting one of his childhood heroes and most importantly, the movie we are discussing, the masterpiece that is ‘Raging Fire'. The final film of iconic Hong Kong director Benny Chan, this epic action picture starring Donnie Yen and Nicholas Tse is one of the best Hong Kong action pictures in recent memory, chock-full of stellar shoot outs and phenomenal martial arts sequences. Hard hitting, brutal and furiously paced, this cops and robbers heist thriller is certain to keep you on the edge of your seat. I was so blown away, that I went to see it TWICE in theaters. If you missed the theatrical run, no worries, it will be getting released by Well Go USA on the Hi-Yah app next month! Definitely check this one out when you get the chance, and remember to subscribe, download and share the podcast! We are available on Soundcloud and Apple Podcasts. We hope you enjoy!

Horse Girls
Horse Girls Episode 1: Sugarfoot is Evil

Horse Girls

Play Episode Listen Later Aug 11, 2021 82:33


Welcome to Jenna and Alex's epic equestrian journey through the trails, pastures, a rings of nostalgia as they attempt to turn Tim into a full-fledged Horse Girl! Come along and ride with us as Tim learns about overwintering, gelding, and pondering if horses can speak in Morse code. New episode every other Wednesday!

Team Equinety Podcast
116 - Kathy Moss - Cowboy Poetry - Severe Founder - PSSM - and now has her life back!

Team Equinety Podcast

Play Episode Listen Later Jul 14, 2021 38:43


Tune into this week's Equinety Podcast and hear from Kathy Moss, some of her Cowboy Poetry and how Equinety has helped Sugarfoot come back from severe founder!

Ho Yeah!
Hanky Panky - Season 4, Episode 13

Ho Yeah!

Play Episode Listen Later May 11, 2021 68:44


We're back! Thanks for all of your understanding!   This week we're doing part ONE of a two-episode murder mystery! WHO shot Mr. Burns? Wait....no no....WHO killed Debbie Grund!?   In this week's episode, we've got murder, sex, intrigue, and one terrible BBQ sauce. Montanans - come get your girl, she's ruining Sugarfoot's!   JOIN OUR PATREON! For just $2 a month you have access to all of our additional audio AND each week's episode a day early! CALL OUR HOTLINE AND LEAVE A VOICEMAIL!!! 386-530-3876 Don't forget to check out our Instagram, Twitter and Facebook pages - and leave a review on iTunes! 

TRUTH IN RHYTHM
TRUTH IN RHYTHM Podcast - Chet Willis (Ohio Players, Shadow), Part 2 of 2

TRUTH IN RHYTHM

Play Episode Listen Later Apr 9, 2021 44:36


** 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. New! Become a TRUTH IN RHYTHM Member at https://www.patreon/truthinrhythm. Featured in TIR Episode 186, Part 2 of 2: Guitarist, singer, composer and producer Clarence “Chet” Willis, he of one of the greatest funk-soul bands of all time -- the mighty Ohio Players! Beginning in 1975 he became a mainstay with the group, trading guitar licks with the legendary Leroy “Sugarfoot” Bonner and joining keyboardist Billy Beck and drummer James “Diamond” Williams, both of whom have also been TRUTH IN RHYTHM guests, on backing vocals. Willis, Beck and Williams later formed the spinoff band called Shadow, and all of them more recently have been performing as today’s version of the Ohio Players. While The Ohio Players’ roots stretch back to the late 1950s, it wasn’t until “Funky Worm” hit No. 1 on the R&B chart in early 1973 that the group got a taste of major success. They would go on to notch four more chart-toppers, with two of those songs also making No. 1 on the pop chart. A move to Mercury Records saw the band refining its sound to the signature millions would love. It was marked by stronger songwriting and pristine production, inventive arrangements, the distinctive lead vocals of highly influential, one-of-a-kind talent Sugarfoot, as well as his nimble guitar playing, the falsetto background singing of Diamond and Beck, as well as the latter’s brilliant keyboard work and, of course, the former’s progressive and impeccable drumming.  Beck replaced enigmatic genius Walter “Junie” Morrison, who would go on to release eclectic solo albums and become a key contributor to Parliament-Funkadelic during the late 1970s. Add to that intoxicating aural mix, Marshall Jones’ rumbling bass, and horn players Ralph “Pee Wee” Middlebrooks, Marvin “Merv” Pierce and bandleader Clarence “Satch” Satchell, and last but not least Willis' guitar work and vocals, and you have the unmistakable magical funk perfection that was mid-1970s Ohio Players. Essential to their indelible sound and consistency was how self-contained of a unit they were, writing, arranging, producing and performing everything themselves. As if all that was not enough of a seduction, The Ohio Players were also famous for their sexy and provocative album covers showing young ladies in various stages of undress.  The Ohio Players’ creative and commercial peak took place from 1974-1977 when they unleashed the gold- or platinum-selling albums Skin Tight, Fire, Honey, Contradiction and Angel. During that time they were considered the biggest or close to the biggest funk or R&B band in the world -- rivaled only by the likes of Earth, Wind and Fire, Parliament-Funkadelic, WAR, Kool & the Gang, The Isley Brothers and The Commodores. The Ohio Players’ hits and classics include “Skin Tight,” “Jive Turkey,” “Heaven Must Be Like This,” “Fire,” “I Want to Be Free,” “Runnin’ From the Devil,” “Smoke,” “Love Rollercoaster,” “Fopp,” “Let’s Love,” “Sweet Sticky Thing,” “Who’d She Coo?”, “Far East Mississippi,” “Contradiction,” “Angel,” “Body Vibes,” “O-H-I-O,” “Merry Go Round,” “Funk-O-Nots” and “Take De Funk Off, Fly.”  While Sugar continued to record under the Ohio Players name in the 1980s, Diamond, Beck and Willis splintered off to form Shadow. They released three albums for Elektra Records between 1979-1981. The last one, Shadows in the Streets, is worth seeking out for slick funk cuts like “Born to Hustle” and “Sinister Way.” The trio reunited with Sugar for an Ohio Players comeback album called Back in 1988. That would be the group’s final studio album to date, but varying lineups would keep bringing the Players’ unique brand of funk to stages for performances that continue to this day, led by Diamond, Willis and Beck.   Here, Willis discusses his approach to guitar, the secret sauce that made The Ohio Players so special, unforgettable memories, band member talents and personalities, the group’s catchy new single, “Reset,” and impending album, and stage show.  RECORDED JANUARY 2021 LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get 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=b6c7558ddc7f8fc9fe440c5d9f3c400

TRUTH IN RHYTHM
TRUTH IN RHYTHM Podcast - Chet Willis (Ohio Players, Shadow), Part 1 of 2

TRUTH IN RHYTHM

Play Episode Listen Later Apr 8, 2021 49:02


** 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. New! Become a TRUTH IN RHYTHM Member at https://www.patreon/truthinrhythm. Featured in TIR Episode 186, Part 1 of 2: Guitarist, singer, composer and producer Clarence “Chet” Willis, he of one of the greatest funk-soul bands of all time -- the mighty Ohio Players! Beginning in 1975 he became a mainstay with the group, trading guitar licks with the legendary Leroy “Sugarfoot” Bonner and joining keyboardist Billy Beck and drummer James “Diamond” Williams, both of whom have also been TRUTH IN RHYTHM guests, on backing vocals. Willis, Beck and Williams later formed the spinoff band called Shadow, and all of them more recently have been performing as today’s version of the Ohio Players. While The Ohio Players’ roots stretch back to the late 1950s, it wasn’t until “Funky Worm” hit No. 1 on the R&B chart in early 1973 that the group got a taste of major success. They would go on to notch four more chart-toppers, with two of those songs also making No. 1 on the pop chart. A move to Mercury Records saw the band refining its sound to the signature millions would love. It was marked by stronger songwriting and pristine production, inventive arrangements, the distinctive lead vocals of highly influential, one-of-a-kind talent Sugarfoot, as well as his nimble guitar playing, the falsetto background singing of Diamond and Beck, as well as the latter’s brilliant keyboard work and, of course, the former’s progressive and impeccable drumming.  Beck replaced enigmatic genius Walter “Junie” Morrison, who would go on to release eclectic solo albums and become a key contributor to Parliament-Funkadelic during the late 1970s. Add to that intoxicating aural mix, Marshall Jones’ rumbling bass, and horn players Ralph “Pee Wee” Middlebrooks, Marvin “Merv” Pierce and bandleader Clarence “Satch” Satchell, and last but not least Willis' guitar work and vocals, and you have the unmistakable magical funk perfection that was mid-1970s Ohio Players. Essential to their indelible sound and consistency was how self-contained of a unit they were, writing, arranging, producing and performing everything themselves. As if all that was not enough of a seduction, The Ohio Players were also famous for their sexy and provocative album covers showing young ladies in various stages of undress.  The Ohio Players’ creative and commercial peak took place from 1974-1977 when they unleashed the gold- or platinum-selling albums Skin Tight, Fire, Honey, Contradiction and Angel. During that time they were considered the biggest or close to the biggest funk or R&B band in the world -- rivaled only by the likes of Earth, Wind and Fire, Parliament-Funkadelic, WAR, Kool & the Gang, The Isley Brothers and The Commodores. The Ohio Players’ hits and classics include “Skin Tight,” “Jive Turkey,” “Heaven Must Be Like This,” “Fire,” “I Want to Be Free,” “Runnin’ From the Devil,” “Smoke,” “Love Rollercoaster,” “Fopp,” “Let’s Love,” “Sweet Sticky Thing,” “Who’d She Coo?”, “Far East Mississippi,” “Contradiction,” “Angel,” “Body Vibes,” “O-H-I-O,” “Merry Go Round,” “Funk-O-Nots” and “Take De Funk Off, Fly.”  While Sugar continued to record under the Ohio Players name in the 1980s, Diamond, Beck and Willis splintered off to form Shadow. They released three albums for Elektra Records between 1979-1981. The last one, Shadows in the Streets, is worth seeking out for slick funk cuts like “Born to Hustle” and “Sinister Way.” The trio reunited with Sugar for an Ohio Players comeback album called Back in 1988. That would be the group’s final studio album to date, but varying lineups would keep bringing the Players’ unique brand of funk to stages for performances that continue to this day, led by Diamond, Willis and Beck.   Here, Willis discusses his approach to guitar, the secret sauce that made The Ohio Players so special, unforgettable memories, band member talents and personalities, the group’s catchy new single, “Reset,” and impending album, and stage show.  RECORDED JANUARY 2021 LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get 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=b6c7558ddc7f8fc9fe440c5d9f3c400

The iLL Advised Podcast
Episode 203 - Sugarfoot

The iLL Advised Podcast

Play Episode Listen Later Mar 29, 2021 98:53


Disposable Heroes
Jonathan ‘Sugarfoot’ Moffett

Disposable Heroes

Play Episode Listen Later Jan 16, 2021 76:29


In this episode of DISPOSABLE HEROES, I sit down with Jonathan “Sugarfoot” Moffett, the iconic, world-renowned drummer for the one and only Michael Jackson. We chat about his influential upbringing in New Orleans, moving to the West Coast, his fateful meeting with Janet Jackson, to playing with Madonna, Elton John, and all the magic that unfolded from there. You won’t want to miss this very special episode, so tune out and tune in, and be sure to check him out online at sugarfoot.online. Aloha! - Yee 

Oldie But A Goodie
#104: Breakin' 2: Electric Boogaloo

Oldie But A Goodie

Play Episode Listen Later Dec 27, 2020 59:00


For our final movie of the year, we head back to the hip-hop fueled dance world of Breakin' for the sequel with the name everyone's been making fun of for decades: Electric Boogaloo. It's cheesy, silly, and not as good at the first one; the perfect way to wrap up both 1984 and 2020. Follow the show! Facebook: https://fb.me/oldiebutagoodiepod Omny: https://omny.fm/shows/oldie-but-a-goodie YouTube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA Songs from 1984 Playlist: https://open.spotify.com/playlist/39v1MbWf849XD8aau0yA52 Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://omny.fm/shows/nerdout  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

The Jim Colbert Show
The Story of Ma Durango and Sugarfoot

The Jim Colbert Show

Play Episode Listen Later Dec 15, 2020 164:11


Monday – Are there common things in life that you have not done? What are they? Brandon Kravitz talks NFL, NBA and the Cleveland baseball team changing their name. Attorney Steve Kramer on puppies and copyright law. Rauce Thoughts on SNL stealing his idea. Plus, WOKE News, Trivia & Last Call.

