Podcasts about there ain

Yes we are back for the 5th Annual @cowboycup this time in Tulsa at the Exchange Center. We are on site and for the first time will be on time! Good thing because we plan on going all out this year. Teaming up with a bunch of sponsors such as @bio365soil along with @jinxproof2.0 right next door and @exotixtech @freshemporiginals @nfseeds_io repping @thseeds @sagemastaselect @homegrownnaturalwonders @rkiemseeds @prometheus_genetics and some @dominionseedcompany also we have limited amount of @freshhemp Jackets available . Also mswing by for your @yoproductsllc yo-tip if you don't run into Jesse on the way in. You can also “check out “our custom Nitrous assisted 5 ft @jerome_baker bong and by check out I mean take the Trichome challenge and get a chance to qualify for chance to win a @dabx GO or other prizes we will be awarding on Saturday. We also have the Willie Waldman Project playing at the afterparty because you know “ There Ain't no party like an Adam Dunn party cause a Adam Dunn Party don't Stop …so get that @dabx GO rig charged your @jerome_baker bong Clean with some

Paired beersMotueka & Lime Hazy Pale from Otherworld Brewing, paired with “Do The Standing Still” by Boy Azooga.Stout Beer from Newbarns Brewery, paired with “Drunken Lullabies” by Flogging Molly.Younger Than Springtime from Dilettante Brewing, paired with “San Dimas High School Football Rules” The Ataris.Weighed Down The Earth from Makemake Brewing Co, paired with “There Ain't Half Been Some Clever Bastards” by Ian Dury & The Blockheads.Other beers consumed during the podcastOff Planet from Verdant Brewing Co, with Django DjangoOther Links“Stuff of Legend – Ghost Ship Pale Ale” playlist, curated by Rhythm & Brews Indiefjord festival in Norway wikiFeet Wondercraft ai GWAR 

We talk about the value 4 value model, Satoshis, and the thing about asking your listeners to become co-producers and supporters of the podcast. Blair share a positive news story about space business, and a future event for us as podcasters.Call-to-Action: After you have listened to this episode, add your $0.02 (two cents) to the conversation, by joining (for free) The Secular Foxhole Town Hall. Feel free to introduce yourself to the other members, discuss the different episodes, give us constructive feedback, or check out the virtual room, Speakers' Corner, and step up on the digital soapbox. Welcome to our new place in cyberspace!Show notes with links to articles, blog posts, products and services:C. Bradley ThompsonThe Redneck IntellectualPodcasting 2.0 Certified t-shirt No Agenda shopPodcasting 2.0 Explained: RSS Enhancements for the Independent PodcasterAsk and People Will GiveSupport WikipediaThe Huge Fight Behind Those Pop-Up Fundraising Banners on WikipediaTANSTAAFL, There Ain't No Such Thing as a Free LunchTheSecularFoxhole.LiveThe-Secular-Foxhole.Captivate.fmMartin's profile page on Fountain - lyceum AT fountain DOT fmBlair's profile page on Fountain - secularfoxhole AT fountain DOT fmSend a donation to Martin via PayPalSend a donation to Blair via PayPal: blairsf1 AT gmail.comKyrin Down of Mere Mortals / Value For Value podcastNew Podcast Applications3573 Satoshis (USD $1)1776 Satoshis (50 cents)221,905 Satoshis (USD $62)RANDSDAY BOOSTAGRAM

Rough Draft Hattiesburg presents their 20th episode and season 2 finale with none other than Mayor of Hattiesburg, Toby Barker himself! Together we discuss many aspects of Hattiesburg's growth and development under outstanding leadership. We talk music, art, and even play a new game. Rough Draft also has some big news to share. Tune in! Music provided by The Pinebelt Pickers with original songs "Mississippi Magic," "There Ain't No Other Way," and "Mama's Baptist Church."

Rough Draft Hattiesburg presents their 20th episode and season 2 finale with none other than Mayor of Hattiesburg, Toby Barker himself! Together we discuss many aspects of Hattiesburg's growth and development under outstanding leadership. We talk music, art, and even play a new game. Rough Draft also has some big news to share. Tune in! Music provided by The Pinebelt Pickers with original songs "Mississippi Magic," "There Ain't No Other Way," and "Mama's Baptist Church."

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 05: Part 1: - Alabama, Roll On (Eighteen Wheeler) – Roll On - 1984 - Clay Aery, Only One - S - 2022 - Ariel Hutchins feat Mark Powell, Tequila for Two - S - 2022 - Curtis Grimes, Cowboy Constitution - S – 2022 Part 2: - Zach Neil, All The Pretty Horses - S - 2022 - Midland, Two To Two Step - S – 2023 - Donice Morace, Wait Til I'm Gone - S - 2023 - Loretta Lynn with Sheryl Crow and Miranda Lambert, Coal Miner's Daughter - S – 2008 Part 3: - High Valley feat Alison Krauss, Do This Life - Way Back - 2022 - Ashley McBryde feat Caylee Hammack, Pillbox Patti, Brenda Put Your Bra On - S – 2022 - Gord Bamford, One Heartbeat From Heaven - S – 2023 - Aaron Tippin, There Ain't Nothin' Wrong With The Radio - Read Between The Lines – 1992 Part 4: - Jesse Raub Jr, Loving All Night - S - 2022 - David Adam Byrnes, One Two Step Away - S - 2023 - Kin Faux, Sunny and 72 - S - 2023 - Anita Cochran feat Steve Wariner, What If I Said - Back To You – 1997

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

Show #973 Turkey Day Blues 01. Willie Kent - Check It Out (5:03) (Ain't It Nice, Delmark Records, 1991) 02. Joe Zaklan - There Ain't No Better Time (3:44) (There Ain't No Better Time, Zak 'n Blue Records, 2010) 03. Tiny Legs Tim - Cold Turkey (3:29) (Missy Sippy All Stars Vol. 1, Sing My Title, 2020) 04. Arthur Migliazza - Thank You Blues (2:49) (Laying It Down, self-release, 2014) 05. Robbin Kapsalis & Vintage #18 - Jukin' (2:46) (Soul Shaker, Bird Song Records, 2021) 06. Doug Pinkston - Thanksgiving Blues (3:11) (YouTube, self-release, 2017) 07. Little Eva - Let's Turkey Trot (2:29) (45 RPM Single, Dimension Records, 1963) 08. Katvanger - You Hear The Damnedest Things In The Middle Of The Night (4:48) (Single, Aldora Britain Records, 2022) 09. Christone 'Kingfish' Ingram - Something In The Dirt (3:34) (662, Alligator Records, 2021) 10. Turnip Greens - Two Sets Of Rules (2:16) (Carry Me Down The Aisle, Black & Tan Records, 2006) 11. Kenny 'Blues Boss' Wayne - Wild Turkey 101 Proof (4:05) (An Old Rock On A Roll, Stony Plain Records, 2011) 12. Spoonful Of Blues - Hellraiser (4:35) (Single, Bluestown Records, 2022) 13. NuBluzReview - Thanksgiving Blues (2:51) (Single, self-release, 2022) 14. Handsome Harry Company - Turkey Jump (3:43) (Come On Jump!, self-release, 1994) 15. Blue Jay Slim & The Tone Blasters - Hangin' By A Thread (4:07) (Leaving The Cold Behind, self-release, 2014) 16. Popa Chubby - Good Thing (3:12) (The Catfish, Verycords Records, 2016) 17. Danny B. Harvey & Mysti Moon - Walkin' After Midnight (3:31) (Single, self-release, 2021) 18. Fried Bourbon - Turkey In The Corn (4:32) (Boogie Blend Blues, Music Arena, 2007) 19. Sunset Travelers - One Day (3:40) (For The Sake Of It, Black & Tan Records, 2002) 20. Dionne Bennett - Spy Me (4:02) (Sugar Hip Ya Ya, Hunnia Records, 2021) 21. Plastic Ono Band - Cold Turkey (5:01) (45 RPM Single, Apple Records, 1969) 22. Kevin Ayers - Thank You Very Much (3:17) (Still Life with Guitar, Market Square, 1992) 23. Anthony Stauffer - Thanksgiving Ballad (5:11) (YouTube, Texas Blues Alley, 2013) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Host, Christopher Lee, brings you the greatest mystery detective horror and sci-fi from the golden age of radio.  Suspense 2-6-47 “End of the Road” w/ Glenn Ford The Screen Guild Players 1-25-43 “Across the Pacific” w/ Humphrey Bogart, Mary Astor & Sydney Greenstreet Let George Do It 10-31-52 “There Ain't No Justice” w/ Bob Bailey To access more classic radio shows visit classicradioclub.com Learn more about your ad choices. Visit megaphone.fm/adchoices

There Ain't No Grave - Sarah Younce by Bethel Tabernacle Music

Introducing you to British-Nigerian artist ASHER YELO. We chatted about his up-coming EP "Mr Misunderstood" out next month, his recent singles including his latest single "There Ain't Nobody" and how he found his love for music and art. Connect with ASHER YELO https://open.spotify.com/artist/2EkAdv5oGonIlVLeUTT0fh?si=fksKclpqRgWTJsbZO1WuFg&nd=1 https://www.instagram.com/asheryelo/ https://www.tiktok.com/@asheryelo

Kim tells Ket about the super spooky 2018 film, Gonjiam: Haunted Asylum. Ketryn is officially back from the dead… only to immediately die again in this movie. Let's pick fruit from the underwear tree and join the ghost brigade because Ketryn has ghost Stockholm Syndrome. Her post COVID reactions to Kim's jump scares are also… new. Most importantly, we'll learn if Ket will live or die in Gonjiam: Haunted Asylum.Dir. Beom Sik-JeongWriters Beom Sik-Jeong, Sang Min-ParkKim's new fave IG page: @mintybongwaterhttps://www.instagram.com/mintybongwater/?hl=enhttps://www.tiktok.com/@mintybongwater?lang=enEp. 35: The Forest: “The Tale of There Ain't No S'mores in this Forest, Bitch” https://podcasts.apple.com/us/podcast/kim-and-ket-stay-alive-maybe/id1435189403?i=1000434586957Listen to season 1 of our new horror trivia pod!KIM AND KET'S SURVIVE THE CELLARlink.chtbl.com/kkstc KKSAM Facebook Discussion Group!!"Sammies Stay Alive... Maybe"www.facebook.com/groups/kksampodcast Get acquainted with all things KIM & KET at www.kimandketstayalive.com Chat with the girls at kksampodcast@gmail.comPeep the girls on Instagram: @kksampodcastRock with the girls on Tik Tok: @kksampodcastTwit the girls on Twitter: @kksampodcastBook the face of the girls on Facebook: @kksampodcastWear the shirts of the girls from the MERCH Store: kimandketstayalivemaybe.threadless.comSupport the girls on PATREON at: www.patreon.com/kimandketstayalivemaybeOk we'll see ourselves out.Thanks for listening!xo and #StayAlive,K&K Proud members of the Dread Podcast NetworkSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, The Board Boys tackle Golem from Cranio Creations!  Also in this episode, Cam tries out a sports metaphor, we talk about old MMO exploits, and the boys also played a great game of Lords of Waterdeep.  Ten time Tim is back and talks about being a Euchre hustler and can Campbell improve society with his new rule?  All that and more!  There Ain't No Stoppin' Us Now! Boing boing boing!

Original broadcast date March 31, 2022. The original podcast post is here: https://pixelatedgeek.com/2022/03/binary-system-podcast-308-how-bout-them-oscars/ Hey, remember that one year at the Oscars when they screwed up the envelopes and announced La La Land as the winner when it was really Moonlight? Gosh, was that uncomfortable, sure hope we never have to watch something that awkward ever again. OH NO. https://www.latimes.com/entertainment-arts/movies/story/2022-03-29/will-smith-slaps-chris-rock-at-oscars-2022-aftermath Listen in as we break down the nominees and winners of the 2022 Oscars, our delight at Windshield Wiper winning Best Animated Short, our approval at a happy film like CODA getting the Oscar and OH YEAH WILL SMITH SLAPPED CHRIS ROCK. After we finish calling the both of them a bunch of names, we move on to more fun subjects, like the latest issue of Saga, the travel plans for WonderCon, and the April return of Lore Olympus yaaaaaay! This week's outro is a clip from There Ain't Nothin by HoliznaCC0. Our list of all the Oscar nominees and winners, along with links to all the reviews we had on the site, is right here. https://pixelatedgeek.com/2022/02/oscar-2022-nominations-announced/ You can watch the Oscar Award-winning animated short The Windshield Wiper on youtube. https://youtu.be/i8MQl7vCkMQ (It is NOT completely safe for work, but so pretty.) Looking for a present for that hard-to-shop-for person? Want to buy them (or yourself) a square foot of a castle in Scotland? Look no further! You can support the restoration of Dunan's castle, legally call yourself Lady or Laird, AND if you use http://www.scottishlaird.co.uk/#_a_2gk to get there, you can support this podcast too! For updates, fan art, and other randomness, come follow us on Facebook, Tumblr, Twitter, and Instagram!

"There Ain't No Other Way To Be Than High Frequency" - Natalie Spaeth Natalie Spaeth has had a rollercoaster of a life, but in a short amount of time has made a major transformation in her life and is now a professional fitness and mindset coach. She is also the 2nd interview of my Elite Series episodes where I have the honor of interviewing several members of the Elite Coaching Systems mastermind group that is the most comprehensive mindset programs in the world. Natalie's life on the outside may look absolutely perfect and pristine now, but in her true authenticity shares with us what it looked like behind the scenes. She had a good upbringing in a strong and supportive family but found herself overweight, addicted to drugs, pregnant without knowing who the father is, then into an abusive relationship, then many other battles. At her darkest moment, she made a change and asked for guidance from her higher power to give her the strength to change things around. She made a major transformation in such a short amount of time by getting back to the core of her true self and 'remembering' who she really was at her core. By doing the work, by willing to trust and surrender to the unknown, Natalie was able to attract her dream life to her. She talks about her coming home, who she is at her core, how to shed all the external beliefs and expectations. We also talk about what it looks like behind the scenes of the Elite Mastermind and the commonality of all of our massive transformations. Connect with Natalie on Instagram at: https://www.instagram.com/iamnataliespaeth/ Find her on Facebook and join her mindset group Warrior Co: https://www.facebook.com/groups/417174242668491

1 - There Ain't No Sweet Man That's Worth the Salt of My Tears - Bing Crosby with Paul Whiteman and his Orchestra – 19282 - Salt Pork, West Virginia - Louis Jordan and his Tympany Five - 19453 - Salt Lake City Bounce - Tiny Bradshaw and his Orchestra – 19444 - Salty Dog - Charlie Jackson with Freddie Keppard's Jazz Cardinals – 19265 - Salt Peanuts - Dizzy Gillespie - 19456 - Salt Water Blues - Bessie Smith - 19247 - Salt Water Cowboy - Dude Martin and his Round-Up Gang – 19498 - Salt Your Pillow Down - Jimmy Johnson with Jack Rhodes Ramblers – 19509 - Salt Your Sugar - Joe Raymond and his Orchestra - 192310 - Salt Your Sugar - The Jazz-O-Harmonists – 192311 - Sugar Rose - Fats Waller - 193612 - Sugar - Benny Goodman Quartet – 193813 - Sweeter Than Sugar - The Mills Brothers - 193414 - Sugar Foot Stomp - King Oliver and his Savannah Syncopators – 192715 - Sugar Plum - Teddy Wilson and his Orchestra - 193516 - Black Pepper - Eddie Davis and his Orchestra – 194917 - Murder, My Sweet - Lux Radio Theater – 1945 (Radio Drama)18 – Salty Papa Blues – Albinia Jones with Don Byas's Swing Seven - 1945

It's Season 2, Episode 7 of the Friday Night Karaoke Podcast, and the theme was Be My Karaoke Valentine!You knew it was coming, and with Valentine's Day just around the corner, this week was all about songs for that special someone in your life (or that future special someone who just hasn't had the pleasure of meeting you yet). Your Song will Take My Breath Away, like a Kiss From a Rose Your Love Keeps Lifting Me Higher to Such Great Heights, and There Ain't No Mountain High Enough to keep me away from My Girl. The First Time I Saw Your Face I wondered How Deep is Your Love - just know that Time After Time, I'll Stand By You along with the rest of FNK while you sing your Unchained Melody for #FNKValentine. The Power of Love is real, and Truly Madly Deeply you should know that Nothing Compares 2 U.Featured in this episode alongside hosts Mike Wiston and Joe Rubin:- Rockale Levone with Don't Know Why by Norah Jones- Aaron Adams with Chantilly Lace by The Big Bopper- Felicia Saylor Ennis with Halo by Beyonce- Barbara Lentz with I Will Always Love You by Whitney Houston- KC Connor with Your Man by Josh Turner- Isabel Aguilar with Chapel of love by The Dixie Cups- Patti Usselman with If I Sing You a Love Song by Bonnie Tyler- Sebastien Turmel with Show Me The Meaning of Being Lonely by Backstreet Boys- Karen Kolar with At Last by Etta James- Vince Williams & Toni Kane with Love Boat (theme song) from The Love BoatLove what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!

William Gardner Smith's roman à clef about racism, identity, and bohemian living against the backdrop of violence of Algerian War-era France, has been out of print for decades, but as one reviewer put it, ‘the issues Smith raises … resonate at least as much now as they did six decades ago.' The story of a Black writer who, like Smith himself, moved to Paris to pursue a freedom he couldn't find in America, its account of his disillusionment and dawning consciousness of Algeria's struggle for independence includes one of the earliest published accounts of the Paris Massacre of 1961.Adam Shatz, who wrote the introduction for NYRB's new edition, discussed The Stone Face's achievement and contemporary resonances with Paul Gilroy, Professor of the Humanities at UCL and the Holberg Prize-winning author of There Ain't No Black in the Union Jack, The Black Atlantic and Darker Than Blue. See acast.com/privacy for privacy and opt-out information.

There Ain't Nothin' Better Than Jesus.

There Ain't No Stopping Us Now, because Baconsale has created a bracket to determine what is the greatest one-hit wonder from the 1970s. We Got to Be Real, neither Kent, nor Joel, nor Zack spent Seasons in the Sun during the 70s, but we've done our research and sought advice about which songs are truly Magic. We'll do our best to not Rock the Boat, but Knock on Wood that we don't eliminate your Precious and Few favorites in this first round of disco, funk, soul, pop, rock, and novelty music matchups.   Press play to hear some truly terrible falsetto singing, some nose flute solos, and to learn how many of these tracks were on the Guardians of the Galaxy soundtrack.   Download the official 70s one-hit wonder bracket at Baconsale.com and play along!

Racism is not an externality to British policing but is integral to its history, says sociologist and ex-youth worker, Adam Elliott-Cooper. He tells Samira Shackle about the ideas behind his book ‘Black Resistance to British Policing'. Recognising racism as far more than just interpersonal or about prejudice alone, he connects it to colonialism and the state, and highlights the role of resistance - including by women of colour who have long championed justice and radical change.Plus: why the tendency in the UK to see racism as "something that happens somewhere else"? What's obscured when we talk about “knife crime”? And why must we insist on continuing to talk about whiteness?Podcast listeners can get a year's subscription to New Humanist magazine for just £13.50. Head to newhumanist.org.uk/subscribe and enter the code WITHREASONHosts: Samira Shackle and Alice BlochExecutive producer: Alice BlochSound engineer: David CracklesMusic: DanosongsReading list:‘Black Resistance to British Policing' (2021) Adam Elliott-Cooper W.E.B Du Bois (1868-1963) collected works‘Policing the Crisis: Mugging, the State, and Law and Order' (1978) Stuart Hall et al.‘Folk Devils and Moral Panics', (1972) Stanley Cohen ‘There Ain't No Black in the Union Jack' (1987) Paul Gilroy‘Women, Race and Class' (1981) Angela Davis Frantz Fanon (1925-1962) collected works ‘And Still I Rise' (2006) Doreen Lawrence ‘Shooting an Elephant and Other Essays' (1950) George Orwell ‘Leviathan' (1651) Thomas Hobbes ‘On Being Included: Racism and Diversity in Institutional Life' (2012) Sara Ahmed‘Assembly' (2021) Natasha Brown‘In Search of Whiteness' (2017), Lola Okolosie for New Humanist magazine, with Vron Ware

In this week's episode of Catholic ReCon, Sean Mitchell digs deep to recall his real, vulnerable, and difficult trip into Catholicism. #CatholicChurch #ProtestantTheology #Scrupulosity #HolyTrinity #JesusChrist #OneHolyCatholicApostolic #Convert #Christianity #Virtue #SelfEsteem #Suicide #Depression #Scandal Jimmy Akin's Article: 1. What Every OCD Sufferer Should Know About Vows and Promises - https://www.ncregister.com/blog/what-every-ocd-sufferer-should-know-about-vows-and-promises Sean's Articles & Bio Page 1. Scupulous? Be Obedient.- https://thosecatholicmen.com/articles/scrupulous-be-obedient/ 2. Questions: The "Darlings" of the Intellect - https://thosecatholicmen.com/articles/questions-the-darlings-of-the-intellect/ 3. There Ain't No Rest for the Idealist - https://thosecatholicmen.com/articles/there-aint-no-rest-for-the-idealist/ 4. Purpose. Meaning. Destiny - https://thosecatholicmen.com/articles/purpose-meaning-destiny/ 5. My Those Catholic Men Bio Page with all articles - https://thosecatholicmen.com/author/sean-mitchell/ Others: Scruples and Their Treatment by Fr. William Doyle S.J. 1. https://fatherdoyle.files.wordpress.com/2010/06/scruples-and-their-treatment.pdf Ten Commandments for the Scrupulous by Fr. Thomas M. Santa, CSsR - https://scrupulousanonymous.org/wp-content/uploads/2015/10/Ten_Commandments_for_the_Scrupulous_2013.pdf Sean's appearance on the Meaning of Catholic discussing "Logos and Psychology" - https://www.youtube.com/watch?v=q79bVBGL31Q --- If you or anyone you know would like to share your testimony on Catholic Re.Con., please fill out the form here: https://bit.ly/3bdE6pr My book, Confession All, is available on Amazon: https://amzn.to/3hI3frL www.eddietrask.com --- Support this podcast: https://anchor.fm/eddie-trask/support