Behind The Christmas Hits with Drew Savage
Things you didn't know about Jingle Bell Rock! Behind the Christmas Hits

Behind The Christmas Hits with Drew Savage

Play Episode Listen Later Nov 30, 2020 3:05


It’s considered the first rock & roll Christmas song, but exactly who is responsible for that is a question that still doesn’t have a definitive answer! Here are things you didn't know about Jingle Bell Rock. By 1957, the rock & roll sound was about to hit Christmas music…even if no one actually intended for that to happen. Jingle Bell Rock was first recorded by country singer Bobby Helms. He is not recognized as the song’s author, but he and guitarist Hank “Sugarfoot” Garland would both claim right up until their deaths that they co-wrote it. You might not know the name Hank Garland, but you’ve heard him play. Jingle Bell Rock, Wake Up Little Susie, Pretty Woman -that’s Hank Garland. The official songwriters of record are Joseph Beale and James Boothe. Both worked in the newspaper business, but would also pitch song ideas to Hollywood producers. Helms and Garland always maintained that the song Beal and Booth wrote was called Jingle Bell Hop and was just awful. The last line of the first verse “now the jingle hop has begun” is a line that likely remained, but much of what was recorded was not on the original page. Helms passed in 1997, but he told the Indianapolis Star in ’92 that Jingle Bell Hop was so bad that he didn’t want to record it until after he and Garland rewrote existing lyrics, reworked the melody, upping the tempo and the bridge. "What a bright time, it's the right time, to rock the night away”…they say they wrote that from scratch. Paperwork likely played a huge role how things unfolded from there. Session players would often come up with things on the fly and not take notes, so there’s no paper trail tracing the changes they made to the song…but plenty of people have come forward saying they witnessed Helms and Garland working their magic. Hank passed in 2004, but his younger brother, Billy has taken up his cause. It’s estimated that as much as $100 million in royalties were never paid to Bobby Helms and Hank Garland. Jingle Bell Rock was released on November 28, 1957, debuting at #6 on the charts for that week and has been a Christmas favourite ever since. Thanks for joining us! We’re just getting started – for lots more stories and videos Behind the Christmas, hit subscribe!

TRUTH IN RHYTHM
TRUTH IN RHYTHM Podcast - Jannetta Boyce-Warren (Zapp, Roger Troutman), Part 2 of 2

TRUTH IN RHYTHM

Play Episode Listen Later Nov 14, 2020 56:05


** 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: There is a special, limited-time FREE book giveaway revealed early on in this show!Featured in TIR Episode 165 (Part 2 of 2): Singer Jannetta Warren, who under her maiden name of Jannetta Boyce was a member of funk powerhouse Zapp, one of the most successful R&B groups of the 1980s. She also contributed to several other acts under the umbrella of bandleader-producer Roger Troutman, including his solo albums and those by Bobby Glover, The Human Body, Sugarfoot from the Ohio Players and Shirley Murdock. In recent years, along with other original band members, she has performed under the name Zapp Anthology -- continuing to bring revered favorites to fans like “More Bounce to the Ounce,” “Dancefloor,” “Heartbreaker,” “I Can Make You Dance,” “I Heard It Through the Grapevine” and “Computer Love.” Those are certainly among the all-time most beloved jams.Here she talks about being the only female member of Zapp, meeting and sharing stages with all the funk and soul greats, what made Roger Troutman tick, and lots more.RECORDED SEPTEMBER 2020LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281).Get 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

TRUTH IN RHYTHM
TRUTH IN RHYTHM Podcast - Jannetta Boyce-Warren (Zapp, Roger Troutman), Part 1 of 2

TRUTH IN RHYTHM

Play Episode Listen Later Nov 13, 2020 60:23


** 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: There is a special, limited-time FREE book giveaway revealed early on in this show!Featured in TIR Episode 165 (Part 1 of 2): Singer Jannetta Warren, who under her maiden name of Jannetta Boyce was a member of funk powerhouse Zapp, one of the most successful R&B groups of the 1980s. She also contributed to several other acts under the umbrella of bandleader-producer Roger Troutman, including his solo albums and those by Bobby Glover, The Human Body, Sugarfoot from the Ohio Players and Shirley Murdock. In recent years, along with other original band members, she has performed under the name Zapp Anthology -- continuing to bring revered favorites to fans like “More Bounce to the Ounce,” “Dancefloor,” “Heartbreaker,” “I Can Make You Dance,” “I Heard It Through the Grapevine” and “Computer Love.” Those are certainly among the all-time most beloved jams.Here she talks about being the only female member of Zapp, meeting and sharing stages with all the funk and soul greats, what made Roger Troutman tick, and lots more.RECORDED SEPTEMBER 2020LEGAL NOTICE: All video and audio content is protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281).Get 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

SIX-GUN JUSTICE PODCAST
SIX-GUN JUSTICE PODCAST EPISODE 19—WARNER BROS. CLASSIC TV WESTERNS

SIX-GUN JUSTICE PODCAST

Play Episode Listen Later Oct 26, 2020 42:34


In episode nineteen of the Six-Gun Justice Podcast, Rich and Paul ride hell-for-leather with the characters from the Warner Bros. Classic TV Westerns—Cheyenne, Bronco, Sugarfoot, Maverick, Lawman, Colt .45, and more...01:44 — Paul reviews a classic Western paperback: Gunsight by Frank Gruber04:39 — Jack Warner comes to TV05:58 — Clint Walker leads Cheyenne to success08:40 — Cheyenne evolves with the times12:50 — The story of Bronco Lane with Ty Hardin15:55 — Paul and Rich look at Sugarfoot with Will Hutchins20:28 — The Monday Night Lineup wraps21:21 — Duel at Judas Basin - a WB crossover22:20 — A shoutout to Maverick23:02 — Rich and Paul talk Lawman starring John Russell as Marshal Dan Troop26:00 — Colt .45 makes the scene27:49 — The dawn of Warner Bros. Merchandising 28:30 — Temple Houston starring Jeffrey Hunter33:48 — The Dakotas fills in for Cheyenne34:50 — Rich reviews E. M. Parsons’ Texas Heller36:20 — E. M. Parsons and The Dakotas 38:11 — The Alaskans mixes it up39:53 — Shoot-Outs and Shout-Outs—Thanks to sponsors, Wolfpack Publishing, Author Chris Enss, publisher Michael Anderle, Author L. J. Martin, and the Western Writers of America. Thanks too to WWA’s Roundup magazine for helping us get the word out about the Six-Gun Justice PodcastSupport us at Patreon: https://www.patreon.com/sixgunjusticePlease drop us an email at: sixgunjusticewesterns@gmail.comAs ever, thanks to all our friends and listeners. Support the show (https://www.paypal.com/donate/?token=suROpN0f2hQhThddyTchkgR4CytqmFW705g1jNJV3rCDT8OLxSCXKbf8j0oyifmCvb3fAW&fromUL=true&country.x=US&locale.x=en_US)

CooperTalk
Charlie Schlatter - Episode 818

CooperTalk

Play Episode Listen Later Oct 16, 2020 66:42


Steve Cooper talks with actor Charlie Schlatter. Charlie is best known for playing Dr. Jesse Travis on the CBS series Diagnosis Murder and for starring in the big screen comedy 18 Again! opposite George Burns. Some of his other work includes the movies Heartbreak Hotel, The Delinquents, Police Academy: Mission to Moscow, Ed, Bright Lights, Big City and TV series such as The Sopranos, Southland, Ferris Bueller, Shameless, Goliath, NCIS and For All Mankind. In the early 1990s, as a voice actor, he began playing character roles for many series. Among his roles were Griff in Sonic the Hedgehog; The Flash in Superman: The Animated Series, The Batman, and Batman Unlimited: Animal Instincts; Jimmy Two-Shoes in the pilot of Jimmy Two-Shoes; Kevin Levin in Ben 10; Ace Bunny in Loonatics Unleashed; Hawk, Stingfly, and the Cannonball Brothers in A.T.O.M. (Alpha Teens on Machines); Tommy in Pet Alien; Sugarfoot, Boy, Chris, Willy/Gnome, Martin/Dwarf in Random! Cartoons; Cameron in Bratz, the title character in Kick Buttowski: Suburban Daredevil and Doctor Mindbender and Wild Bill in the TV series G.I. Joe: Renegades.

Tuf Block Podcast
Ray "Sugarfoot" Sefo

Tuf Block Podcast

Play Episode Listen Later Oct 8, 2020 72:39


We're so humbled and honored to host a show with one of our heroes that we have idolized since way back when. The legend, The Great Ray "Sugarfoot" Sefo! Tune in to hear a little bit of his background in martial arts and coming up in his career from being a Professional Fighter to Coaching the top fighters in the game. Ray is also the President of PFL and has one of the most exciting formats in MMA today. We get into Not so rapid, Rapid fire questions and hear one of Ray's hidden talents. Tune in! Follow Ray Sefo on Instagram and Twitter @sugarraysefo Also check out the PFL at their website www.pflmma.com and look out for their events on ESPN As always dont forget to like, share, comment and subscribe.

Como lo oyes
Como lo oyes - Black Star - 21/08/20

Como lo oyes

Play Episode Listen Later Aug 21, 2020 59:11


Una, sí, muy extraña selección de canciones de grandes estrellas negras. Empezando por un encuentro de Bobby McFerrin y Herbie Hancock y siguiendo por otro de Aretha - el domingo hizo 2 años que murió - y James Brown y a continuación el hijo de Thelonious Monk llenando pista. Más: Earth Wind & Fire, Chic y Odyssey, auténticas estrellas de la era “ disco-funk” en Studio 54. Y luego Prince y sus colaboraciones o ¿imitadores? No hemos olvidado al gran Ray Parker Jr. Ni a The Fugees. La única novedad del repertorio para el proyecto germano Bahama Soul Club. DISCO 1 BOBBY McFERRIN & HERBIE HANCOCK Turtle Shoes (TWINS - 11) DISCO 2 ARETHA FRANKLIN & JAMES BROWN Gimme Your Love (Cara 1 Corte 1) DISCO 3 T.S. MONK Bon Bon Vie (Cara 1 Corte 1) DISCO 4 EARTH WIND & FIRE Song In My Heart (Cara 2 Corte 3) DISCO 5 ODYSSEY Happy Together (Cara 1 Corte 3) DISCO 6 FOZZY THORTON Perfect Lover (Cara 2 Corte 3) DISCO 7 CHIC My Forbidden Lover (2018 Remaster)(4) DISCO 8 SUGARFOOT I Will Be Your Star (Cara 2 Corte 3) Avanzado 1 minuto DISCO 9 PRINCE Sexy Dancer (Cara 1 Corte 3) DISCO 10 CHAKA KHAN Sticky Wicket (Cara 1 Corte 5) DISCO 11 RAY PARKER JR. & RAYDIO You Can’t Change That (Cara 1 Corte 2) DISCO 12 FUGEES Killing Me Softly (8) DISCO 13 BAHAMA SOUL CLUB Ain’t Nobody Business (2) Escuchar audio

Balti Jaam
Balti jaam. The Schwings Band - Sugarfoot Stomp (Leedu)

Balti Jaam

Play Episode Listen Later Jul 23, 2020 5:13


Balti muusikat tutvustab Kevin Park

Balti Jaam
Balti jaam. The Schwings Band - Sugarfoot Stomp (Leedu)

Balti Jaam

Play Episode Listen Later Jul 23, 2020 5:13


Balti muusikat tutvustab Kevin Park

Erik Morna
Balti jaam. The Schwings Band - Sugarfoot Stomp (Leedu)

Erik Morna

Play Episode Listen Later Jul 23, 2020 5:13


Balti muusikat tutvustab Kevin Park

Erik Morna
Balti jaam. The Schwings Band - Sugarfoot Stomp (Leedu)

Erik Morna

Play Episode Listen Later Jul 23, 2020 5:13


Balti muusikat tutvustab Kevin Park

The Music History Project
Ep. 77 - Jonathan "Sugarfoot" Moffett

The Music History Project

Play Episode Listen Later Jul 1, 2020 76:24


This week we celebrate the phenomenal drumming career of Jonathan “Sugarfoot” Moffett. Join us and try not to get whiplash backlash as he goes through his stunning career which includes touring with Michael Jackson, performing at Live Aid with Madonna and recording the 1979 hit “Don't Stop the Music” by Yardbrough & Peoples.

An Honorable Mention w/ Shane & Jeff
Episode 117: Up For Grabs

An Honorable Mention w/ Shane & Jeff

Play Episode Listen Later Jun 2, 2020 164:51


SUPPORT THE SHOW BY SIGNING UP AT PATREON.COM/AnHonorablePod for bonus shows, special behind the scenes footage, and early access including the show on video!SUPER VACANCY! At least in the case of the World Tag Team Titles that Jay & Mark Briscoe recently forfeited; so now it's time to crown some new champs in Connecticut!!!So this one is where Jeff and Shane discuss how the belts got here in the first place, if either thinks it was the best way to proceed from where the belts sat at the end of “Final Battle 2007” with Age of The Fall, and also how Hagadorn squashed Sugarfoot! Fun teams, telling a one night story, and playing off what came before, IS LACEY DEAD, and more!It's “Up For Grabs” on this week's episode, and we are sponsored by the legendary MANSCAPED.COM, where you can save 20% off your order AND receive free shipping with promo code HONOR! And, of course, the Creative Control Network brings the greatness to all your favorite podcast providers!-0-0-0-0-0-0-0-Up For Grabs6/6/08Hartford, CTDark MatchBob Evans vs. Rhett TitusDark MatchMitch Franklin vs. Ernie OsirisROH World Tag Team Title Tournament First Round MatchSweet 'n' Sour Inc. (Adam Pearce & Chris Hero) (w/Bobby Dempsey, Larry Sweeney, Sara Del Rey & Shane Hagadorn) vs. The Vulture Squad (Jigsaw & Ruckus)ROH World Tag Team Title Tournament First Round MatchEl Generico & Kevin Steen vs. Go Shiozaki & Nigel McGuinnessROH World Tag Team Title Tournament First Round MatchDelirious & Pelle Primeau vs. The Age Of The Fall (Jimmy Jacobs & Tyler Black)ROH World Tag Team Title Tournament First Round MatchAustin Aries & Bryan Danielson vs. No Remorse Corps (Davey Richards & Roderick Strong)ROH World Tag Team Title Tournament Semi Final MatchesSingles MatchShane Hagadorn (w/Adam Pearce, Bobby Dempsey, Chris Hero, Larry Sweeney & Sara Del Rey) vs. Alex PayneSingles MatchClaudio Castagnoli vs. Eddie EdwardsThree Way DanceNecro Butcher vs. Brent Albright vs. Erick StevensROH World Tag Team Title Tournament Final Match=-=-=-=-=-An Honorable Mention Podcast is hosted by Jeff Schwartz & Shane Hagadorn every Tuesday on the Creative Control Network.OUTLETS:iTUNES: https://itunes.apple.com/us/podcast/an-honorable-mention-with-shane-hagadorn-jeff-schwartz/id1348324250?mt=2TuneIn Radio: https://tunein.com/podcasts/Sports--Recreation-Podcasts/An-Honorable-Mention-p1101966/Stitcher: https://www.stitcher.com/podcast/an-honorable-mention?refid=stprSpreaker: https://www.spreaker.com/show/an-honorable-mention-with-shane-hagadornCastbox: https://www.castbox.fm/channel/id2083202Podbean: https://www.podbean.com/podcast-detail/6xh9y-77731/An-Honorable-Mention-with-Shane-Hagadorn--Jeff-Schwartz-PodcastSpotify: https://open.spotify.com/show/3bT7qZVq6PN2JWJu21v0jMiHeartRadio: https://www.iheart.com/podcast/966-an-honorable-mention-w-sha-45911710/ListenNotes: https://www.listennotes.com/podcasts/an-honorable-mention-with-shane-hagadorn-0nVes3d7roi/Podcast Addict: http://podplayer.net/?podld=2360081Podchaser: https://www.podchaser.com/podcasts/an-honorable-mention-w-shane-h-625260SUPPORT THE SHOW:Patreon.com/AnHonorablePodMANSCAPED.COM; PROMO CODE “HONOR”ADVERTISE WITH US:advertisecast.com/anhonorablementionwithshanehagadornjeffanhonorablemention@gmail.comFOLLOW US FOR THE LATEST NEWS & NOTES!Twitter & Instagram- @anhonorablepodTwitter & Instagram - @thejeffschwartzTwitter & Instagram - @hagadornshaneAudio by Zach Johnson - @RadioZTanhonorablemention.wixsite.com/mainTwitch.tv/AnHonorablePodFacebook.com/AnHonorablePodYoutube Search “An Honorable Mention”

A History Of Rock Music in Five Hundred Songs
Episode 82: “Are You Lonesome Tonight?” by Elvis Presley