This episode's guests are Juno Award-winning singer Celeigh Cardinal and restaurateur and mental health advocate Steve Brochu.Both hailing from Edmonton, the two (separately) discuss the things they love about the Alberta capital. Cardinal opens up about her creative process, her stunning new single "There Ain't No Way (Better Days Version)" and much more.Brochu shares the struggles his business MilkCrate has faced–along with many other downtown Edmonton businesses–throughout the pandemic and his efforts to normalize conversations around mental health in the restaurant industry. The chef agrees that it is a topic that should be ever-present in the music industry as well given its similar late night hours and constant high pressures.

sent $$$ this week to BROWN TRANS & QUEER ORCHID HOUSE FIRE RELIEF FUND.gofund.me/eeedb70f“On 7/19/21, a fire started in a vacant home and spread to the neighboring home burning two houses down where residents lost everything in the burn and barely made it out with their lives in West Oakland, California. Orchid House was one of the homes and we are raising funds for 3 Brown Queer Trans and Nonbinary displaced folks. The fire alarm did not go off even while the house was engulfed in flames, so they are deeply blessed to have made it out alive. We are raising money for their housing security, insurance (health, car, and pets) food, gas, healing resources (therapy, herbal medicine, bodywork), shoes, clothing, and toiletries. They only have a secure space to stay for a week and after that are in need of permanent and affordable housing.”DOWNLOAD RECORDINGsubscribe to the podcast here: http://feeds.feedburner.com/5432fun(intro by omar)Second Still “In Order” Equals EPGhost Soda “Never Understand” Love World iiiSpeedy Ortiz “Lean In When I Suffer” Twerp VerseSitcom “Still Life” Be The One You LoveBrian Borcherdt “Evil Twin” CoyotesRatboys “GL” GLTrue Blue “Rocky Bottom” Edge OfKal Marks “Loosed” Universal CareSURF HARP “MIRROR MAZE” MR. BIG PICTUREGirl Ray “The Way We Came Back” The Way We Came BackHit Bargain “Architects” Potential MaximizerHinds “Soberland” I don’t RunBrenna Sahatjian “First World Optimism” Knotted OrbitsAlexia Avina “don’t u give” betting on an islandPariuh “There Ain’t No Such Thing As A Free Love” Family Witchcraft AttackWinter “You Don’t Know Me” EtherealityRemember Sports “Making It Right” Slow BuzzOlden Yolk “Vital Sign” Olden Yolk

This week we welcome, country music stars, Leona Williams and Aaron Tippin! Leona Williams was destined to become a Country Music Entertainer. She landed her first radio show at the age of 15, simply called "Leona Sings" in Jefferson City, Missouri. That journey would take her all over the world and allow her to sing before thousands and thousands of Country Music fans. Leona moved to Nashville in the late 1960s from a small town in Missouri called Vienna, and was soon recording for Hickory Records with such hits as "Once More" and "Yes Ma'am, He Found Me In A Honky Tonk". Since then, Leona has traveled worldwide and opened shows for some of country music's top entertainers and made numerous personal appearances at the Grand Ole Opry in Nashville. Leona later teamed up with Merle Haggard for a top ten duet called "The Bull and the Beaver" and a duet album followed called HEART TO HEART. During this time, she would write some of Merle's biggest hits including "You Take Me For Granted" and "Someday When Things Are Good." Leona, a Missouri native, was inducted into the Country Music Association of Texas Hall of Fame in 1999. She was also honored with the prestigious George D. Hay Award in 2002 and was also inducted into the Missouri Country Music Hall of Fame. In 2011, Leona was awarded "Entertainer of the Year" by R.O.P.E. (Reunion of Professional Entertainers). Whether in a recording studio, dance or concert hall or on stage at the Grand Ole Opry, Leona Williams always gives her very best to her fans and her music. She definitely presents a special class to the world of Country Music. For more information visit her website: LeonaWilliams.com. Aaron Tippin was part of the commercial explosion of new traditionalist country in the early '90s, making his name with a mixture of macho, rowdy honky tonkers, sentimental ballads, and patriotic working-man's anthems. He was born in Pensacola, Florida, in 1958 and grew up mostly on a family farm near Greer, South Carolina, where he first started singing to pass the time while doing chores. He started playing guitar at age ten but also inherited a love of flying from his father, who'd worked as a pilot prior to becoming a farmer. Aaron earned his pilot's license at 15 and began flying professionally before the age of 20. He was studying to become a commercial airline pilot when the industry took a major downturn, which convinced him to return to music. He played the local honky tonk circuit and worked on his songwriting while holding a series of blue-collar day jobs. Unfortunately, his marriage broke up, and with nothing to lose, he finally moved to Nashville in 1986. He landed a job as a staff songwriter at the legendary Acuff-Rose firm, where his compositions were recorded by the likes of Charley Pride, Mark Collie, and David Ball, among others. In 1990, his demo tape landed him a contract with RCA. Aaron's debut album, “You've Got to Stand for Something”, was released in 1991; its title cut became a Top Ten smash in the wake of the Persian Gulf War, and Tippin was invited along on Bob Hope's USO tour. His second album, 1992's “Read Between the Lines”, was a million-selling Top Ten smash, producing three Top Ten singles in "I Wouldn't Have It Any Other Way," "My Blue Angel," and his first number one, "There Ain't Nothing Wrong with the Radio." 1993's “The Call of the Wild” underlined his penchant for rabble-rousing anthems like "Honky Tonk Superman," the Top Ten "Working Man's Ph.D.," and the Top 20 title cut. The following year's “Lookin' Back At Myself” was less successful, but 1995's “Tool Box” returned him to the top of the singles charts with "That's as Close as I'll Get to Loving You." He also remarried that same year. Around 2000 “People Like Us”, became his first album to make the country Top Five, thanks to the number one smash "Kiss This," a song co-written by his wife Thea. The post-September 11 anthem "Where the Stars and Stripes and the Eagle Fly" was a crossover smash, not only reaching number two on the country charts but also climbing into the pop Top 20. In 2013 he set out on the road with fellow country singers Sammy Kershaw and Joe Diffie on a tour called “All in the Same Boat”; the trio released an accompanying album of the same name in May. Aaron continues to tour and Branson is on his list. For more information, music and tour dates, visit his website: AaronTippin.com.

Mod Marty spins top level Northern Soul and Maximum RnB this week. Blues and Ska and Psych and Funk are all represented in an hour that'll keep you coming back for more. ----------------------------------------------- The Playlist Is: "I Gotta Dance to Keep From Crying" Smokey Robinson & The Miracles - Tamla "Baby Workout" Jackie Wilson - Brunswick "Don't Start Cryin' Now" Slim Harpo - Zirkon "Fever" Patti Drew - Stateside "Whole Lotta Woman" Mo-Jo Buford - Bangar "Bump Your Booty" Bobby Marchan - Dial "Crawling Up A Hill" John Mayall & The Bluesbreakers - Decca "Up In Smoke" The Balloon Corps - Bell "Respect" St Louis Union - Parrot "Stop And You Will Become Aware" Helen Shapiro - Columbia "There Ain't Nothin' I Wouldn't Do For You" Dee Dee Sharp - Cameo "I Can't Get Away" Bobby Garrett - Mirwood "In Love" Tony Galla & the Rising Sons - Swan "Change Your Ways" Willie Hendrick - RCA-Victor "Dance Children, Dance" Nettie's Children - Capitol "Just A Little Bit" The Undertakers - Pye "Until You Do" The Jury - London "Dr. Feel-Good" The Shags - Eagle "Take Five" Baba Brooks - Black Swan "Little Flea" The Maytals - Buster "Let It Be" The Mohawks - Supreme

Artist Title Album Name Album Copyright Alec Fraser Jr You Cannae Take It With You The Wings Of The Wind Big Creek Slim Fishin' In My Pond Twenty-twenty Blues Water Tower It's Wrong 'Fly Around' (Release Date - May 21 2021) Wily Bo Walker & E D Brayshaw Ain't Hungry No More Ain't Hungry No More Single Ben de la Cour In God We Trust... All Others Pay Cash 'Shadow Land' (Release Date - April 9 2021) Chris Cain You Won't Have A Problem When I'm Gone Raisin Cain Memphis Slim We're Gonna Rock American Folk Blues Festival 1962-1965 CD1 BluesShack I Saw You I Saw You Afton Wolfe Carpenter Kings For Sale (Release Date - June 18 2021) BB Factory Howler LIve at the Wallaby Hotel Eddie Dean &The Biblical Aires God Has Prepared CD4 Bea & Baby Records Definitive Collection Blind Willie Johnson Praise God I'm Satisfied Praise God I'm Satisfied Georgia Randall Fever Hound dog Tia Carroll Mama Told Me Tia Carroll Bob Lutes In My Time of Dyin' Come Around Jimmie Bratcher Mama Won't Fry No Chicken Jimmie Bratcher AJ Fullerton Slippin_ Away AJ Fullerton Nitecrawlers Goin' Down (Don Nix with Brian May) Unlock The Blues Kerbcrawler Productions Chuck Berry It Hurts Me Too The Ultimate Collection cd 3 Mike Zito & Friends Promised Land Rock 'N' Roll; A Tribute To Chuck Berry Rich Chorné There Ain't No Place To Go (Featuring Richard Cagle) Más [Rich Chorné] Rebecca Downes Hurts Stripped Back Lonnie Brooks Cold Lonely Nights (Live) (Remastered) Alligator Records 50 Years Of Genuine Houserockin Music Mindi Abair True Love Best of Mindi Abair Jujubes Leavin Blues Where are we now Buddy Guy End Of The Line The Blues Is Alive And Well Silvertone Records Maria Muldaur with Tuba Skinny Road of Stone Let's Get Happy Together [Stoney Plain]