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later May 14, 2020


Episode eighty-two of A History of Rock Music in Five Hundred Songs looks at “Are You Lonesome Tonight?” by Elvis Presley, and the way his promising comeback after leaving the Army quickly got derailed. This episode also contains a brief acknowledgment of the death of the great Little Richard, who died just as I was recording this episode. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Muleskinner Blues” by the Fendermen. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—-  Resources Apologies for the delay this week — I’ve been unwell, as you might be able to tell from the croaky voice in places. Don’t worry, it’s not anything serious…    No Mixcloud this week, as almost every song excerpted is by Elvis, and it would be impossible to do it without breaking Mixcloud’s rules about the number of songs by the same artist. My main source for this episode is Careless Love: The Unmaking of Elvis Presley, the second part of Peter Guralnick’s two-volume biography of Elvis. It’s not *quite* as strong as the first volume, but it’s still by far the best book covering his later years. I also used Reconsider Baby: The Definitive Elvis Sessionography 1954-1977 by Ernst Jorgensen. The box set From Nashville to Memphis contains all Elvis’ sixties studio recordings other than his gospel and soundtrack albums, and thus manages to make a solid case for Elvis’ continued artistic relevance in the sixties, by only including records he chose to make. It’s well worth the very cheap price. And Back in Living Stereo, which rounds up the 1960s public domain Elvis recordings, contains the gospel recordings, outtakes, and home recordings from 1960 through 1962. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Errata I say that by the time “Stuck on You” had come out, Elvis had already made his TV appearance with Sinatra. In actual fact, he was still rehearsing for it, and wouldn’t record it for a few more days. I also say that the Colonel had managed Gene Austin. In fact the Colonel had only promoted shows for Austin, not been his manager. Transcript ERRATUM: I say that by the time “Stuck on You” had come out, Elvis had already made his TV appearance with Sinatra. In actual fact, he was still rehearsing for it, and wouldn’t record it for a few more days. Before I start this week’s episode, I had to mark the death of Little Richard. We’ve already covered his work of course, in episodes on “Tutti Frutti” and “Keep A Knockin'”, and I don’t really have a lot to add to those episodes in terms of his importance to twentieth-century music. We can argue about which of Elvis, Chuck Berry, or Little Richard was the most important artist of the fifties, but I don’t think you can make a good argument that anyone other than one of those three was, and I don’t think you can argue that those three weren’t the three most important in whatever order. Without Little Richard, none of the music we’re covering in this podcast after 1955 would be the same, and this podcast would not exist. There are still a handful of people alive who made records we’ve looked at in the podcast, but without intending the slightest offence to any of them, none are as important a link in the historical chain as Richard Penniman was. So, before the episode proper, let’s have a few moments’ noise in memory of the force of nature who described himself as the King and Queen of Rock and Roll: [Excerpt: Little Richard, “Ooh! My Soul!”] Now on to the main podcast itself. Today we’re going to take what will be, for a while, our last look at Elvis Presley. He will show up in the background of some other episodes as we go through the sixties, and I plan to take a final look at him in a hundred or so episodes, but for now, as we’re entering the sixties, we’re leaving behind those fifties rockers, and Elvis is one of those we’re definitely leaving for now. Elvis’ two years spent in the Army had changed him profoundly. His mother had died, he’d been separated from everyone he knew, and he’d met a young woman named Priscilla, who was several years younger than him but who would many years later end up becoming his wife. And the music world had changed while he was gone. Rockabilly had totally disappeared from the charts, and all the musicians who had come up with Elvis had moved into orchestrated pop like Roy Orbison or into pure country like Johnny Cash, with the exception of a handful like Gene Vincent who were no longer having hits, at least in the US. Elvis had, though, continued to have hits. He’d recorded enough in 1958 for RCA to have a tiny stockpile of recordings they could issue as singles over the intervening two years — “Wear My Ring Around Your Neck”, “Hard-Headed Woman”, “One Night”, “I Need Your Love Tonight”, and “A Big Hunk O’ Love”. Along with those hits, they repackaged several single-only recordings into new albums, and managed to keep Elvis in the spotlight despite him not recording any new material. This had been a plan of the Colonel’s from the moment it became clear that Elvis was going to be drafted — his strategy then, and from then on, was to record precisely as much material for RCA as the contracts stipulated they were entitled to, and not one song more. His thinking was that if Elvis recorded more songs than they needed to release at any given time, then there would be nothing for him to use as leverage in contract negotiations. The contract wasn’t due for renegotiation any time soon, of course, but you don’t want to take that chance. This meant that Elvis didn’t have long to relax at home before he had to go back into the studio. He had a couple of weeks to settle in at Graceland — the home he had bought for his mother, but had barely spent any time in before being drafted, and which was now going to be inhabited by Elvis, his father, and his father’s new, much younger, girlfriend, of whom Elvis definitely did not approve. In that time he made visits to the cinema, and to an ice-dancing show — he went to the performance for black people, rather than the one for whites, as Memphis was still segregated, and he made a brief impromptu appearance at that show himself, conducting the orchestra. And most importantly to him, he visited the grave of his mother for the first time. But two weeks and one day after his discharge from the Army, he was back in the studio, recording tracks for what would be his first album of new material since his Christmas album two and a half years earlier. We talked a little bit, a few weeks back, about the Nashville Sound, the new sound that had become popular in country music, and how Chet Atkins, who had produced several of Elvis’ early recordings, had been vitally responsible for the development of that sound. Many of the Nashville A-team, the musicians who were responsible for making those records with Atkins or the other main producer of the sound, Owen Bradley, had played on Elvis’ last session before he went into the Army, and they were at this session, though to keep fans from congregating outside, they were told they were going to be playing on a Jim Reeves session — Reeves was one of the country singers who were having hits with that sound, with records like “He’ll Have to Go”: [Excerpt: Jim Reeves, “He’ll Have to Go”] So with Chet Atkins in the control booth, the musicians were Hank “Sugarfoot” Garland — the great guitarist who had briefly replaced Scotty Moore on stage when Elvis and his band had split; Floyd Cramer, who had been playing piano with Elvis on record since his first RCA session, Buddy Harman, who had doubled DJ Fontana on percussion on Elvis’ last session from 58, on drums, and Bob Moore, who had played bass on those sessions, back on bass. And of course the Jordanaires were at the session as well — as well as having sung on Elvis’ pre-Army records, they were also part of the Nashville A-Team, and were the go-to male backing vocalists for anyone in Nashville making a country or pop record. Scotty and DJ were there, too, but they were in much reduced roles — Scotty was playing rhythm guitar, rather than lead, and DJ was only one of two drummers on the session. Bill Black was not included at all — Black had always been the one who would try to push for more recognition, and he was now a star in his own right, with his Bill Black Combo. He would never record with Elvis again. The session took a while to get going — the first hour or so was spent ordering in hamburgers, listening to demos, and Elvis and Bobby Moore showing each other karate moves — and then the first song they recorded, an Otis Blackwell number titled “Make Me Know It” took a further nineteen takes before they had a satisfactory one: [Excerpt: Elvis Presley, “Make Me Know It”] Elvis’ voice had improved dramatically during his time in the Army — he had been practising a lot, with his new friend Charlie Hodge, and had added a full octave to his vocal range, and he was eager to display his newfound ability to tackle other kinds of material. But at the same time, all the reports from everyone in the studio suggest that these early sessions were somewhat hesitant. The best song from this initial session was Pomus and Shuman’s “A Mess of Blues”: [Excerpt: Elvis Presley, “A Mess of Blues”] But it was a song by Aaron Schroeder and Leslie McFarland that was chosen for the first single — a mediocre track called “Stuck on You”: [Excerpt: Elvis Presley, “Stuck on You”] Such was the demand for new Elvis material that the single of “Stuck on You” backed with “Fame and Fortune” was released within seventy-two hours. By that time, RCA had printed up 1.4 million copies of the single, just to fulfil the advance orders — they came out in sleeves that just read “Elvis’ 1st New Recording For His 50,000,000 Fans All Over The World”, because when they were printing the sleeves the record company had no idea what songs Elvis was going to record. By that time, Elvis had already made what would turn out to be his only TV appearance for eight years. The Colonel had arranged for a TV special, to be hosted by Frank Sinatra — The Frank Sinatra Timex Show: Welcome Home Elvis. Most of that special was the standard Rat Packisms, with Sinatra joined by Joey Bishop and Sammy Davis Jr. Sinatra had not been at all complimentary about Elvis before he’d gone into the Army, and in later years would continue to be insulting about him, but money was money, and so Sinatra put on a grin and pretended to be happy to be working with him. The train trip to Florida to record the TV show was something Scotty Moore would always remember, saying that at every single crossroads the train tracks went past, there were people lined up to cheer on the train, and that the only comparisons he could make to that trip were the funeral journeys of Lincoln and Roosevelt’s bodies. Scotty also remembered one other thing about the trip — that Elvis had offered him some of the little pills he’d been taking in the Army, to keep him awake and alert. Elvis, Scotty, and DJ were friendly enough on the train journey, but when they got to Miami they found that during the week they were in rehearsals, Scotty, DJ, and the Jordanaires were forbidden from socialising with Elvis, by order of the Colonel. The TV show was one of a very small number of times in the sixties that Elvis would perform for an audience, and here, dressed in a dinner jacket and clearly attempting to prove he was now a family-friendly entertainer, he looks deeply uncomfortable at first, as he croons his way through “Fame and Fortune”. He gets into his stride with the other side of his single, “Stuck on You”, and then Sinatra joins him for a duet, where Sinatra sings “Love Me Tender” while Elvis sings Sinatra’s “Witchcraft”. Watching the footage, you can see that by this point Elvis is completely comfortable in front of the audience again, and frankly he wipes the floor with Sinatra. Sinatra is trying to mock “Love Me Tender”, but Elvis takes Sinatra’s song completely straight, but at the same time knows exactly how ridiculous he is being: [Excerpt: Elvis Presley and Frank Sinatra, “Love Me Tender/Witchcraft”] There’s a passage in Umberto Eco’s book about writing The Name of the Rose, where he talks about the meaning of postmodernism. He explains that an unsophisticated writer like Barbara Cartland might write “I love you madly”. A sophisticated modernist writer would recognise that as a cliche, and so choose not to write about love at all, having no language to do it in, and mock those who did. And a postmodernist would embrace and acknowledge the cliche, writing “As Barbara Cartland might say, ‘I love you madly'”. This, crucially, means that the postmodernist is, once again, able to talk about real emotions, which the modernist (in Eco’s view) can’t. By this definition, Sinatra’s performance is modernist — he’s just showing contempt for the material — while Elvis is postmodernist, sincere even as he’s also knowingly mocking himself. It comes across far more in the video footage, which is easily findable online, but you can hear some of it just in the audio recording: [Excerpt: Frank Sinatra and Elvis Presley, “Love Me Tender/Witchcraft”] A week later, Elvis was back in the studio, with the same musicians as before, along with Boots Randolph on saxophone, to record the rest of the tracks for his new album, to be titled Elvis is Back! Elvis is Back! is quite possibly the most consistent studio album Elvis ever made, and that second 1960 session is where the most impressive material on the album was recorded. They started out with a version of “Fever” that easily measured up to the original by Little Willie John and the most famous version by Peggy Lee, with Elvis backed just by Bobby Moore on bass and the two drummers: [Excerpt: Elvis Presley, “Fever”] Then there was “Like a Baby”, a song originally recorded by Vikki Nelson, and written by Jesse Stone, who had written so many R&B classics before. This saw some of Elvis’ best blues vocals: [Excerpt: Elvis Presley, “Like a Baby”] The next song was a huge departure from anything he’d done previously. Elvis had always loved Tony Martin’s 1950 hit “There’s No Tomorrow”: [Excerpt: Tony Martin, “There’s No Tomorrow”] That had become one of the songs he rehearsed with Charlie Hodge in Germany, and he’d mentioned the idea of recording it. But, of course, “There’s No Tomorrow” was based on the old song “O Sole Mio”, which at the time was considered to be in the public domain (though in fact a later Italian court ruling means that even though it was composed in 1897, it will remain in copyright until 2042), so Freddy Bienstock at Hill and Range, the publishing company that supplied Elvis with material, commissioned a new set of lyrics for it, and it became “It’s Now or Never”. Elvis did several near-perfect takes of the song, but then kept flubbing the ending, which required a particularly powerful, sustained, note. Bill Porter, who was engineering, suggested that they could do a take of just that bit and then splice it on to the rest, but Elvis was determined. He was going to do the song all the way through, or he was not going to do it. Eventually he got it, and the result was extraordinary, nothing like any performance he’d given previously: [Excerpt: Elvis Presley, “It’s Now Or Never”] That would go to number one, as would another non-album single from this session. This one was the only song the Colonel had ever asked Elvis to record, “Are You Lonesome Tonight?” That song had been written in 1926, and had been a hit in several versions, most notably the version by Al Jolson: [Excerpt: Al Jolson, “Are You Lonesome Tonight?”] But the Colonel had two reasons for wanting Elvis to record the song. The first was that, while the Colonel didn’t have much interest in music, he associated the song with Gene Austin, the country singer who had been the first act the Colonel had managed, and so he had a sentimental fondness for it. And the second was that it was the Colonel’s wife Marie’s favourite song. While the studio was normally brightly lit, for this song Elvis made sure that no-one other than the few musicians on the track, which only featured acoustic guitar, bass, drums, and vocals, were in the studio, and that all the lights were off. He did one take of the song, on which the Jordanaires apparently made a mistake. He then did a false start, and decided to give up on the song, but Steve Sholes, RCA’s A&R man, insisted that the song could be a hit. They eventually got through it, although even the finished take of the song contains one mistake — because the song was recorded in the dark, the musicians couldn’t see the microphones, and you can hear someone bumping into a mic during the spoken bridge: [Excerpt: Elvis Presley, “Are You Lonesome Tonight?”] Despite that flaw, the track was released as a single, and became a massive success, and a song that would stay in Elvis’ repertoire until his very last shows. During that one overnight session, Elvis and the band recorded twelve songs, covering a stylistic range that’s almost inconceivable. There was a Leiber and Stoller rocker left over from “King Creole”, a cover version of “Such a Night”, the hit for Clyde McPhatter and the Drifters, the old Lowell Fulson blues song “Reconsider Baby”, the light Latin pop song “The Girl of My Best Friend”, a Louvin Brothers style duet with Charlie Hodge — in one session Elvis managed to cover every style of American popular song as of 1960, and do it all well. In total, between this session and the previous one, Elvis recorded eighteen tracks — three singles and a twelve-track album — and while they were slicker and more polished than the Sun recordings, it’s very easy to make the case that they were every bit as artistically successful, and this was certainly the best creative work he had done since signing to RCA. All three singles went to number one, and the Elvis Is Back! album went to number two, and sold half a million copies. But then, only three weeks after that session, he was in a different studio, cutting very different material. His first post-Army film was going to be a quick, light, comedy, called “GI Blues”, intended to present a new, wholesome, image for Elvis. Elvis disliked the script, and he was also annoyed when he got into the recording studio in Hollywood, which was used for his film songs, to discover that he wasn’t going to be recording any Leiber and Stoller songs for this film, for what the Colonel told him were “business reasons” — Elvis seems not to have been aware that the Colonel had made them persona non grata. Instead, he was to record a set of songs mostly written by people like Sid Wayne, Abner Silver, Sid Tepper, and Fred Wise, journeymen songwriters with little taste for rock and roll. Typical of the songs was one called “Wooden Heart”, based on an old German folk song, and with a co-writing credit to the German bandleader Bert Kaempfert (of whom we’ll hear a little more in a future episode): [Excerpt: Elvis Presley, “Wooden Heart”] Now, one should be careful when criticising Elvis’ film songs, because they were written for a specific context. These aren’t songs that were intended to be listened to as singles or albums, but they were intended to drive a plot forward, and to exist in the context of a film. Taking them out of that context is a bit like just writing down all the lines spoken by one character in a film and complaining that they don’t work as a poem. There’s a habit even among Elvis’ fans, let alone his detractors, of dunking on some of the songs he recorded for film soundtracks without taking that into account, and it does rather miss the point. But at the same time, they still had to be *performed* as songs, not as parts of films, and it was apparent that Elvis wasn’t happy with them. Bones Howe, who was working on the sessions, said that Elvis had lost something when compared to his pre-Army work — he was now trying, and often failing, to find his way into a performance which, pre-Army, he would have been able to do naturally. But when you compare his performances from the Elvis is Back! sessions, it’s clear that the time in the Army wasn’t the problem — it’s just that Elvis had no desire to be singing those songs or appearing in this film. [Excerpt: Elvis Presley, “GI Blues”] Elvis told the Colonel that at least half the songs for the film soundtrack had to be scrapped, but the Colonel told him he was locked into them by contract, and he just had to do the best he could with them. And he did — he gave as good a performance as possible, both in the film and on the songs. But his heart wasn’t in it. He was placated, though, by being told that his next couple of films would be *proper films*, like the ones he’d been making before going into the Army. These next two films were made back-to-back. Flaming Star was a Western with a rather heavy-handed message about racism, starring Elvis as a mixed-race man who felt at home neither with white people nor Native Americans, and directed by Don Siegel, who would go on to direct Dirty Harry. Elvis’ role was originally intended for Marlon Brando, his acting idol, and he only sang one song in the film, other than the title song which played over the credits. [Excerpt: Elvis Presley, “Flaming Star”] And then he made Wild in the Country, which featured only a very small number of songs, and had Elvis playing a troubled young man who has to get court-ordered psychological counselling, but eventually goes off to college to become a writer. There’s quite a bit of debate about the merits of both these films, and of Elvis’ acting in them, but there’s no doubt at all that they were intended to be serious films, even more so than Jailhouse Rock and King Creole had been. After filming these three films, Elvis went back into the studio for another overnight session, to record another album. This time, it was a gospel album, his first full-length gospel record. His Hand in Mine was possibly the purest expression of Elvis’ own musical instincts yet — he had always wanted to be a singer in a gospel quartet, and now he was singing gospel songs with the Jordanaires, exactly as he’d wanted to: [Excerpt: Elvis Presley, “His Hand in Mine”] So in 1960, Elvis had recorded two very different, but hugely artistically satisfying, albums, and had made three films, of which he could reasonably be proud of two. Unfortunately for him, it was the film he didn’t like, GI Blues, that was the big success — and while Elvis Is Back had gone to number two and sold half a million copies, the soundtrack to GI Blues went to number one and stayed there for eleven weeks, and sold a million copies — an absurd number at a time when albums generally sold very little. His Hand in Mine only made number thirteen. The same pattern happened the next year — a studio album was massively outsold by the soundtrack album for Blue Hawaii, a mindless film that was full of sea, sand, and bikinis, and which featured dreadful songs like “Ito Eats”: [Excerpt: Elvis Presley, “Ito Eats”] There would be a couple more films in 1961 and 62, Kid Galahad and Follow That Dream, which tried to do a little more, and which weren’t as successful as Blue Hawaii. From that point on, the die was cast for Elvis. The Colonel wasn’t going to let him appear in any more dramatic roles. The films were all going to be light comedies, set somewhere exotic like Hawaii or Acapulco, and featuring Elvis as a surfer or a race-car driver or a surfing race-car driver, lots of girls in bikinis, and lots of songs called things like “There’s No Room To Rhumba in a Sports Car”. When Elvis got a chance to go into the studio and just make records, as he occasionally did over the next few years, he would make music that was as good as anything he ever did, but starting in 1962 there was a routine of three films a year, almost all interchangeable, and until 1968 Elvis wouldn’t be able to step off that treadmill. After 68, he did make a handful of films in which, again, he tried to be an actor, but after twenty or so lightweight films about beaches and bikinis, no-one noticed. As a result, Elvis mostly sat out the sixties. While the music world was changing all around him, he was an irrelevance to the new generation of musicians, who mostly agreed with John Lennon that “Elvis died when he went into the Army”. We’ll pick up his story in 1968, when he finally got off the treadmill.  

A History Of Rock Music in Five Hundred Songs
Episode 82: “Are You Lonesome Tonight?” by Elvis Presley