We’re nervous about a possible upgrade to AirPods that involves chomping, squeezing and clucking. Aren’t you concerned after you read that? Other topics included continued pandemic court judgements that don’t favor dental businesses and also a quick Smile Direct Club update. Finally, we hope you enjoy our conversation about how some dental students are learning anatomy peppered with memories of our own cadaver capers.  Episode Highlights Controlling your AirPods with your teeth and...by squeezing?  Court rules pandemics don’t qualify as a business loss  Plastic Preserved Cadavers for your learning pleasure A win for SmileDirectClub Quotes About AirPods: “There are people I know who if you tell them to click their teeth together, they are going to chomp!” “What if there is someone going around squeezing others but they say they are just changing their podcast.” Regarding loss: “A pandemic is not something structural which is really a shame, because that was a lot of income lost.” Onto cadavers: “I can tell you the baby shark smell is horrible.” “The plastic preserved heads don’t smell.” “I’m washing all my clothes for this one stupid smelly cadaver cat outfit I had on.” Resources from the show: The Next AirPods Might Be Controlled With Your Teeth Judge Recommends Toss Of Dental Office's COVID-19 Suit AAO to end ad campaign after deemed unfair to SmileDirectClub platform There Ain't Nothing Like the Real Thing - plastinated cadaver heads story Also! We wrote an Ebook that is completely free for you. 50+ pages of knowledge, checklists and job descriptions. Enjoy!  Click here for the Prepare Protect Prosper eBook Links **If you like the show then I’d appreciate a good rating. Tell your friends. Even podcasters ask for referrals!** Connect with Kevin on his IG page and at DrBicuspid.com Connect with Teresa on her IG page and on Facebook  

Snowfall, Christmas trees, and the annual Alt80s Christmas podcast - it's all here! Track Listing: 1.) Hey Santa - UK Subs 2.) There Ain't No Sanity Clause - The Damned 3.) Christmas Was A Friend Of Mine - Fay Lovsky 4.) We Three Kings - Blondie 5.) Santa Claus Is Coming To Town - X 6.) Listen, The Snow Is Falling - Galaxy 500 7.) Candy Carol (Sugar Lips Caroling) - Book Of Love 8.) X'Mas Time (Sure Doesn't Feel Like) - Mighty Might Bosstones 9.) I Believe In Father Christmas - U2 10.) Insanity Over Christmas - Madness 11.) Home For Christmas - Kate Bush 12.) Peace In Our Time - Elvis Costello 13.) Blue Christmas - Dead Or Alive 14.) Ghost Reindeer In The Sky - R.E.M. 15.) Il Est Ne (Mistletunes Christmas Song) - Tom Tom Club 16.) Stille Nacht - Nina Hagen 17.) Jingle Bells (Santa Club Mix) - Yello 18.) One Christmas Catalogue - Captain Sensible 19.) Mary Xmess - Sun 60 20.) Holier Than Thou (The First) - FGTH 21.) Have Yourself A Merry Little Christmas - The Pretenders 22.) Holier Than Thou (The Second) - FGTH 23.) Feast Of Lights - They Might Be Giants 24.) Snow - Cocteau Twins 25.) Do they Know It's Christmas? - Band Aid

“Classic-Pop Standards” is a one-hour program inspired by the Great American Songbook. This series of podcasts features the singers, the lyricists, and the composers of the music we call “American Standards.” Come along with us as we honor the great songwriters by never forgetting their music. These are songs with not only a history, but with a future; Songs born along Tin Pan Alley, on 42nd Street, at the Brill building, and down Broadway. Danny Lane brings new life to the Great American Songbook on “Classic-Pop Standards”. In this episode, you’ll hear: 1) Swingin' Down The Lane [Excerpt] by Les Brown / Isham Jones (music) & Gus Kahn (lyrics) [1923] 2) Let's Get Away From It All by Della Reese / Matt Dennis (music) / lyrics by Tom Adair (lyrics) [1941] 3) Nobody Else But Me by Tony Bennett / Jerome Kern (music)/Oscar Hammerstein II (lyrics) [1946] 4) Some Cats Know by Peggy Lee / Jerry Leiber & Mike Stoller [1968] 5) Fever by Ray Charles & Natalie Cole / Eddie Cooley & John Davenport [1956] 6) Bounce Me Brother (With a Solid Four) by Ann Hampton Callaway / Don Raye and Hughie Prince (music & lyrics) [1941] 7) Someone To Watch Over Me by Rod Stewart / George Gershwin (music) & Ira Gershwin (lyrics) [1926] 8) It's Love by Lena Horne / Betty Comden and Adolph Green (lyrics) & Leonard Bernstein (music) [1953] 9) When October Goes by Barry Manilow / Barry Manilow (music) & Johnny Mercer (lyrics) [1984] 10) The Shadow of Your Smile by Nancy Wilson / Johnny Mandel (music) & Paul Francis Webster (lyrics) [1965] 11) I'm The Big Band Singer by Rosemary Clooney / Merv Griffin (words & music) 12) To Make You Feel My Love by Kurt Darren / Bob Dylan [1997] 13) I Got Rhythm by Bill Elliott Swing Orchestra (Wendi Williams, vocal) / George Gershwin (music) & Ira Gershwin (lyrics) [1930] 14) Almost Like Being In Love by Vic Damone / Alan Jay Lerner (lyrics) & Frederick Loewe (music) [1947] 15) Someone Like You by Linda Eder / Frank Wildhorn (music) & Frank Wildhorn, Leslie Bricusse and Steve Cuden (lyrics) [1990] 16) There Ain't Nobody Else by Bert Stratton / Bert Stratton [2002] 17) All I Ask Of You by Shirley Bassey / Andrew Lloyd Webber (Music) Charles Hart (Lyrics) [1984] 18) They Can't Take That Away From Me by Perry Como / George Gershwin (music)/Ira Gershwin (lyrics) [1937] 19) Good Morning Heartache by Diana Ross / Dan Fisher, Irene Higginbotham, and Ervin Drake [1946] 20) Alaskan Nights by David Schwartz / David Schwartz [1992]

This week's song of choice is Aaron Tippin's early 90's hit "There Ain't Nothing Wrong With The Radio.

This week's song of choice is Aaron Tippin's early 90's hit "There Ain't Nothing Wrong With The Radio. --- Send in a voice message: https://anchor.fm/lyricsandlaughs/message

Sex Expert, Dr. Justin J. Lehmiller, from The Kinsey Institute, whose latest study for Politico reveals Democrats have become less sexually active than Republicans; Peabody and Emmy Award Winning Jim Earl; Emilio Fox and David answer your email; PETA Podcast's Emil Guillermo; The Rev. Barry W. Lynn from Americans United for Separation of Church and State; Comedian Aaron Berg, whose latest special "25 Sets" is streaming on Amazon and iTunes; Professor Ben Burgis, whose latest book is "Myth and Mayhem: A Leftist Critique of Jordan Peterson;" Dr. Philip Herschenfeld, psychiatrist and professor of psychoanalysis and his son, Actor/Singer/Comic/Harvard Apologist Ethan; American Hero Burt Ross who took down the Gambino Family and went on to create New Jersey's right turn on red; Mark Thompson from San Francisco's KGO Radio; Ryan Harvey, activist, musician and journalist, host of the new podcast Hope Dies Last, co-founded Firebrand Records with Tom Morello; Bob Rubin, whose latest Netflix special is "Oddities and Rarities;" Comedy Legend, The Amazing Johnathan;  Ask Henry Hakamaki Music: Professor Mike Steinel, Lance Jeffries, Tom Webber, Kathlene Ashe, Jim Mahood Time Code: Dr. Justin J. Lehmiller (:41) Hard Time In The City (35:31) Jim Earl (37:19) There Ain't No Cane On The Brazos (1:13:07) Emilio Fox (1:16:45) Emil Guillermo (1:51:21) The Rev. Barry W. Lynn (2:38:32) Aaron Berg (3:11:22) Professor  Ben Burgis (3:39:05) Dr. Philip Herschenfeld and Ethan (4:04:50) Burt Ross (4:30:11) Mark Thompson (5:00:30) Ryan Harvey (5:38:34) Bob Rubin (6:07:08) The Amazing Johnathan (6:27:49) Henry Hakamaki (7:09:07)

Comic Judy Gold, whose new book is "Yes I Can Say That"; Randy Credico on Roger Stone; Investigative Journalist from The Center For Media And Democracy, Alex Kotch reports on hate groups receiving federal bailout money; Screenwriter Dave Sirus, whose latest film is "The King of Staten Island" starring Pete Davidson, Marisa Tomei and Bill Burr, directed by Judd Apatow; Founder and President of Yuk Yuk's, Mark Breslin;  Democratic Political Strategist "Jeff Blackwood" who helps Leftist candidates running in November; Jazz Historian Mike Steinel; David Takes Your Calls; Down With Tyranny's Howie Klein; Democratic Candidate Chris Armitage who is running for Washington's 5th congressional district; Professor Adnan Husain who teaches Medieval Mediterranean and Islamic World History at Queen’s University in Ontario, Canada; Professor Harvey J. Kaye, author of “Thomas Paine and the Promise of America”; Covid-19 Town Hall with The Irritable Immunologist and Immuno Biologist Henry Hakamaki Music: Ain't Gonna Let Nobody Turn Me Around performed by The Covid Players, David Feldman Love Theme by Jay Danzig, Hard Time In The City by Mike Steinel, There's Power in The Union performed by Lance Jeffries, Tom Webber and Kathleen Ashe, Professor Harvey J. Kaye Love Theme by Mike Steinel, There Ain't No Cane On The Brazos performed by Tom Webber, Lance Jeffries and Kathleen Ashe, The Dave Sirus Love Theme performed by Jim Mahood   Time Code: Randy Credico (0:40) Alex Kotch (1:00:56) Dave Sirus (1:31:20)There Ain't No Cane On The Brazos (2:00:34) Mark Breslin (2:04:13) Hard Time In The City (2:36:35) Jeff Blackwood (2:38:27) Mike Steinel (3:03:07) Judy Gold (3:25:49) Howie Klein (4:18:40) Chris Armitage (4:54:01) Professor Adnan Husain (5:21:49) Professor Harvey J. Kaye (6:08:15) The Covid Players (6:52:15) Covid-19 Town Hall with The Irritable Immunologist and Henry Hakamaki (7:05:10)   