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later May 14, 2020


Episode eighty-two of A History of Rock Music in Five Hundred Songs looks at “Are You Lonesome Tonight?” by Elvis Presley, and the way his promising comeback after leaving the Army quickly got derailed. This episode also contains a brief acknowledgment of the death of the great Little Richard, who died just as I was recording this episode. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Muleskinner Blues” by the Fendermen. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—-  Resources Apologies for the delay this week — I’ve been unwell, as you might be able to tell from the croaky voice in places. Don’t worry, it’s not anything serious…    No Mixcloud this week, as almost every song excerpted is by Elvis, and it would be impossible to do it without breaking Mixcloud’s rules about the number of songs by the same artist. My main source for this episode is Careless Love: The Unmaking of Elvis Presley, the second part of Peter Guralnick’s two-volume biography of Elvis. It’s not *quite* as strong as the first volume, but it’s still by far the best book covering his later years. I also used Reconsider Baby: The Definitive Elvis Sessionography 1954-1977 by Ernst Jorgensen. The box set From Nashville to Memphis contains all Elvis’ sixties studio recordings other than his gospel and soundtrack albums, and thus manages to make a solid case for Elvis’ continued artistic relevance in the sixties, by only including records he chose to make. It’s well worth the very cheap price. And Back in Living Stereo, which rounds up the 1960s public domain Elvis recordings, contains the gospel recordings, outtakes, and home recordings from 1960 through 1962. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Errata I say that by the time “Stuck on You” had come out, Elvis had already made his TV appearance with Sinatra. In actual fact, he was still rehearsing for it, and wouldn’t record it for a few more days. I also say that the Colonel had managed Gene Austin. In fact the Colonel had only promoted shows for Austin, not been his manager. Transcript ERRATUM: I say that by the time “Stuck on You” had come out, Elvis had already made his TV appearance with Sinatra. In actual fact, he was still rehearsing for it, and wouldn’t record it for a few more days. Before I start this week’s episode, I had to mark the death of Little Richard. We’ve already covered his work of course, in episodes on “Tutti Frutti” and “Keep A Knockin'”, and I don’t really have a lot to add to those episodes in terms of his importance to twentieth-century music. We can argue about which of Elvis, Chuck Berry, or Little Richard was the most important artist of the fifties, but I don’t think you can make a good argument that anyone other than one of those three was, and I don’t think you can argue that those three weren’t the three most important in whatever order. Without Little Richard, none of the music we’re covering in this podcast after 1955 would be the same, and this podcast would not exist. There are still a handful of people alive who made records we’ve looked at in the podcast, but without intending the slightest offence to any of them, none are as important a link in the historical chain as Richard Penniman was. So, before the episode proper, let’s have a few moments’ noise in memory of the force of nature who described himself as the King and Queen of Rock and Roll: [Excerpt: Little Richard, “Ooh! My Soul!”] Now on to the main podcast itself. Today we’re going to take what will be, for a while, our last look at Elvis Presley. He will show up in the background of some other episodes as we go through the sixties, and I plan to take a final look at him in a hundred or so episodes, but for now, as we’re entering the sixties, we’re leaving behind those fifties rockers, and Elvis is one of those we’re definitely leaving for now. Elvis’ two years spent in the Army had changed him profoundly. His mother had died, he’d been separated from everyone he knew, and he’d met a young woman named Priscilla, who was several years younger than him but who would many years later end up becoming his wife. And the music world had changed while he was gone. Rockabilly had totally disappeared from the charts, and all the musicians who had come up with Elvis had moved into orchestrated pop like Roy Orbison or into pure country like Johnny Cash, with the exception of a handful like Gene Vincent who were no longer having hits, at least in the US. Elvis had, though, continued to have hits. He’d recorded enough in 1958 for RCA to have a tiny stockpile of recordings they could issue as singles over the intervening two years — “Wear My Ring Around Your Neck”, “Hard-Headed Woman”, “One Night”, “I Need Your Love Tonight”, and “A Big Hunk O’ Love”. Along with those hits, they repackaged several single-only recordings into new albums, and managed to keep Elvis in the spotlight despite him not recording any new material. This had been a plan of the Colonel’s from the moment it became clear that Elvis was going to be drafted — his strategy then, and from then on, was to record precisely as much material for RCA as the contracts stipulated they were entitled to, and not one song more. His thinking was that if Elvis recorded more songs than they needed to release at any given time, then there would be nothing for him to use as leverage in contract negotiations. The contract wasn’t due for renegotiation any time soon, of course, but you don’t want to take that chance. This meant that Elvis didn’t have long to relax at home before he had to go back into the studio. He had a couple of weeks to settle in at Graceland — the home he had bought for his mother, but had barely spent any time in before being drafted, and which was now going to be inhabited by Elvis, his father, and his father’s new, much younger, girlfriend, of whom Elvis definitely did not approve. In that time he made visits to the cinema, and to an ice-dancing show — he went to the performance for black people, rather than the one for whites, as Memphis was still segregated, and he made a brief impromptu appearance at that show himself, conducting the orchestra. And most importantly to him, he visited the grave of his mother for the first time. But two weeks and one day after his discharge from the Army, he was back in the studio, recording tracks for what would be his first album of new material since his Christmas album two and a half years earlier. We talked a little bit, a few weeks back, about the Nashville Sound, the new sound that had become popular in country music, and how Chet Atkins, who had produced several of Elvis’ early recordings, had been vitally responsible for the development of that sound. Many of the Nashville A-team, the musicians who were responsible for making those records with Atkins or the other main producer of the sound, Owen Bradley, had played on Elvis’ last session before he went into the Army, and they were at this session, though to keep fans from congregating outside, they were told they were going to be playing on a Jim Reeves session — Reeves was one of the country singers who were having hits with that sound, with records like “He’ll Have to Go”: [Excerpt: Jim Reeves, “He’ll Have to Go”] So with Chet Atkins in the control booth, the musicians were Hank “Sugarfoot” Garland — the great guitarist who had briefly replaced Scotty Moore on stage when Elvis and his band had split; Floyd Cramer, who had been playing piano with Elvis on record since his first RCA session, Buddy Harman, who had doubled DJ Fontana on percussion on Elvis’ last session from 58, on drums, and Bob Moore, who had played bass on those sessions, back on bass. And of course the Jordanaires were at the session as well — as well as having sung on Elvis’ pre-Army records, they were also part of the Nashville A-Team, and were the go-to male backing vocalists for anyone in Nashville making a country or pop record. Scotty and DJ were there, too, but they were in much reduced roles — Scotty was playing rhythm guitar, rather than lead, and DJ was only one of two drummers on the session. Bill Black was not included at all — Black had always been the one who would try to push for more recognition, and he was now a star in his own right, with his Bill Black Combo. He would never record with Elvis again. The session took a while to get going — the first hour or so was spent ordering in hamburgers, listening to demos, and Elvis and Bobby Moore showing each other karate moves — and then the first song they recorded, an Otis Blackwell number titled “Make Me Know It” took a further nineteen takes before they had a satisfactory one: [Excerpt: Elvis Presley, “Make Me Know It”] Elvis’ voice had improved dramatically during his time in the Army — he had been practising a lot, with his new friend Charlie Hodge, and had added a full octave to his vocal range, and he was eager to display his newfound ability to tackle other kinds of material. But at the same time, all the reports from everyone in the studio suggest that these early sessions were somewhat hesitant. The best song from this initial session was Pomus and Shuman’s “A Mess of Blues”: [Excerpt: Elvis Presley, “A Mess of Blues”] But it was a song by Aaron Schroeder and Leslie McFarland that was chosen for the first single — a mediocre track called “Stuck on You”: [Excerpt: Elvis Presley, “Stuck on You”] Such was the demand for new Elvis material that the single of “Stuck on You” backed with “Fame and Fortune” was released within seventy-two hours. By that time, RCA had printed up 1.4 million copies of the single, just to fulfil the advance orders — they came out in sleeves that just read “Elvis’ 1st New Recording For His 50,000,000 Fans All Over The World”, because when they were printing the sleeves the record company had no idea what songs Elvis was going to record. By that time, Elvis had already made what would turn out to be his only TV appearance for eight years. The Colonel had arranged for a TV special, to be hosted by Frank Sinatra — The Frank Sinatra Timex Show: Welcome Home Elvis. Most of that special was the standard Rat Packisms, with Sinatra joined by Joey Bishop and Sammy Davis Jr. Sinatra had not been at all complimentary about Elvis before he’d gone into the Army, and in later years would continue to be insulting about him, but money was money, and so Sinatra put on a grin and pretended to be happy to be working with him. The train trip to Florida to record the TV show was something Scotty Moore would always remember, saying that at every single crossroads the train tracks went past, there were people lined up to cheer on the train, and that the only comparisons he could make to that trip were the funeral journeys of Lincoln and Roosevelt’s bodies. Scotty also remembered one other thing about the trip — that Elvis had offered him some of the little pills he’d been taking in the Army, to keep him awake and alert. Elvis, Scotty, and DJ were friendly enough on the train journey, but when they got to Miami they found that during the week they were in rehearsals, Scotty, DJ, and the Jordanaires were forbidden from socialising with Elvis, by order of the Colonel. The TV show was one of a very small number of times in the sixties that Elvis would perform for an audience, and here, dressed in a dinner jacket and clearly attempting to prove he was now a family-friendly entertainer, he looks deeply uncomfortable at first, as he croons his way through “Fame and Fortune”. He gets into his stride with the other side of his single, “Stuck on You”, and then Sinatra joins him for a duet, where Sinatra sings “Love Me Tender” while Elvis sings Sinatra’s “Witchcraft”. Watching the footage, you can see that by this point Elvis is completely comfortable in front of the audience again, and frankly he wipes the floor with Sinatra. Sinatra is trying to mock “Love Me Tender”, but Elvis takes Sinatra’s song completely straight, but at the same time knows exactly how ridiculous he is being: [Excerpt: Elvis Presley and Frank Sinatra, “Love Me Tender/Witchcraft”] There’s a passage in Umberto Eco’s book about writing The Name of the Rose, where he talks about the meaning of postmodernism. He explains that an unsophisticated writer like Barbara Cartland might write “I love you madly”. A sophisticated modernist writer would recognise that as a cliche, and so choose not to write about love at all, having no language to do it in, and mock those who did. And a postmodernist would embrace and acknowledge the cliche, writing “As Barbara Cartland might say, ‘I love you madly'”. This, crucially, means that the postmodernist is, once again, able to talk about real emotions, which the modernist (in Eco’s view) can’t. By this definition, Sinatra’s performance is modernist — he’s just showing contempt for the material — while Elvis is postmodernist, sincere even as he’s also knowingly mocking himself. It comes across far more in the video footage, which is easily findable online, but you can hear some of it just in the audio recording: [Excerpt: Frank Sinatra and Elvis Presley, “Love Me Tender/Witchcraft”] A week later, Elvis was back in the studio, with the same musicians as before, along with Boots Randolph on saxophone, to record the rest of the tracks for his new album, to be titled Elvis is Back! Elvis is Back! is quite possibly the most consistent studio album Elvis ever made, and that second 1960 session is where the most impressive material on the album was recorded. They started out with a version of “Fever” that easily measured up to the original by Little Willie John and the most famous version by Peggy Lee, with Elvis backed just by Bobby Moore on bass and the two drummers: [Excerpt: Elvis Presley, “Fever”] Then there was “Like a Baby”, a song originally recorded by Vikki Nelson, and written by Jesse Stone, who had written so many R&B classics before. This saw some of Elvis’ best blues vocals: [Excerpt: Elvis Presley, “Like a Baby”] The next song was a huge departure from anything he’d done previously. Elvis had always loved Tony Martin’s 1950 hit “There’s No Tomorrow”: [Excerpt: Tony Martin, “There’s No Tomorrow”] That had become one of the songs he rehearsed with Charlie Hodge in Germany, and he’d mentioned the idea of recording it. But, of course, “There’s No Tomorrow” was based on the old song “O Sole Mio”, which at the time was considered to be in the public domain (though in fact a later Italian court ruling means that even though it was composed in 1897, it will remain in copyright until 2042), so Freddy Bienstock at Hill and Range, the publishing company that supplied Elvis with material, commissioned a new set of lyrics for it, and it became “It’s Now or Never”. Elvis did several near-perfect takes of the song, but then kept flubbing the ending, which required a particularly powerful, sustained, note. Bill Porter, who was engineering, suggested that they could do a take of just that bit and then splice it on to the rest, but Elvis was determined. He was going to do the song all the way through, or he was not going to do it. Eventually he got it, and the result was extraordinary, nothing like any performance he’d given previously: [Excerpt: Elvis Presley, “It’s Now Or Never”] That would go to number one, as would another non-album single from this session. This one was the only song the Colonel had ever asked Elvis to record, “Are You Lonesome Tonight?” That song had been written in 1926, and had been a hit in several versions, most notably the version by Al Jolson: [Excerpt: Al Jolson, “Are You Lonesome Tonight?”] But the Colonel had two reasons for wanting Elvis to record the song. The first was that, while the Colonel didn’t have much interest in music, he associated the song with Gene Austin, the country singer who had been the first act the Colonel had managed, and so he had a sentimental fondness for it. And the second was that it was the Colonel’s wife Marie’s favourite song. While the studio was normally brightly lit, for this song Elvis made sure that no-one other than the few musicians on the track, which only featured acoustic guitar, bass, drums, and vocals, were in the studio, and that all the lights were off. He did one take of the song, on which the Jordanaires apparently made a mistake. He then did a false start, and decided to give up on the song, but Steve Sholes, RCA’s A&R man, insisted that the song could be a hit. They eventually got through it, although even the finished take of the song contains one mistake — because the song was recorded in the dark, the musicians couldn’t see the microphones, and you can hear someone bumping into a mic during the spoken bridge: [Excerpt: Elvis Presley, “Are You Lonesome Tonight?”] Despite that flaw, the track was released as a single, and became a massive success, and a song that would stay in Elvis’ repertoire until his very last shows. During that one overnight session, Elvis and the band recorded twelve songs, covering a stylistic range that’s almost inconceivable. There was a Leiber and Stoller rocker left over from “King Creole”, a cover version of “Such a Night”, the hit for Clyde McPhatter and the Drifters, the old Lowell Fulson blues song “Reconsider Baby”, the light Latin pop song “The Girl of My Best Friend”, a Louvin Brothers style duet with Charlie Hodge — in one session Elvis managed to cover every style of American popular song as of 1960, and do it all well. In total, between this session and the previous one, Elvis recorded eighteen tracks — three singles and a twelve-track album — and while they were slicker and more polished than the Sun recordings, it’s very easy to make the case that they were every bit as artistically successful, and this was certainly the best creative work he had done since signing to RCA. All three singles went to number one, and the Elvis Is Back! album went to number two, and sold half a million copies. But then, only three weeks after that session, he was in a different studio, cutting very different material. His first post-Army film was going to be a quick, light, comedy, called “GI Blues”, intended to present a new, wholesome, image for Elvis. Elvis disliked the script, and he was also annoyed when he got into the recording studio in Hollywood, which was used for his film songs, to discover that he wasn’t going to be recording any Leiber and Stoller songs for this film, for what the Colonel told him were “business reasons” — Elvis seems not to have been aware that the Colonel had made them persona non grata. Instead, he was to record a set of songs mostly written by people like Sid Wayne, Abner Silver, Sid Tepper, and Fred Wise, journeymen songwriters with little taste for rock and roll. Typical of the songs was one called “Wooden Heart”, based on an old German folk song, and with a co-writing credit to the German bandleader Bert Kaempfert (of whom we’ll hear a little more in a future episode): [Excerpt: Elvis Presley, “Wooden Heart”] Now, one should be careful when criticising Elvis’ film songs, because they were written for a specific context. These aren’t songs that were intended to be listened to as singles or albums, but they were intended to drive a plot forward, and to exist in the context of a film. Taking them out of that context is a bit like just writing down all the lines spoken by one character in a film and complaining that they don’t work as a poem. There’s a habit even among Elvis’ fans, let alone his detractors, of dunking on some of the songs he recorded for film soundtracks without taking that into account, and it does rather miss the point. But at the same time, they still had to be *performed* as songs, not as parts of films, and it was apparent that Elvis wasn’t happy with them. Bones Howe, who was working on the sessions, said that Elvis had lost something when compared to his pre-Army work — he was now trying, and often failing, to find his way into a performance which, pre-Army, he would have been able to do naturally. But when you compare his performances from the Elvis is Back! sessions, it’s clear that the time in the Army wasn’t the problem — it’s just that Elvis had no desire to be singing those songs or appearing in this film. [Excerpt: Elvis Presley, “GI Blues”] Elvis told the Colonel that at least half the songs for the film soundtrack had to be scrapped, but the Colonel told him he was locked into them by contract, and he just had to do the best he could with them. And he did — he gave as good a performance as possible, both in the film and on the songs. But his heart wasn’t in it. He was placated, though, by being told that his next couple of films would be *proper films*, like the ones he’d been making before going into the Army. These next two films were made back-to-back. Flaming Star was a Western with a rather heavy-handed message about racism, starring Elvis as a mixed-race man who felt at home neither with white people nor Native Americans, and directed by Don Siegel, who would go on to direct Dirty Harry. Elvis’ role was originally intended for Marlon Brando, his acting idol, and he only sang one song in the film, other than the title song which played over the credits. [Excerpt: Elvis Presley, “Flaming Star”] And then he made Wild in the Country, which featured only a very small number of songs, and had Elvis playing a troubled young man who has to get court-ordered psychological counselling, but eventually goes off to college to become a writer. There’s quite a bit of debate about the merits of both these films, and of Elvis’ acting in them, but there’s no doubt at all that they were intended to be serious films, even more so than Jailhouse Rock and King Creole had been. After filming these three films, Elvis went back into the studio for another overnight session, to record another album. This time, it was a gospel album, his first full-length gospel record. His Hand in Mine was possibly the purest expression of Elvis’ own musical instincts yet — he had always wanted to be a singer in a gospel quartet, and now he was singing gospel songs with the Jordanaires, exactly as he’d wanted to: [Excerpt: Elvis Presley, “His Hand in Mine”] So in 1960, Elvis had recorded two very different, but hugely artistically satisfying, albums, and had made three films, of which he could reasonably be proud of two. Unfortunately for him, it was the film he didn’t like, GI Blues, that was the big success — and while Elvis Is Back had gone to number two and sold half a million copies, the soundtrack to GI Blues went to number one and stayed there for eleven weeks, and sold a million copies — an absurd number at a time when albums generally sold very little. His Hand in Mine only made number thirteen. The same pattern happened the next year — a studio album was massively outsold by the soundtrack album for Blue Hawaii, a mindless film that was full of sea, sand, and bikinis, and which featured dreadful songs like “Ito Eats”: [Excerpt: Elvis Presley, “Ito Eats”] There would be a couple more films in 1961 and 62, Kid Galahad and Follow That Dream, which tried to do a little more, and which weren’t as successful as Blue Hawaii. From that point on, the die was cast for Elvis. The Colonel wasn’t going to let him appear in any more dramatic roles. The films were all going to be light comedies, set somewhere exotic like Hawaii or Acapulco, and featuring Elvis as a surfer or a race-car driver or a surfing race-car driver, lots of girls in bikinis, and lots of songs called things like “There’s No Room To Rhumba in a Sports Car”. When Elvis got a chance to go into the studio and just make records, as he occasionally did over the next few years, he would make music that was as good as anything he ever did, but starting in 1962 there was a routine of three films a year, almost all interchangeable, and until 1968 Elvis wouldn’t be able to step off that treadmill. After 68, he did make a handful of films in which, again, he tried to be an actor, but after twenty or so lightweight films about beaches and bikinis, no-one noticed. As a result, Elvis mostly sat out the sixties. While the music world was changing all around him, he was an irrelevance to the new generation of musicians, who mostly agreed with John Lennon that “Elvis died when he went into the Army”. We’ll pick up his story in 1968, when he finally got off the treadmill.  