THANK YOU! Thank you for listening and sharing, my listener and friends! APPRECIATION to ALL the artists here on the show for allowing me to share their souls, their skills, their art! GRATITUDE to this week's featured artists Michael Simmons, John Howard, and all the talents on “Screwballs And Curveballs” on Ice Cream Man Power Pop and More Records for the faith in me to share their life's work. Next week in the spotlight spots will be @The Speedways, @The Doughboys and a variety of talent on You Are the Cosmos - Record Label release 12 String High Volume 3! The Music Authority LIVE STREAM Show & Podcast recorded and on Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, APPLE iTunes, AND Google Play Music! AND NOW ON MORNINGS IN CANADA! https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening?   May 16, 2020, Saturday, back Monday afternoon…The Courettes - Night-Time (Damaged Goods Records)The Campbell Apartment - 04 Kiss Goodbye [ODDS & SODS]The Official Three Hour Tour - For Now We Say Goodnight [Looking For Tomorrow]Ken Fox & Knock Yourself Out - Love Is In The Grave [Ken Fox & Knock Yourself Out - EP] (Rum Bar Records)Zeddemore - You LoseMichael Simmons - 14 Let Me Be The One [White Lace and Promises- The Songs of Paul Williams] (Curry Cuts)Ivory Picture Story - Domino BlueCaptain Wilberforce - 08 King of Indecision [Black Sky Thinking]Indie Butterflies Dream – Freedom@The Rallies - Still Gonna Want You [Serve]John Howard - Run Or Stay [Storeys]The Jellybricks - 08 No Money [Some Kind Of Lucky] (Wicked Cool Records)Little Billy Lost - St. Vitus Dance [The Cocks Of The Walk – EP]Kid Gulliver- 02_I Like Your HairBlasting Fondas - 01 - There Ain't No Other Way (Beluga Records)Phil Matthews - 20 Winds Of Change [Screwballs and Curveballs] (Ice Cream Man Power Pop and More)@The Speedways - Reunion In The Rain [Just Another Regular Summer] (Rum Bar Records)@The Doughboys - Your Mind Is On vacation [Running For Covers] (RAM Records)The Jigsaw Seen - B04 Girl On A Red Velvet Swing [Twelve String High Vol 3] (You Are the Cosmos - Record Label)@The Toms – She Said Goodbye [The 1979 Sessions] (Futureman Records)

Episode 61: Edwin G. Dolan holds a PhD in economics from Yale University. He has taught in the United States at Dartmouth College, the University of Chicago, George Mason University and Gettysburg College. From 1990 to 2001, he taught in Moscow, Russia, where he and his wife founded the American Institute of Business and Economics (AIBEc), an independent, not-for-profit MBA program. After 2001, he taught economics in several European countries, including Central European University in Budapest, the University of Economics in Prague, and the Stockholm School of Economics campus in Riga. He is currently a nonresident Senior Fellow at the Niskanen Center, for which he writes on environment, health care, and social policy. He lives in Northwest Lower Michigan. This episode's motto: "If the scissors [of supply and demand] aren't cutting emissions fast enough, then you need a carbon tax (via government regulation)." https://www.niskanencenter.org/the-scissors-are-cutting-carbon-emissions-but-not-fast-enough/ __Links__ Prices without markets or markets without prices? https://medium.com/swlh/prices-without-markets-or-markets-without-prices-5d9809659fbb The Austrian view of carbon pricing (part 1 of 2)http://archive.economonitor.com/dolanecon/2014/03/31/austrian-environmental-economics-air-pollution-as-a-coordination-problem/ There Ain't No Such Thing as a Free Lunch (DZ's review) https://kysq.org/aguanomics/2011/12/tanstaafl-the-review/ The Bet (Simons vs Ehrlich) https://kysq.org/aguanomics/2011/08/julian-simon-loses-the-bet/ https://kysq.org/aguanomics/2018/04/the-myopia-of-techno-optimists/ Walter Block (episode 5) https://soundcloud.com/jivetalking/5-walter-e-block-on-pollution-regulation-anarchy-and-the-state

Show #819 Criss-Cross Thru The Years An episode with great music coming from a variety of years. Have fun listening! 01. Pat Ramsey - Jammin' In The Jungle (5:07) (It's About Time, Rampat Records, 1996) 02. Robin Banks - I'll Meet You There (4:56) (Modern Classic, self-release, 2014) 03. Killing Floor - Where Nobody Ever Goes (5:23) (Out Of Uranus, Penny Farthing Records, 1970) 04. Rocky Athas' Lightning - Survival (5:40) (Lightning Strikes Twice, Armadillo Records, 2007) 05. Clarence 'Gatemouth' Brown - Sometimes I Slip (6:32) (Alright Again!, Rounder Records, 1987) 06. Bob Lanza Blues Band - Love Me Or Leave Me (5:22) (Time To Let Go, Connor Ray Music, 2016) 07. Dry Johnson - Little Bird (5:04) (Long Live Them Blues Vol. 1, Connor Ray Music, 2018) 08. Memphis Slim & Canned Heat - You Don't Know My Mind (6:29) (Memphis Heat, Blue Star Records, 1974) 09. Rusty Zinn - Fallin' Rain (5:02) (The Chill, Alligator Records, 2000) 10. Joe Zaklan - Quiet As Kept (5:22) (There Ain't No Better Time, Zak 'n Blue Records, 2010) 11. Big Rhythm Combo - I Can't Deny It (5:56) (Too Small To Dance, Black Magic Records, 1994) 12. James Cotton - I Got A Feelin' (5:11) (High Energy, One Way Records, 1975) 13. Paul Reddick & the Sidemen - Blind River Bound (5:19) (Rattlebag, Northern Blues Records, 2001) 14. John Campbell - Sittin' Here Thinkin' (6:44) (A Man And His Blues, CrossCut Records, 1988) 15. Barry Levenson - Cobra Days/Blue Tears (7:13) (Heart To Hand, Storyville Records, 1998) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

This week on Blind Contour we’re sitting down with Christina Quarles, our final interview from ArtCrush 2019¬. In this audio profile we check in on the artist and discuss her current practice, composition choices, and goals within her abstract, figurative paintings. Legibility teeters on the edge of lack and excess; when we lack information about a thing, it is vague. However, as information accumulates, the risk for contradiction increases and legibility tips into ambiguity. As a queer, cis woman born to a black father and a white mother, Christina Quarles engages with the world from a position that is multiply situated. Her work is informed by her daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that challenge the viewer to contend with the disorganized body in a state of excess. Christina Quarles (b. 1985 Chicago, USA) currently lives and works in Los Angeles, CA. She received an MFA from the Yale School of Art in 2016 and holds a BA from Hampshire College. Quarles was a 2016 participant at the Skowhegan School for Painting and Sculpture. She was the inaugural recipient of the 2019 Pérez Art Museum Miami Prize, and in 2017 she received the Rema Hort Mann Foundation Emerging Artist Grant. She will have a solo show at the Hepworth Wakefield Museum in October 2019. Recent exhibitions include: But I Woke Jus’ Tha Same, Regen Projects, Los Angeles (2019); Always Brightest Before Tha Dusk, Pilar Corrias, London (2018); Christina Quarles / MATRIX 271, UC Berkeley Art Museum and Pacific Film Archive, Berkeley (2018); Made in L.A., Hammer Museum, Los Angeles (2018); Trigger: Gender as a Tool and as a Weapon, New Museum, New York (2017-18); It’s Gunna Be All Right, Cause Baby, There Ain’t Nuthin’ Left, Skibum MacArthur, Los Angeles (2017); No burden as heavy, David Castillo Gallery, Miami (2017); Fictions, The Studio Museum, New York (2017); and Reconstitution, LAXART, Los Angeles (2017); among others.

On August 20, 2019, the city of St. Louis, MO was officially awarded the 28th franchise in Major League Soccer, with an anticipated inaugural season beginning in 2022.  And while the club begins its efforts to get its team name, new downtown stadium and initial soccer operations in place, we take some time this week to reflect on the city’s deep and rich soccer history – perhaps unmatched by any locale in the United States. Dave Lange (Soccer Made in St. Louis: A History of the Game in America’s First Soccer Capital) joins the ‘cast to trace the undeniably symbiotic relationship between the Gateway City and the Beautiful Game – as well as its impact on the development of the sport (especially professionally) across America. As we root for the new St. Louis MLS team (our name suggestion: Gateway FC!) to meaningfully recognize and incorporate this important past, Lange helps tide us over in the interim as he discusses: The St. Louis transplant who help launch both the USA’s first governing body for the sport, as well as its first professional league (the American Soccer League) during the Roaring Twenties; The deep-rooted amateur, scholastic and collegiate landscape that kept the city at the center of the nation’s soccer development (including occasional US national team flashes of brilliance); The seminal, but oft-forgotten St. Louis Stars of the 1967 NPSL and 1968-77 NASL; How “soc-hoc” evolved into a professional indoor soccer explosion in the 1980s & 90s with St. Louis (Steamers, Storm, Ambush) as its epicenter; AND The “invisible hand” of Anheuser Busch executive Denny Long. PLUS:  There “Ain’t No Stoppin’” our tribute to the MISL’s iconic St. Louis Steamers!

Playlist: Travis Colby Band, Daddy Gets Hungry Too, Christine Ohlman & Rebel Montez, There Ain’t No Cure (feat. Ian Hunter), Jaimoe’s Jasssz Band, Simple Song, Sweet Daddy Cool Breeze, Teeny Weeny Bit, Zac Harmon, Gypsy Road, Jersey Swamp Cats, Cupcake! Mark Cameron, Dicey, Delbert McClinton And Self-Made Men + Dana, Gone To Mexico, Paula Harris, Nothing Good Happens After Midnight, Alice Howe, Lovin’ In My Baby’s Eyes, Michael Lee, Weeds, Mindi Abair and the Boneshakers, Seven Day Fool, The Forty Fours, Sugar You, Sunday Wilde & The 1 Eyed Jacks, Captured Me, John Verity, I Just Don’t Love You Anymore, Lacy J. Dalton, It Takes An Earthquake Sometimes, The Floor Models, You Can’t Tell Me Anything, Tom Euler, Bridge You Ain’t Burnt, Cat Lee Kings And His Cocks, Sweet Sandy Lee, Ben Levin, Lightnin’, Terry Hanck, Hold It Right There, Heather Newman, His Soul, The Forevers, Big Wave, Blowing Smoke Rhythm & Blues Band, You Can Have My Husband But Please Don’t Mess With My Man, Karen Lawrence, I Couldn’t Help But Love You, Nancy Wright, Keep Your Hands Off Of Him, Diana Rein, Get Down, Savoy Brown, Hang In Tough, Chris ‘Bad News “ Barnes, Hokum Blues, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: BLUES SCHEDULE WEEKLY REPORT 6/27 thru 7/3 BAND VENUE LOCATION THURSDAY 6/27 LIVIU INVITATIONAL feat MIKE CRANDALL BLACK EYED SALLY'S HARTFORD ROCKY LAWRENCE THE CRAVE (6:30 PM ) ANSONIA MYSTIC HORNS STEAK LOFT MYSTIC MEN WITH GUITARS PERKS AND CORKS WESTERLY RI CAPRICORN (Allmans Tribute ) TIPPING CHAIR TAVERN MILLDALE DAVE STOLTZ SOLO OLD FARMS HOTEL AVON JOHN VALYO OPEN MIC PARROTT AND DELANEY NEW HARTFORD MAX CREEK TOAD'S PLACE NEW HAVEN JIMMY PHOTON JAM HUNGRY TIGER MANCHESTER DEE BROWN OPEN MIC O'NEIL'S BAR BRIDGEPORT GREG SHERROD OPEN MIC THE BLACK SHEEP NIANTIC OPEN MIC FAST EDDDIE'S BILLARD CAFÉ NEW MILFORD KEN SAFETY OPEN MIC CJ SPARROWS CHESHIRE WENDY MAY OPEN MIC THE BLACK DUCK WESTPORT NICO RIVERS & THE BLACK GRASS HOG RIVER BREWERY HARTFORD JEFF PITCHELL FLYING MONKEY HARTFORD FRIDAY 6/28 LURRIE BELL BRIDGE STREET LIVE COLLINSVILLE JOE LOUIS WALKER RD 86 SPACE NEW LONDON NIGHT TRAIN THEODORE'S SPRINGFIELD MA PETER WOLF NARROWS CENTER FALL RIVER MA NEAL AND THE VIPERS MAPLE TREE CAFÉ SIMSBURY BOOGIE BOYS MULLIGAN'S TORRINGTON NEAL AND THE VIPERS TIPSY SEAGULL DOCKSIDE PUB FALL RIVER MA ALBERT LEE KATY OLD SAYBROOK BIG HEAD TODD & THE MONSTERS INFINITY MUSIC HALL HARTFORD THE BERNADETTES DONAHUE'S BEACH BAR MADISON QUINN SULLIVAN / REBECCA CORREIA FTB (Stage One ) FAIRFIELD RAMBLIN DAN STEVENS PERKS AND CORKS WESTERLY RI SNAKE HILL BLUES BAND CAFÉ NINE (5 PM ) NEW HAVEN BILLY BILECA/LEE-ANN LOVELACE/ RIVERA SMOKIN WITH CHRIS SOUTHINGTON PHYSICAL GRAFFITI BLACK EYED SALLY'S HARTFORD RED HEAD MAIN PUB MANCHESTER ROADHOUSE ROOSTER THE HIDEAWAY RIDGEFIELD SEAN ARDOIN LEVITT PAVILION WESTPORT MURRAY THE WHEEL WINDSTOCK STRATFORD TERRI AND ROB DUO GELSTON HOUSE HADDAM ERAN TROY DANNER (Solo ) SUNSET GRILLE WATERTOWN SIDEWINDERS NOBLE NEW LONDON PATTY AND BILL OLIVER'S DAIRY BAR NORTH WINDHAM BUFFALOE STACK w BRUCE CARROLL TOWN CRIER BEACON TOM RUSH w MATT NAKOA TURNING POINT PIERMONT NY VITO PETROCCITTO & LITTLE ROCK FALCON UNDERGROUND MARLBORO GIL PARRIS PETE'S SALOON ELMSFORD NY THE RED HOTS 266 MAIN NEWTOWN SHAWN TAYLOR TAVERN 1757 (4 PM ) SEYMOUR FLIPPER TRIO BRASS HORSE BARKHAMSTED WINE, WOMAN, AND SONG HUNT HILL FARM (7:30 TO 9:30 NEW MILFORD SATURDAY 6/29 BLUES ON BANK FESTIVAL HYGIENIC ART PARK (3 TO 10 PM ) NEW LONDON CHRISTINE OHLMAN & REBEL MONTEZ KNICKERBOCKER MUSIC CENTER WESTERLY RI LURRIE BELL NEW YORK STATE BLUES FESTIVAL SYRACUSE NY ROSE ARTS FESTIVAL 10 STAGES - CHECK THE WEB SITE NORWICH GRAYSON HUGH & THE MOON HAWKS BLACK EYED SALLY'S HARTFORD REGINA BONELLI & TRUE GROOVE CHAN'S WOONCOCKET RI CARL RICCI AND 706 UNION AVE MULLIGAN'S TORRINGTON OUTLAWS INFINITY MUSIC HALL NORFOLK MEASURED SOUL MAPLE TREE CAFÉ SIMSBURY BRASS ATTACK THEODORE'S SPRINGFIELD MA SOMEONE YOU CAN X RAY CROWN & HAMMER COLLINSVILLE PETER WOLF NARROWS ART CENTER FALL RIVER MA CROSSEYED CAT SHAMROCK PUB WATERBURY SCOTT SHARRARD THE FALCON MARLBORO NY UNFINISHED BUSINESS BLUES BAND SOFTAILS CAFÉ DURHAM NEAL & THE VIPERS C NOTE CAFE HULL MA BONE DRY DUO NOTE KITCHEN AND BAR BETHEL BIG CHIEF & THE MIDNIGHT GROVE THE CRABSHELL STAMFORD NOLA BEATNIKS SONO SEAPORT (5 PM ) NORWALK THE BERNADETTES MURPHY'S NEWTOWN HOWIE AND THE SOUL POTATOES THE WINDMILL TAVERN STRATFORD MURRAY THE WHEEL ALFA'S CAFÉ MILFORD X RAY LITE IVORYTON FARMERS MARKET (11 AM ) IVORYTON THE 5 O'CLOCKS RIZZUTO'S WESTPORT VOODOO CARNIVAL SHERMAN GREEN GAZEBO (6:30 PM ) FAIRFIELD THE TROUBLEMAKERS NARRAGANSETT CAFÉ JAMESTOWN RI ORB MELLON THE CUE RESTAURANT DANBURY LEO BOOGIE SCOTCH PLAINS TAVERN ESSEX RAMBLIN DAN STEVENS RAPSCALLION BREWEREY FISKDALE MA ERAN TROY DANNER (Solo ) HOWARD'S CAFÉ (4:30 PM ) WATERBURY CAPRICORN (Allmans Tribute) PHOENIX DINING & ENTERTAINMENT PAWCATUCK BARLEY HOPPERS (Acoustic ) CHELO'S WATERFRONT BAR (12 PM ) WARWICK RI THE BOXCAR LILIES IRON HORSE (7 PM ) NORTHAMPTON MA GIL PARRIS HUNT HILL FARM (7 TO 9:30 PM ) NEW MILFORD ROCK n ROOTS REVIVAL LONETOWN FARM (2 TO 10 PM ) REDDING THE TROUBLEMAKERS NARRAGANSETT CAFÉ JAMESTOWN RI SUNDAY 6/30 BLUES ON BANK HYGIENIC ART PARK ( 2 TO 8 pm) NEW LONDON FOCUS ROCKS (For Autism ) BRIDGE STREET LIVE COLLINSVILLE BAND JAM (for Music Scholarship) PARROTT AND DELANEY (2 PM ) NEW HARTFORD RAMBLIN DAN STEVENS TRIO MYSTICK VILLAGE MYSTIC ERAN TROY DANNER (Solo ) 121 RESTAURANT OXFORD SIDEWINDERS STEAK LOFT (6 TO 9 PM ) MYSTIC JEREMY BAUM TRIO PHOENIX DINING AND ENTERTAINMENT PAWCATUCK BIRCHWOOD TRIO LABYRINTH BREWING CO (2 PM ) MANCHESTER AMERICANA MAIN PUB MANCHESTER FRANKIE AND THE KNOW IT ALLS TAMARACK LODGE VOLUNTOWN COFFEE HOUSE MUSIC FESTIVAL GARCIA'S AT CAPITAL THEATER (5 PM ) PORT CHESTER NY CEE CEE & THE RIDERS RATHSKELLER (3 PM ) CHARLESTOWN RI CORKY HIP JOINT BAND BRASS HORSE (3 TO 7 PM ) BARKHAMSTED DAVE STO;TZ FLYING MONKEY (4 TO 7 PM ) HARTFORD TIM TAYLOR BLUES BAND NARRAGANSETT CAFÉ (4 TO 7 PM ) JAMESTOWN RI GREG SHERROD JAM THE ANDREA MISQUAMICUT RI JIM'S BLUES JAM GREENDALE'S PUB WPRCESTER MA BLUES JAM STONEHOUSE CAFÉ BALTIC OPEN MIC STOMPING GROUND (7 PM ) PUTNAM ELECTRIC BLUES JAM SULLY'S PUB HARTFORD RICK HARRINGTON JAM CADY'S TAVERN (4 PM ) CHEPACHET RI BLUES AND BEYOND JAM THE HILLS AT CLUB ONE FEEDING HILLS MA FRONT ROW BAND OPEN MIC MALONEY'S PUBLIC HOUSE (4 PM) MERIDEN WHAMMER JAMMER OPEN MIC VFW PRESTON ROCKABILLY JAM BOUNDARY BREWHOUSE PAWTUCKET RI MONDAY 7/1 DAN STEVENS witn BRAIDEN SUNSHINE NIGHTINGALE'S CAFÉ OLD LYME GREG PICCOLO STEAK LOFT MYSTIC TUXEDO JUNCTION (Swing ) BILL'S SEAFOOD WESTBROOK OPEN MIC HUNGRY TIGER MANCHESTER OPEN MIC NOTE KITCHEN BETHEL MARK ZARETSKY BLUES JAM THE ACOUSTIC BRIDGEPORT OPEN MIC STRANGE BREW PUB NORWICH TUESDAY 7/2 DAVE SADLOWSKI HUNGRY TIGER MANCHESTER RAMBLIN DAN STEVENS NIGHTINGALES (Pickin Party 6 pm) OLD LYME MICHAEL PALIN OTHER ORCHESTRA BLACK EYED SALLY'S HARTFORD UNPLUGGED JAM STRANGE BREW PUB NORWICH WEDNESDAY 7/3 MIGHTY SOUL DRIVERS HUBBARD PARK (Barry Bandshell 7 pm) MERIDEN SANDY CONNOLLY OPEN MIC DONAHUE'S BEACH BAR MADISON ACOUSTIC OPEN MIC THE FALCON MARLBORO NY JEFF PITCHELL STEAK LOFT MYSTIC DAN STEVENS & MELLOW MEN OLD LYME INN (Patio at 6 pm ) OLD LYME ERAN TROY DANNER (Solo ) OWL MODERN WINE BAR NEW PRESTON TERRI AND ROB DUO TAZRAKS NAUGATUCK HOWIE & THE SOUL POTATOES TWISTED VINE RESTAURANT DERBY MURRAY THE WHEEL TOOTZY PIZZA WILTON BATTLE OF THE BANDS ATRIUM LOUNGE FOXWOODS CASINO OPEN MIC YANTIC INN YANTIC OPEN MIC MAPLE TREE CAFÉ SIMSBURY COMMUNITY BLUES JAM BLACK EYED SALLY'S HARTFORD FRIEND'S DAY OPEN MIC THEODORE'S SPRINGFIELD MA WACKY WEDNESDAY JAM GREENDALE PUB WORCESTER MA FREE FUNK WEDNESDAY ARCH STREET TAVERN HARTFORD VRBE PUB ON PARK CRANSTON RI BANKS,McMANAMON/FRITZ TAVERN FROM TOWER SQUARE PLAINVILLE MA JOHN LAMB JAM SEAGRAPE CAFÉ FAIRFIELD OPEN MIC SLIDERS MIDDLETOWN DAVE STOLTZ (Solo ) OLD FARMS HOTEL AVON JUKE JOINT WEDNESDAY PEACHES SOUTHERN PUB NORWALK CARTELL TRIP BILL'S SEAFOOD WESTBROOK https://itunes.apple.com/us/podcast/id502316055

There Ain't no grave on Resurrection Sunday at The Red Door Community Church, message by Adam Meredith.