An Honorable Mention w/ Shane & Jeff
Episode 104: HDNet Episode 46 "Death of Sugarfoot"

An Honorable Mention w/ Shane & Jeff

Play Episode Listen Later Mar 3, 2020 109:52


This week we bring to you a funeral. The Ring of Honor tenure of Alex Sugarfoot Payne is given it's final breath by Steve Corino & Kevin Steen. We don't just have a normal episode this week, Jeff is joined by Sugarfoot himself. We talk everything leading up to this fateful HDNet Television Taping. So join Jeff and Alex Payne while Shane Hagadorn is off traveling the globe, for one week only here on An Honorable Mention. As always we are hosted by the Creative Control Network, and sponsored this week by Podcorn.com!0-0-0-0-0-0-0-0-0-0-0-HDNet Episode 46January 9, 2010Philadelphia, PAKevin Steen & Steve Corino vs. Alex Payne & Bobby Dempsey The Dark City Fight Club (Jon Davis & Kory Chavis) vs. The Bravado Brothers (Harlem & Lance Bravado) #1 Contenders (ROH World Tag Team Championship): The Young Bucks (Matt & Nick Jackson) vs. The American Wolves (Davey Richards & Eddie Edwards) with Shane Hagadorn-=-=-=-=-=-=-An Honorable Mention Podcast is hosted by Jeff Schwartz & Shane Hagadorn every Tuesday on the Creative Control Network. OUTLETS:iTUNES: https://itunes.apple.com/us/podcast/an-honorable-mention-with-shane-hagadorn-jeff-schwartz/id1348324250?mt=2TuneIn Radio: https://tunein.com/podcasts/Sports--Recreation-Podcasts/An-Honorable-Mention-p1101966/ Stitcher: https://www.stitcher.com/podcast/an-honorable-mention?refid=stprSpreaker: https://www.spreaker.com/show/an-honorable-mention-with-shane-hagadorn Castbox: https://www.castbox.fm/channel/id2083202 Podbean: https://www.podbean.com/podcast-detail/6xh9y-77731/An-Honorable-Mention-with-Shane-Hagadorn--Jeff-Schwartz-PodcastSpotify: https://open.spotify.com/show/3bT7qZVq6PN2JWJu21v0jMiHeartRadio: https://www.iheart.com/podcast/966-an-honorable-mention-w-sha-45911710/ListenNotes: https://www.listennotes.com/podcasts/an-honorable-mention-with-shane-hagadorn-0nVes3d7roi/Podcast Addict: http://podplayer.net/?podld=2360081Podchaser: https://www.podchaser.com/podcasts/an-honorable-mention-w-shane-h-625260SUPPORT THE SHOW:Patreon.com/AnHonorablePodADVERTISE WITH US:advertisecast.com/anhonorablementionwithshanehagadornjeffanhonorablemention@gmail.comFOLLOW US FOR THE LATEST NEWS & NOTES!Twitter & Instagram- @anhonorablepodTwitter & Instagram - @thejeffschwartzTwitter & Instagram - @hagadornshaneAudio by Zach Johnson - @RadioZTanhonorablemention.wixsite.com/mainTwitch.tv/AnHonorablePodFacebook.com/AnHonorablePodYoutube Search “An Honorable Mention”

Playnogames Podcast
Ep.19 Fat Tuesday ... We going to Nola !

Playnogames Podcast

Play Episode Listen Later Feb 25, 2020 90:26


Lauren Ashley with her sports talk D Wade Jersey Retirement Ceremony to NFL combined and HBCU combined to Sugarfoot and her notes with gossip and reviews of pop culture . Reload 31 in full effect . Intro - Created by Mario Parks MP Productions  Play No Games by Big Sean Chris Brown  Outro: Game over  IG: @playnogamespodcast Facebook: Play N0 Games  Email: playn0gam3spodcast@gmail.com twitter:@playnogamespodcast This podcast is not for sale. --- 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/playnogamespod/message Support this podcast: https://anchor.fm/playnogamespod/support

On Target
251. It's A Mess I Tell You

On Target

Play Episode Listen Later Feb 23, 2020 60:30


This hour is packed and overflowing with the cream of Mod Marty's collection. Some new and some hand-picked from the vaults. An earful of high quality musical gold is in store for anyone who chooses to plug in. Lock the doors and turn it up!! Please like us on Facebook: facebook.com/ontargetpodcast ----------------------------------------------- The Playlist Is: "Every Night The Same Time" Miss Johnny Richardson - Sprout "What's Wrong With My Girlfriend" Roger Freeman - Joro "She Put A Spell On Me" Little Milton - Checker "Roll With Me Henry" Etta James - GRT "Cryin'" The Pyramids - Cub "Confusion" Lee Dorsey - Amy "La La La La La" The Afros Blue Quintet Plus 1 - Mira "Is This The Dream" The Zombies - Parrot "Give Your Lovin' To Me" The Mojos - Decca "Goose Pimples" Shirley J. Scott - Stephanye "It's Been A Long Time" Ruby Yates & The Swinging Rocks - Hit Productions "It's A Mess I Tell You" Ricky Allen - Bright Star "I Miss My Baby" Rose Batiste - Revilot "Hey! Sugarfoot" Jerry Jackson - Columbia "Stupidity" Solomon Burke - Atlantic "Black Is Black" The Masque - Bell "Hold Me" P. J. Proby - London "Barbara Ann" Les Safari - Disques Vogue "Sunglasses After Dark (pt. 1)" The Kevin Fingier Collective - Fingier "Don't Wanna Cry No More" Gerri Granger & The Kevin Fingier Collective - Fingier "Jelly Bread" Booker T. & The M.G.s - Stax

Future Bachelor
Episode 098 | "Sugarfoot"

Future Bachelor

Play Episode Listen Later Feb 6, 2020 60:58


Si & Veronica are feeling super for our episode 98! We both had a lot of thoughts about the Super Bowl. We are forever not worthy of JLo’s and Shakira’s talent, and we even broke down the different critiques of the show. Will Stormi end up in therapy because of the amount of replicas of her head that were all over her 2nd birthday theme park? Probably. The dark pop princesses were FED UP with the stunts this past week. Billie called out people going to malls impersonating her and Halsey cussed out someone yelling “G-Eazy” during her show in Miami for Super Bowl week. G-Eazy was also someone who made Vee go “Yikes!” because he was slithering all around Megan Thee Stallion and sucking her face at Super Bowl afterparties. She also went “Yikes!” to Nicki’s leaked song of the same name that potentially disses the work of Rosa Parks. What a spicy start to Black History Month! Our Mini Main Topic dives into how self-sabotaging surfaces in your dating habits. What behaviors do you show? Can you learn to nip it in the bud? We only could go over the 3-hour tour of night one of this week’s Bachelor journey. Si is pissed Alayah immediately was sent back home but Peter might’ve gotten some klutzy karma with his new forehead scar. Catch our FB Live watch of the episode on our Facebook page and our Tipsy Talks on our IG Stories and Highlights! Join us for what is always a good time and leave us a rating and review for a shoutout! Follow us @thefuturebachelor on Instagram! Thanks to you all who have subscribed! -- For fun, great music updated weekly, follow FUTURE BACHELOR on Spotify! ***This Week's Featured Songs*** INTRO SONG: “Gorilla” by Bruno Mars   SLAPPER OF THE WEEK: “Bust It Open” by Cool Company -- Follow us on Instagram!

Playnogames Podcast
Where is my refund?