    Welcome to episode twenty-five of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Earth Angel” by the Penguins. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Much of the information here comes from various articles on Marv Goldberg’s site, which is an essential resource for 50s vocal group information.  The quotes from Dootsie Williams are from Upside Your Head!: Rhythm and Blues on Central Ave by Johnny Otis. And this CD contains all the Penguins’ releases up to the point that they became just a name for Cleve Duncan. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When you’re dealing with music whose power lies in its simplicity, as early rock and roll’s does, you end up with music that relies on a variety of formulae, and whose novelty relies on using those formulae in ever-so-slightly different ways. This is not to say that such music can’t be original — but that its originality relies on using the formulae in original ways, rather than in doing something completely unexpected. And one of the ways in which early rock and roll was formulaic was in the choice of chord sequence. When writing a fifties rock and roll song, you basically had four choices for chord sequence, and those four choices would cover more than ninety percent of all records in the genre. There was the twelve-bar blues — songs like “Hound Dog” or “Roll Over Beethoven” or “Shake, Rattle, and Roll” are all based around the twelve-bar blues. There’s the variant eight-bar blues, which most of the R&B we’ve talked about uses — that’s not actually one chord sequence but a bunch of related ones. Then there’s the three-chord trick, which is similar to the twelve bar blues but just cycles through the chords I IV V IV I IV V IV — this is the chord sequence for “La Bamba” and “Louie Louie” and “Twist and Shout” and “Hang On Sloopy”. And finally, there’s the doo-wop chord sequence. This is actually two very slightly different chord sequences — I , minor sixth, minor second, fifth: [demonstrates on guitar] and I, minor sixth, fourth, fifth: [demonstrates on guitar] But those two sequences are so similar that we’ll just lump them both in under the single heading of “the doo-wop chord sequence” from now on. When I talk about that in future episodes, that’s the chord sequence I mean. And that may be the most important chord sequence ever, just in terms of the number of songs which use it. It’s the progression that lies behind thirties songs like “Blue Moon”, and the version of “Heart and Soul” most people can play on the piano (the original song is slightly different), but it’s also in “Oliver’s Army” by Elvis Costello, “Enola Gay” by Orchestral Manoeuvres in the Dark, “Million Reasons” by Lady Gaga, “I’m the One” by DJ Khaled… whatever genre of music you like, you almost certainly know and love dozens of songs based on that progression. (And you almost certainly hate dozens more. It’s also been used in a *lot* of big ballads that get overplayed to death, and if you’re not the kind of person who likes those records, you might end up massively sick of them.) [Excerpt: “Blue Moon”, Elvis Presley, going into “I Will Always Love You” by Dolly Parton, going into “I’m the One” by DJ Khaled] But while it has been used in almost every genre of music, the reason why we call this progression the doo-wop progression is that it’s behind almost every doo-wop song of the fifties and early sixties. “Duke of Earl”, “Why Do Fools Fall In Love”, “In The Still of the Night”, “Sh’boom” — it forms the basis of more hit records in that genre than I could name even if I spent the whole of this podcast naming them. And today we’re going to talk about a song that cemented that sequence as the doo-wop standard, imitated by everyone, and which managed to become a massive hit despite containing almost nothing at all original. The Penguins were a vocal group, that formed out of the maelstrom of vocal groups in LA in the fifties, in the scene around Central Ave. One thing you’ll notice when we talk about vocal groups, especially in LA, is that it gets very confusing very fast with all the different bands swapping members and taking each others’ names. So for clarity, the Hollywood Flames, featuring Bobby Byrd, were different from the Famous Flames, who also featured Bobby Byrd, who wasn’t the same Bobby Byrd as the Bobby Byrd who was a Hollywood Flame. And when we talk about bird groups, we’re talking about groups named after birds, not groups featuring Bobby Byrd. And the two members of the Hollywood Flames who were previously in a bird group called the Flamingoes weren’t in the bird group called the Flamingoes that people normally mean when they talk about the Flamingoes, they were in a different band called the Flamingoes that went on to become the Platters. Got that? I’m sorry. I’ll now try to take you slowly through the convoluted history of the Penguins, in a way that will hopefully make sense to you. But if it doesn’t, just remember, not what I actually just said, but how hard it was to follow. Even the sources I’m consulting for this, written by experts who’ve spent decades trying to figure out who was in what band, often admit to being very unsure of their facts. Vocal groups on the West Coast in the US were far more fluid than on the East Coast, and membership could change from day to day and hour to hour. We’ll start with the Hollywood Flames. The Hollywood Flames initially formed in 1948, at one of the talent shows that were such important incubators of black musical talent in the 1950s. In this case, they all separately attended a talent show at the Largo Theatre in Los Angeles, where so many different singers turned up that instead of putting them all on separately, the theatre owner told them to split into a few vocal groups. Shortly after forming, the Hollywood Flames started performing at the Barrelhouse Club, owned by Johnny Otis, and started recording under a variety of different names. Their first release was as “The Flames”, and came out in January 1950: [excerpt: “Please Tell Me Now”, the Flames] Another track they recorded early on was this song by an aspiring songwriter named Murry Wilson: [excerpt “Tabarin”, the Hollywood Flames] Murry Wilson would never have much success as a songwriter, but we’ll be hearing about him a lot when we talk about his three sons, Brian, Carl, and Dennis, once we hit the 1960s and they form the Beach Boys. At some point in late 1954, Curtis Williams, one of the Hollywood Flames, left the group. It seems likely, in fact, that the Hollywood Flames split up in late 1954 or early 55, and reformed later — throughout 1955 there were a ton of records released featuring various vocalists from the Hollywood Flames in various combinations, under other band names, but in the crucial years of 1955 and 1956, when rock and roll broke out, the Hollywood Flames were not active, even though later on they would go on to have quite a few minor hits. But while the band wasn’t active, the individuals were, and Curtis Williams took with him a song he had been working on with another member, Gaynell Hodge. That song was called “Earth Angel”, and when he bumped into his old friend Cleve Duncan, Williams asked Duncan if he’d help him with it. Duncan agreed, and they worked out an arrangement for the song, and decided to form a new vocal group, each bringing in one old friend from their respective high schools. Duncan brought in Dexter Tisby, while Williams brought in Bruce Tate. They decided to call themselves The Penguins, after the mascot on Kool cigarettes. Williams and Tate had both attended Jefferson High School, and now is as good a time as any to talk about that school. Because Jefferson High School produced more great jazz and R&B musicians than you’d expect from a school ten times its size, or even a hundred. Etta James, Dexter Gordon, Art Farmer, Johnny “Guitar” Watson, Barry White, Richard Berry… The great jazz trumpeter Don Cherry actually got in trouble with his own school because he would play truant – in order to go and play with the music students at Jefferson High. And this abundance of talent was down to one good teacher — the music teacher Samuel Browne, who along with Hazel Whittaker and Marjorie Bright was one of the first three black teachers to be employed to teach secondary school classes in LA. Several of the white faculty at Jefferson asked to be transferred when he started working at Jefferson High, but Browne put together an astonishing programme of music lessons at the school, teaching the children about the music that they cared about — jazz and blues — while also teaching them to play classical music. He would have masterclasses taught by popular musicians like Lionel Hampton or Nat “King” Cole, and art musicians like William Grant Still, the most important black composer and conductor in the classical world in the mid-twentieth century. It was, quite simply, the greatest musical education it was possible to have at that time, and certainly an education far beyond anything that most poor black kids of the time could dream of. Half the great black musicians in California in the forties and fifties learned in Browne’s lessons. And that meant that there was a whole culture at Jefferson High of taking music seriously, which meant that even those who weren’t Browne’s star pupils knew it was possible for them to become successful singers and songwriters. Jesse Belvin, who had been a classmate of Curtis Williams and Gaynell Hodge when they were in the Hollywood Flames, was himself a minor R&B star already, and he would soon become a major one. He helped Williams and Hodge with their song “Earth Angel”, and you can see the resemblance to his first hit; a song called “Dream Girl”: [Excerpt: “Dream Girl”, Jesse and Marvin] Note how much that melody line sounds like this bit of “Earth Angel”: [Excerpt: “Earth Angel”, the Penguins] But that’s not the only part of “Earth Angel” that was borrowed. There’s the line “Will you be mine?”, which had been the title of a hit record by the Swallows: [Excerpt: “Will You Be Mine?”: The Swallows] Then there’s this song by the Hollywood Flames, recorded when Williams was still in the band with Hodge: [Excerpt: The Hollywood Flames, “I Know”] That sounds like a generic doo-wop song now, but that’s because every generic doo-wop song patterned itself after “Earth Angel”. It wasn’t generic when the Hollywood Flames recorded that. And finally, the Hollywood Flames had, a while earlier, been asked to record a demo for a local songwriter, Jessie Mae Robinson. That song, “I Went to Your Wedding”, later became a hit for the country singer Patti Page. Listen to the middle eight of that song: [Excerpt: “I Went to Your Wedding”, Patti Page] Now listen to the middle eight of “Earth Angel”: [Excerpt: “Earth Angel”, the Penguins] The song was a Frankenstein’s monster, bolted together out of bits of spare parts from other songs, But like the monster, it took on a life of its own. And the spark that gave it life came from Dootsie Williams. Dootsie Williams was the owner of Doo-Tone Records, and was a former musician, who had played trumpet in jazz and R&B bands for several years before realising that he could make more money by putting out records by other people. His first commercial successes came not from music at all, but from comedy. Williams was a fan of the comedian Red Foxx, and wanted to put out albums of Foxx’s live set. Foxx initially refused, because he thought that if he recorded anything then people wouldn’t pay to come and see his live shows. However, he became short of cash and agreed to make a record of his then-current live set. Laff of the Party became a massive hit, and more or less started the trend for comedy albums: [excerpt: Red Foxx: Laff of the Party] Williams wasn’t, primarily, a record-company owner, though. He was like Sam Phillips — someone who provided recording services — but his recordings were songwriters’ demos, and so meant to be for professionals, unlike the amateurs Phillips recorded. The Penguins would record some of those demos for him, performing the songs for the songwriters who couldn’t sing themselves, and as he put it “I had the Penguins doing some vocals and they begged me ‘Please record us so we can get a release and go on the road and get famous’ and all that. They kept buggin’ me ’til I said, ‘Okay, what have you got?'” Their first single, credited to “The Dootsie Williams Orchestra, with Vocal by The Penguins” didn’t even feature the Penguins on the other side. The song itself, “There Ain’t No News Today”, wasn’t an original to the band, and it bore more than a slight resemblance to records like Wynonie Harris’ “Who Threw the Whisky in the Well?” [Excerpt: The Dootsie Williams Orchestra with the Penguins, “There Ain’t No News Today”] But the “what have you got?” question had also been about songs. Williams was also a music publisher, and he was interested in finding songs he could exploit, not just recordings. As he put it, talking to Johnny Otis: “They said, ‘We got a song called ‘Earth Angel’ and a song called ‘Hey Senorita’.’ Of course, ‘Earth Angel’ was all messed up, you know how they come to you. So I straightened it out here and straightened it out there, and doggone, it sounded pretty good. “Earth Angel” was not even intended to be an A-side, originally. It was tossed off as a demo, and a demo for what was expected to be a B-side. The intended A-side was “Hey Senorita”: [excerpt: The Penguins, “Hey Senorita”] Both tracks were only meant to be demos, not the finished recordings, and several takes had to be scrapped because of a neighbour’s dog barking. But almost straight away, it became obvious that there was something special about “Earth Angel”. Dootsie Williams took the demo recording to Dolphin’s of Hollywood, the most important R&B record shop on the West Coast. We’ve talked about Dolphin’s last episode, but as a reminder, as well as being a record shop and the headquarters of a record label, Dolphin’s also broadcast R&B radio shows from the shop. And Dolphin’s radio station and record shop were aimed, not at the black adult buyers of R&B generally, but at teenagers. And this is something that needs to be noted about “Earth Angel” — it’s a song where the emphasis is definitely on the “Angel” rather than on the “Earth”. Most R&B songs at the time were rooted in the real world — they were aimed at adults and had adult concerns like sex, or paying the rent, or your partner cheating on you, or your partner cheating on you because you couldn’t pay the rent and so now you had no-one to have sex with. There were, of course, other topics covered, and we’ve talked about many of them, but the presumed audience was someone who had real problems in their life — and who therefore also needed escapist music to give them some relief from their problems. On the other hand, the romance being dealt with in “Earth Angel” is one that is absolutely based in teenage romantic idealisations rather than in anything like real world relationships. (This is, incidentally, one of the ways in which the song resembles “Dream Girl”, which again is about a fantasy of a woman rather than about a real woman). The girl in the song only exists in her effects on the male singer — she’s not described physically, or in terms of her personality, only in the emotional effect she has on the vocalist. But this non-specificity works well for this kind of song, as it allows the listener to project the song onto their own crush without having to deal with inconvenient differences in detail — and as the song is about longing for someone, rather than being in a relationship with someone, it’s likely that many of the adolescents who found themselves moved by the song knew almost as little about their crush as they did about the character in the song. The DJ who was on the air when Dootsie Williams showed up was Dick “Huggy Boy” Hugg, possibly the most popular DJ on the station. Huggy Boy played “Earth Angel” and “Hey Senorita”, and requests started to come in for the songs almost straight away. Williams didn’t want to waste time rerecording the songs when they’d gone down so well, and released it as the final record. Of course, as with all black records at this point in time, the big question was which white people would have the bigger hit with it? Would Georgia Gibbs get in with a bland white cover, or would it be Pat Boone? As it turns out, it was the Crew Cuts, who went to number one (or number three, I’ve seen different reports in different sources) on the pop charts with their version. After “Sh’Boom”, the Crew Cuts had briefly tried to go back to barbershop harmony with a version of “The Whiffenpoof Song”, but when that did nothing, in quick succession they knocked out hit, bland, covers first of “Earth Angel” and then of “Ko Ko Mo”, which restored them to the top of the charts at the expense of the black originals. [excerpt: The Crew Cuts, “Earth Angel”] But it shows how times were slowly changing that the Penguins’ version also made the top ten on the pop charts, as Johnny Ace had before them. The practice of white artists covering black artists’ songs would continue for a while, but within a couple of years it would have more-or-less disappeared, only to come back in a new form in the sixties. The Penguins recorded a follow-up single, “Ookey Ook”: [excerpt: the Penguins, “Ookey Ook”] That, however, wasn’t a hit. Dootsie Williams had been refusing to pay the band any advances on royalties, even as “Earth Angel” rose to number one on the R&B charts, and the Penguins were annoyed enough that they signed with Buck Ram, the songwriter and manager who also looked after the Platters, and got a new contract with Mercury. Williams warned them that they wouldn’t see a penny from him if they broke their contract, but they reasoned that they weren’t seeing any money from him anyway, and so decided it didn’t matter. They’d be big stars on Mercury, after all. They went into the studio to do the same thing that Gene and Eunice had done, rerecording their two singles and the B-sides, although these recordings didn’t end up getting released at the time. Unfortunately for the Penguins, they weren’t really the band that Ram was interested in. Ram had used the Penguins’ current success as a way to get a deal both for them *and* for the Platters, the group he really cared about. And once the Platters had a hit of their own — a hit written by Buck Ram — he stopped bothering with the Penguins. They made several records for Mercury, but with no lasting commercial success. And since they’d broken their contract with Dootone, they made no money at all from having sung “Earth Angel”. At the same time, the band started to fracture. Bruce Tate became mentally ill from the stress of fame, quit the band, and then killed someone in a hit-and-run accident while driving a stolen car. He was replaced by Randy Jones. Within a year Jones had left the band, as had Dexter Tisby. They returned a few months after that, and their replacements were sacked, but then Curtis Williams left to rejoin the Hollywood Flames, and Teddy Harper, who had been Dexter Tisby’s replacement, replaced Williams. The Penguins had basically become Cleve Duncan, who had sung lead on “Earth Angel”, and any selection of three other singers, and at one point there seem to have been two rival sets of Penguins recording. By 1963, Dexter Tisby, Randy Jones, and Teddy Harper were touring together as a fake version of the Coasters, along with Cornell Gunter who was actually a member of the Coasters who’d split from the other three members of *his* group. You perhaps see now why I said that stuff at the beginning about the vocal group lineups being confusing. At the same time, Cleve Duncan was singing with a whole other group of Penguins, recording a song that would never be a huge hit but would appear on many doo-wop compilations — so many that it’s as well known as many of the big hits: [excerpt: “Memories of El Monte”, the Penguins] It’s fascinating to listen to that song, and to realise that by the very early sixties, pre-British Invasion, the doo-wop and rock-and-roll eras were *already* the subject of nostalgia records. Pop not only will eat itself, but it has been doing almost since its inception. We’ll be talking about the co-writer of that song, Frank Zappa, a lot more when he starts making his own records. And meanwhile, there were lawsuits to contend with. “Earth Angel” had originally been credited to Curtis WIlliams and Gaynell Hodge, but they’d been helped out in the early stages of writing it by Jesse Belvin, and then Cleve Duncan had adjusted the melody, and Dootsie Williams claimed to have helped them fix up the song. Belvin had been drafted into the army when “Earth Angel” had hit, and when he got out he was broke, and he was persuaded by Dootsie Williams, who still seems to have held a grudge about the Penguins breaking their contract, to sue over the songwriting royalties. Belvin won sole credit in the lawsuit, and then signed over that sole credit to Dootsie Williams, so (according to Marv Goldberg) for a while Dootsie Williams was credited as the only writer. Luckily, for once, that injustice was eventually rectified. These days, thankfully, the writing credits are split between Curtis Williams, Jesse Belvin, and Gaynell Hodge, and in 2013 Hodge, the last surviving co-writer of the song, was given an award by BMI for the song having been played on the radio a million times, and Hodge and the estates of his co-writers receive royalties for its continued popularity. Curtis Williams and Bruce Tate both died in the 1970s. Jesse Belvin died earlier than that, but his story is for another podcast. Dexter Tisby seems to be still alive, as is Gaynell Hodge. And Cleve Duncan continued performing with various lineups of Penguins until his death in 2012, making a living as a performer from a song that sold twenty million copies but never paid its performers a penny. He always said that he was always happy to sing his hit, so long as the audiences were happy to hear it, and they always were.