Playnogames Podcast

Play Episode Listen Later Nov 14, 2019 104:12


This episode Lauren Ashley is join by Bri aka Sugarfoot, Nina aka Twin 1/2 of Single in the loop podcast, Brittany aka my therapist ,and Buretta Blaze aka Queen of the South Houston Barcode . The ladies talk about sports lightly talk about bring new boo to thanksgiving , interracial dating , mental health and domestic violence . Full warning this episode is fully of laughter , love and realness . Intro - Created by Mario Parks MP Productions Host : Lauren Ashley Play of the week :Texans vs Baltimore and Patriots vs Eagles : Play No Games by Big Sean Chris Brown Outro: Game over IG: @playn0gam3s Facebook: Play N0 Games Email: playn0gam3spodcast@gmail.com This podcast is not for sale. --- 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/playnogamespod/message Support this podcast: https://anchor.fm/playnogamespod/support

Drumeo Gab Podcast
Jonathan “Sugarfoot” Moffett - Michael and Me

Drumeo Gab Podcast

Play Episode Listen Later Oct 20, 2019 95:33


“When somebody good, or something good comes around the world doesn’t trust it and they destroy what they don’t understand.” Jonathan “Sugarfoot” Moffett is one of the most important drumming figures in pop music. He has had an unbelievable career with even more unbelievable beginnings. Born in New Orleans, Louisiana, Jonathan began playing drums as a child. He and his two older brothers all played in a band together for a few years until eventually Jonathan was fired because he couldn’t get into the nightclubs to play that his brothers wanted to perform in. This disenchanted Jonathan a great deal but would prove that this was just the beginning of an incredible life of music. His whole story is something divine or something we might read in a fairy tale. He was in association with Michael Jackson up until the time of Michael’s death in 2009. Jonathan was with Michael on the last night that he was alive on this earth. It was a thirty-year working relationship and brotherly friendship and I am almost certain that we will never hear of something like that happening again. Jonathan has also performed with Madonna, Sir Elton John, Quincy Jones, Stevie Wonder, and many others. His resume is something of epic proportions and he shares so much wisdom in this episode that helps us understand why that may have been. You Will Hear About…. How Jonathan got his name “Sugarfoot”. How Jonathan got the Jackson gig. Jonathan’s beliefs on what is intended for us. The multiplicity effect drumming has on our brains. Michael Jackson’s compassion for all life. How Jonathan feels since Michael’s passing. Jonathan’s thoughts and feelings towards the allegations and controversy surrounding Michael Jackson.   Why Should You Listen? This episode contains things that are incredibly inspiring and also educational, which makes it a great episode. It also contains a lot of great stories from the legendary career that Jonathan has experienced so far. However, what Jonathan has to say regarding Michael’s passing and the allegations and controversy makes this episode important. I have read and heard numerous interviews with Jonathan and no one goes there with Jonathan. It is some incredibly strong subject matter and difficult to ask as a host. But we went there. I must say though, given the amount of time Jonathan spent with Michael, he is a very credible person to speak about this stuff. He is both neutral and knowledgeable about what Michael was really like as a person. I believe that anyone who hears this episode will have a sense of confirmation that Michael was a better human being than most of us can fathom. Music used in this episode: Michael Jackson - Thriller https://www.youtube.com/watch?v=uRGTT4Y6LnA   Jonathan’s Socials Instagram Facebook YouTube Twitter   Drumeo Gab’s Socials Instagram Facebook

88Nine: 414 Live
April 18th - Alex Ballard and Sugarfoot

88Nine: 414 Live

Play Episode Listen Later Apr 23, 2019 25:29


Alex Ballard and Sugarfoot includes drummer Jeff Jara, bassist Jeff Harrington and guitarist Dan Johnston.The band’s most recent project “Built my World” has two tracks. Side A is “Built my World” and Side B is “Lathe from Heaven.”On March 2, 2019 the group released their single “Light Of Your Love,” which sounds like a country song with ‘80s vocals.

88Nine: 414 Live
April 18th - Alex Ballard and Sugarfoot

88Nine: 414 Live

Play Episode Listen Later Apr 23, 2019 25:29


Alex Ballard and Sugarfoot includes drummer Jeff Jara, bassist Jeff Harrington and guitarist Dan Johnston.The band’s most recent project “Built my World” has two tracks. Side A is “Built my World” and Side B is “Lathe from Heaven.”On March 2, 2019 the group released their single “Light Of Your Love,” which sounds like a country song with ‘80s vocals.

Miniature Horsemanship Stories
Taylor Hynds-Howe & Sugarfoot - Episode 18

Miniature Horsemanship Stories

Play Episode Listen Later Feb 27, 2019 21:18


Imagine getting your favourite TV horse as a surprise gift - that's exactly what happened for Taylor, when her family brought home Sugarfoot, the adorable Miniature Horse from Heartland!

Punch Up The Jam
'Send Me On My Way' by Rusted Root (w/ Griffin McElroy)

Punch Up The Jam

Play Episode Listen Later Jan 24, 2019 61:39


Today on the show, Griffin McElroy (My Brother, My Brother and Me podcast - @griffinmcelroy) stops by to help us dissect Rusted Root's "Send Me On My Way," live from PodCon in Seattle!UNPUNCHABLE JAMS: "Pristine" by Snail Mail, "Missed the Boat" by Modest Mouse, and "Sugarfoot" by Black Joe Lewis & The Honeybears.Want more Punch Up The Jam? Become a Patron today! You'll support the show plus get some awesome perks like:DOWNLOAD the punch-ups (four posted each month as well as the entire back catalog).VOTE on what songs we punch up!WEEKLY BONUS EPISODE of Unpunchables Etc.MORE BABY!!!!!!!!!!Check it all out at www.patreon.com/punchupthejam.

The Clappers
The Favourite, Golden Globes, Sugarfoot Ramblers & Succession

The Clappers

Play Episode Listen Later Jan 16, 2019 28:46


Music at the end by the Sugarfoot Ramblers (Bandcamp), the song is Georgia Swing. The Favourite is unlike the stuffy English drama one of the movie's stills make lead you to think. Directed by Yorgos Lanthimos (The Lobster adn "Greek Weird Cinema", Karl's words not mine) and starring Olivia Coleman. Something about rabbits? Either way Karl and Andrew both agree it's fantastic. There's a touch on the GGs before Andrew is emploring us to get out and see more live music (a theme of The Clappers), his example of one great band - The Sugarfoot Ramblers. Lastly for fans of In The Loop, Veep, The Thick of It, The Big Short or the like - Succession is the latest TV series you could comfortably group with these political / business comedy / dramas. No prizes for guessing Succession's inspiration, and why it's made little noise in Australia. Tell a friend about the show - The Clappers!   The Clappers is produced by Nearly, a podcast network. Find a new podcast! The Debrief with Dave O'Neil - Dave gives a comedian a lift home from a gig. 10 Questions with Adam Zwar - The same 10 questions with answers that vary wildly. Scale Up - How does a company go from 5 laptops to 200 staff?   See omnystudio.com/listener for privacy information.

Shenk
San Diego, Sugarfoot & Hot Beach Dad W/ Comedian Justin Martindale

Shenk

Play Episode Listen Later Oct 8, 2018


Comedian Sara Weinshenk sits down w/ Comedian Justin Martindale. They discuss everything from their recent trip to San Diego to the story of his mother's childhood horse, Sugar Foot. Follow on Twitter: @justinmartindale Instagram: @justinmartindale - Make sure to check out Justin's show on E! Snap Chat called, WhatThe Fashion. Subscribe, Rate & Review on iTunes! Follow Sara Weinshenk @princessshenk. Email all fashion/guest related questions to shenk.pod@gmail.com Brought to you by @smokedhoney / smokedhoneyca.com

Descent Into The Archives
Descent Into The Archives

Descent Into The Archives

Play Episode Listen Later Sep 26, 2018 79:30


On part two of this Aloha Friday show at Steve’s house. Terry Armour & Ed Silha join the broadcast. Steve talks sponsors wants to a jet boat. He thinks Joe & Ali should get married. Stan with a stock market report. Plus, why do the boys wear two shirts?

Bombs over Dirkastan
Episode 3 sugarfoot

Bombs over Dirkastan

Play Episode Listen Later Sep 21, 2018 25:07


Some stuff for this past week

Drum Channel Podcast
EP 6: Jonathan Sugarfoot Moffett

Drum Channel Podcast

Play Episode Listen Later Aug 22, 2018 41:39


Jonathan Moffett, also known as Sugarfoot, is a drumming legend and is well known as being the drummer for Michael Jackson for over 30 years. He has also performed with Madonna, Sir Elton John, George Michael, Stevie Wonder, and many other iconic artists. Moffett was born and raised in New Orleans and began his drumming career when his father asked him and his brothers if they wanted to start playing music. Jonathan was assigned to play the drums after everyone wanted to play guitar and his father said “you can’t all play guitar.” This path however did not turn out bad for Jonathan at all, becoming one of the most iconic drummers in history. He began touring with The Jacksons after moving to LA from New Orleans in the late 1970s. In this episode Jonathan shares his amazing story of how he got the gig and came to play with Michael Jackson for over 30 years. Jonathan was the last drummer to audition with the Jacksons, impressing the group by playing “Shake Your Body” on the drums all by himself, a song with a three part overdub, which means it has three drum parts layered on top of one another with three separate passes of recorded individual drums parts. Jonathan also plays a number of instruments and is both a songwriter and producer. He has influenced drummers all over the world with his groundbreaking drum techniques and style. He is notorious for his kung-fu inspired signature moves which he came up with during a marathon practice session late one evening - the "one-handed cymbal catch" and his backlash-whiplash cymbal crashes (single and/or double hand) where he places two cymbals behind him and hits them without looking. The Sugarfoot sound is unique, fusing the feel of funk and R&B with the power of rock. He is also known for his impressive drum setups often using multiple kick drums and toms, and an array of cymbals rigged on a complex web of stands and hardware. Some of Moffett’s drumming influences include Zigaboo, Buddy Rich, Louis Bellson, Tony Williams, Billy Cobham, James Brown, Stevie Wonder, among many others. Links: Website: www.jmdb.world Instagram: www.instagram.com/jmoffettmjm Twitter: www.twitter.com/jmoffettmjm YouTube: www.youtube.com/jonathansugarfootmoffett

An Honorable Mention w/ Shane & Jeff
An Afternoon With Alex Payne

An Honorable Mention w/ Shane & Jeff

Play Episode Listen Later Aug 21, 2018 196:41


This week the podcast took a somewhat unexpected turn. As opposed to a deep dive into one of the more than 200 events Hagadorn was involved in (or one of the numerous others he was not), we sat down with ROH alum Alex Payne for an in-depth conversation on his decade-plus career.Alex opens up about it all: training with Austin Aries and Bryan Danielson and his feelings on them both; the birth, as well as the ups and the downs of being branded "Sugarfoot" and his own regrets about it. Alex talks Pro Wrestling NOAH, training in their dojo, and his time spent overseas. He delves into how that nearly broke him, and how it fueled his motivation to become something else away from the ROH spotlight. He also talks how his Ring of Honor tenure ended during the HDNet/Adam Pearce era and a rather explosive phone call between AP and himself.Join Jeff and Shane and Alex as they engage in a pretty open and honest discussion on the ups and downs of chasing a dream.

Music Review Roulette
Episode 64: Faux Fawn | Gin Chocolate & Bottle Rockets | Alex Ballard & Sugarfoot

Music Review Roulette

Play Episode Listen Later Jun 29, 2018 29:06


Today we spun the wheel and reviewed music by Faux Fawn | Gin Chocolate & Bottle Rockets | Alex Ballard & Sugarfoot --- Support this podcast: https://anchor.fm/music-review-roulette/support

Episode 64: Faux Fawn | Gin Chocolate & Bottle Rockets | Alex Ballard & Sugarfoot

"ROULETTE" - Music Review

Play Episode Listen Later Jun 29, 2018 29:07


Today we spun the wheel and reviewed music by Faux Fawn | Gin Chocolate & Bottle Rockets | Alex Ballard & Sugarfoot

Drumeo Podcast
EP30: Interview With Jonathan "Sugarfoot" Moffett

Drumeo Podcast

Play Episode Listen Later Apr 30, 2018 63:52


Jonathan Moffett has worked with some of the greatest pop musicians ever! From Madonna, Elton John, and George Michael, to Stevie Wonder, Lionel Richie, The Jacksons and the king of pop himself, Michael Jackson. Join us for the incredible opportunity to get to know Jonathan and learn what it was like to work with the biggest names of pop music.

kbob899.com
Rebroadcast Show of Legendary Drummer Johnathan "Sugarfoot" Moffett

kbob899.com

Play Episode Listen Later Mar 10, 2018 120:00


Sat 12-2pm,Johnathan "Sugarfoot" Moffett,Drummer for Michael Jackson,The Jackson's,Janet Jackson,Madonna,Elton John,Cameo. Dial 646 716-5525 and press the 1 button to talk to Sugarfoot. www.blogtalkradio.com/wfunk

kbob899.com
Michael Jackson,Madonna,Elton John,Cameo Drummer Johnathan"Sugarfoot"Moffett

kbob899.com

Play Episode Listen Later Feb 24, 2018 120:00


Since 1979, he has collaborated with the Jackson family, particularly Michael Jackson, over the course of 30 years. Later, he performed with other notable musicians, such as Madonna, George Michael, Elton John, Lionel Richie and many other artists. Dial 646 716-5525 and press the 1 button to talk to Johnathan"Sugarfoot"Moffett. www.blogtalkradio.com/wfunk 

The MJCast - A Michael Jackson Podcast
061: Jonathan ‘Sugarfoot’ Moffett Special

The MJCast - A Michael Jackson Podcast

Play Episode Listen Later Jul 21, 2017 137:26


Drummer Jonathan ‘Sugarfoot’ Moffett first worked with Michael Jackson when he joined the Jacksons on their Destiny Tour in 1979. He remained with the brothers for the Triumph Tour – Continue Reading →

Dirty Sports
Episode 299: Bartolo Colon's Sugarfoot

Dirty Sports

Play Episode Listen Later Apr 3, 2017 110:04


Andy Ruther and Joe Praino are joined by comedian and official Dirty Sports MLB correspondent Andy Lazarus. They open the show by talking Jessica Mendoza, slump busters, and Madison Bumgarner. Next they recap the Final Four and make predictions for the championship game. Then the comics talk UConn's loss, Gronk at Wrestlemania and Derrick Rose's knees. They continue the NBA discussion by talking Warriors, Kevin Durant, and Russell Westbrook. Next they preview the 2017 MLB season, breaking down each division and predicting the winners. They finish the show by discussing the criteria for determining the "Smartest DirtBall." Website: www.dirtysports.com Merch - https://teespring.com/stores/dirty-sports www.flagandanthem.com - Promo Code "DirtySports" www.ProFlowers.com - Promo Code "Dirty Sports" Seat Geek - Promo Code "Dirty" www.mybookie.ag - Promo Code "Dirty" Follow us on Twitter - https://twitter.com/thedirtysports Like us on Facebook - https://www.facebook.com/dirtysports Follow Andy Ruther on Twitter - https://twitter.com/AndyRuther Follow Joe Praino on Twitter - https://twitter.com/FixYourLife Follow Andy Lazarus on Twitter -https://twitter.com/AndyLazarus

Sports Talk with Jock Wilson
Remembering Stampeder great Sugarfoot Anderson!

Sports Talk with Jock Wilson

Play Episode Listen Later Mar 9, 2017 10:04


Stampeder Presidnet and GM John Hufnagel says it best!  "Sugarfoot anderson was an iconic figure in Stampeder history."  The only player in franchise history to wear "00", he earned legions of friends and fans with his good humour and story telling prowess. Former Stampeder Jackie Kellogg looks back as the alumni honored Sugarfoot at last year's golf tournament.   

Jackie's Groove
02/08/17 Jonathan "Sugarfoot" Moffett - Drummer with Michael Jackson, George Michael, Madonna and Elton John

Jackie's Groove

Play Episode Listen Later Feb 8, 2017 119:28


Jonathan "Sugarfoot" Moffett is an American drummer, songwriter and producer. Since 1979, he has collaborated with Jackson family. Later, he performed with other notable musicians, such as Patti Austin, Elton John, Cameo, Lionel Richie and Madonna.

Sushi Jackknife
EP 75 Crafting Centaurs

Sushi Jackknife

Play Episode Listen Later Jan 17, 2017 68:19


This Week: A Bad Case of Sugarfoot, Cute Girls with Diabetes, Attack of the Killer Meatballs, Hatin' on Bobby Flay, Justin's Wife Punches Rachel Ray, Make America Grape Again, Christopher Steele (kind of like real life James Bond), Trump Likes to Watch People Pee on Each Other, Dings for Eric Trump, 3 Doors Down Plays "Kryptonite" for the Inauguration, Cumbersome Cabinet Nominations, Bullshit Breitbart, A Bounty of Buttons, Man-Specific Soda, Podcast Kid Makes a Surprise Appearance, Profound Questions for a Three-Year-Old, What If Your Kid Becomes A Serial Killer? And more! #VladimirPoutine Follow Justin @JustinLCroft, Nathan @badlandsbadley, and SJK's very own consciousness @SushiJackknife. E

Lønsj med Rune Nilson
19.8.2016 Pstereopod #8: Alex Pettersen & Øyvind Holm!

Lønsj med Rune Nilson

Play Episode Listen Later Aug 19, 2016 21:31


Torfinn tar med seg den bærbare opptakeren ut i festivalområdets periferi og snakker med Alex Pettersen og Øyvind Holm om bacalao, Sugarfoot, Dipsomaniacs, gitarsoloer, ansiktsuttrykk på folk som spiller, Motorpsycho-opplevelser, verdens beste gitarist, svette og reutgivelser på tredobbel vinyl. Velbekomme!

Radio Tidsmaskinen
Podcast #11 uten musikk

Radio Tidsmaskinen

Play Episode Listen Later May 27, 2016 34:12


Etter ukesvis med varm øl og tofusuppe er vi endelig tilbake i trygge omgivelser. Vi snakker om forholdet mellom artist og kommersielle krefter, kommende liveintervju med Anne Lise Frøkedal og spiller en splitter ny Sugarfoot låt. Denne sendingen finner du som vanlig med musikk på mixcloud.com/radiotidsmaskinen

TUBE TUNES
S01E01: Go West, Old Man – Adult Westerns of the 1950s (Part 1)

TUBE TUNES

Play Episode Listen Later Nov 29, 2015


This episode of TUBE TUNES explores the rise of the adult westerns in the 1950s by focusing on ten of them (Part 2 will cover another ten or so in a later episode). Included are the iconic theme tunes of each show, brief biographies of the theme composers and lyricists for each series, a rundown of the stars, synopses and broadcast histories of each show, and trivia about all of them. The series explored in this episode: GUNSMOKE, THE LIFE AND LEGEND OF WYATT EARP, CHEYENNE, HAVE GUN - WILL TRAVEL, SUGARFOOT, WAGON TRAIN, MAVERICK, WANTED: DEAD OR ALIVE, BRONCO, and THE TEXAN. A few vintage commercials (Budweiser Beer, Great American Soups, Hershey Chocolate, and Sergio Valente Jeans) are also interspersed throughout the podcast. Thanks to Zerbinator for helping me get this podcast off the ground and running. His encouragement and expertise are very much appreciated by me. You can find all of his fun-to-listen-to podcasts here. And I'd also like especially to thank him for providing the opening and closing theme music for TUBE TUNES; all of his fantastic music can be found here. Thanks, Burford. Next Episodes: "S01E02: A Wacky Week in 1965 (Part 1)" and "S01E03: A Wacky Week in 1965 (Part 2)" (available December 13, 2015)

Where Hollywood Hides: Television | Movies | Music | Show Business | Writing | Producing | Directing | Acting

One of Hollywood’s iconic screen beauties, Diane McBain was headed for major stardom before she had even finished high school.  In this revealing interview, she provides a candid look into her life before, during, and after her years of major film and television stardom. Raised as a child within sight of Hollywood Boulevard’s klieg lights, Diane quickly went from winning teen beauty contests, acting in neighborhood theater productions, working through high school as a magazine cover girl, her first day on the set of Father Knows Best, and being cast in Ice Palace, a major motion picture starring Richard Burton...all before she was 18 years old! Diane pulls no punches as she describes life as a Warner Brothers contract player, how she handled the allure of stardom while still finishing high school, and the sacrifices she made for a career that “fell into her lap”.  She talks about her first on-screen kiss and the hectic life of an actress working non-stop on TV series like Maverick, Sugarfoot, Bourbon Street Beat, Surfside 6, 77 Sunset Strip, Batman, and The Man from Uncle (to name only a few of her dozens of shows). Diane openly discusses the challenges and realities of working as a contract player for a studio that didn’t capitalize on her star power when she had it.  She reflects upon changing audience tastes, the fact that “people move on”, and how she found herself becoming “just a working actress” struggling to succeed in “a very difficult business”. After starring in classic films like Parrish and Claudelle Inglish (her favorite role), after working with Elvis Presley in Spinout, after three decades of appearances in every TV show from Eight Is Enough to Dallas and General Hospital , Diane has now recently authored Famous Enough in which she tells the complete story of her life and career.  As her longtime friend Tippi Hedren describes it, “This is a book about the real Hollywood...told with truth, humility and lots of humor.” We agree.  It’s a great book (packed with pictures) and if you’ve got “Hollywood dreams”, you need to listen to this interview...and then read it!  

Uncut Funk with Phil Colley
Uncut Funk with Phil Colley January 29, 2013

Uncut Funk with Phil Colley

Play Episode Listen Later Feb 4, 2013 116:00


Sugarfoot Tribute/ Aaron Mills Interview Playlist: PTFI, ZootZilla - Uncut Funk Theme Ohio Players - It's All Over Cameo - In The Night Donald Byrd - Dance Band N.C.C.U. - Super Trick Cameo - Roller Skates Aaron Mills Interview(also H.F. Watts and Wayne Kee) Outkast - Ms. Jackson Sugarfoot Tribute: Ohio Players - Not Enuff Herbie Hancock ft. Sugarfoot and Bootsy - Vibe Alive Ohio Players - Fopp Ohio Players - Don't Say Goodbye Ohio Players - Skin Tight (Live) Ohio Players - Body Vibes Ohio Players - Sleep Talk Ohio Players - Funk-O-Nots Ohio Players - What The Hell

DjDrake804 Podcast
THE BEST OF THE OHIO PLAYERS

DjDrake804 Podcast

Play Episode Listen Later Jan 28, 2013 43:30


Leroy "Sugarfoot" Bonner,front man of the Ohio Players,has died at age 70 Let’s celebrate his life, remember his music and never forget what he has given us over the years...R.I.P "SUGARFOOT"

LOTL THE ZONE
The Legendary Leroy 'Sugarfoot' Bonner of the Ohio Players

LOTL THE ZONE

Play Episode Listen Later Aug 26, 2011 121:00


One of the most popular funk bands of the 1970s and '80s, the Ohio Players is back in the spotlight, this time emphasizing the distinctive voice and musical style of its frontman, Hamilton native Leroy “Sugarfoot” Bonner. Sugarfoot's Ohio Players will join Lakeside, Con-Funkion, Dazz Band and The Barkays Aug. 29 at the Soul Food Festival at the Hamilton County Fairgrounds, and that's close enough to home for Sugarfoot. Although Sugarfoot was born in Hamilton, he hardly calls it home anymore. Since he left as a teenager, he's only been back once, for a funeral last year, and just zipped in and out of town as fast as he could, he said. “Everything I used to know has been gone,” he said. “I have too many bad memories about Hamilton and I don't like to go back.” But it was in Hamilton where he first started learning about music, playing harmonica on the street corners for change, learning his first few guitar chords from “some wino,” and sneaking into the Rendezvous Lounge when he was 12 years old to play with the musicians there. But by the time he was 14, he ran away from his Front Street home, where he was the oldest of 14 children, left town and never looked back. “We were poor and I wanted to go anywhere I could make some money,” he said. He first went to Cincinnati, then to Dayton, where it was easier to make money playing music. There, in 1971, he hooked up with a band called the Ohio Untouchables, but when he joined as singer and guitarist, they changed the name of the band to Ohio Players. Within two years, the Ohio Players cracked the Billboard charts and in 1974 scored the first of six consecutive No. 1 albums on the Rhythm'n'Blues charts, “Skin Tight.”

Western Theater
TPW 041 Sugarfoot 57-09-17 Brannigan's Boots

Western Theater

Play Episode Listen Later Jul 13, 2011


"Brannigan's Boots" edited for radio from the classic show Sugarfoot aired September 17, 1957 starring Will Hutchins as Tom Brannigan. Crooked politicians in Bluerock appoint Tom sheriff after noting his poor shooting aim, however, Tom takes the job seriously.TPW 041 Sugarfoot 57-09-17 Brannigan's Boots

Boxcars711 Old Time Radio
Bronco Lane "Skipper Bronco Lanyne" (1960) - Boxcars711 Midnight Western

Boxcars711 Old Time Radio

Play Episode Listen Later Mar 13, 2008 47:11


Bronco was a Western series on ABC from 1958 through 1962. The program starred Ty Hardin as Bronco Layne, a former Confederate officer who wandered the Old West, meeting such famous people as Wild Bill Hickok, Billy the Kid, Jesse James, Theodore Roosevelt, Belle Starr and Cole Younger. Bronco was born when Warner Bros. executives and actor Clint Walker clashed over Walker's contract on the series Cheyenne. Walker had walked out on his show over such stringent clauses as a requirement that he kick back half of all personal appearance fees to Warner Bros., and that he only record for Warner music labels. When the two sides came to an impasse, the network hired newcomer Ty Hardin to play the new character of Bronco Layne, but kept the title of Cheyenne. When Walker came back to his series, Bronco Layne was spun off into his own show. Bronco at first alternated with another Western series, Sugarfoot, featuring Will Hutchins. In 1960, the two began alternating with Cheyenne under the Cheyenne title. Sugarfoot was dropped in 1961, leaving only Bronco and Cheyenne to alternate. Other Warner Bros. westerns in production around this time included Maverick with James Garner, Jack Kelly, and Roger Moore, Colt .45 with Wayde Preston, and Lawman with John Russell; series characters occasionally crossed over into each others' shows.