    Welcome to episode twenty-five of A History of Rock Music in Five Hundred Songs. Today we're looking at "Earth Angel" by the Penguins. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Much of the information here comes from various articles on Marv Goldberg's site, which is an essential resource for 50s vocal group information.  The quotes from Dootsie Williams are from Upside Your Head!: Rhythm and Blues on Central Ave by Johnny Otis. And this CD contains all the Penguins' releases up to the point that they became just a name for Cleve Duncan. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When you're dealing with music whose power lies in its simplicity, as early rock and roll's does, you end up with music that relies on a variety of formulae, and whose novelty relies on using those formulae in ever-so-slightly different ways. This is not to say that such music can't be original -- but that its originality relies on using the formulae in original ways, rather than in doing something completely unexpected. And one of the ways in which early rock and roll was formulaic was in the choice of chord sequence. When writing a fifties rock and roll song, you basically had four choices for chord sequence, and those four choices would cover more than ninety percent of all records in the genre. There was the twelve-bar blues -- songs like "Hound Dog" or "Roll Over Beethoven" or "Shake, Rattle, and Roll" are all based around the twelve-bar blues. There's the variant eight-bar blues, which most of the R&B we've talked about uses -- that's not actually one chord sequence but a bunch of related ones. Then there's the three-chord trick, which is similar to the twelve bar blues but just cycles through the chords I IV V IV I IV V IV -- this is the chord sequence for "La Bamba" and "Louie Louie" and "Twist and Shout" and "Hang On Sloopy". And finally, there's the doo-wop chord sequence. This is actually two very slightly different chord sequences -- I , minor sixth, minor second, fifth: [demonstrates on guitar] and I, minor sixth, fourth, fifth: [demonstrates on guitar] But those two sequences are so similar that we'll just lump them both in under the single heading of "the doo-wop chord sequence" from now on. When I talk about that in future episodes, that's the chord sequence I mean. And that may be the most important chord sequence ever, just in terms of the number of songs which use it. It's the progression that lies behind thirties songs like "Blue Moon", and the version of "Heart and Soul" most people can play on the piano (the original song is slightly different), but it's also in "Oliver's Army" by Elvis Costello, "Enola Gay" by Orchestral Manoeuvres in the Dark, "Million Reasons" by Lady Gaga, "I'm the One" by DJ Khaled... whatever genre of music you like, you almost certainly know and love dozens of songs based on that progression. (And you almost certainly hate dozens more. It's also been used in a *lot* of big ballads that get overplayed to death, and if you're not the kind of person who likes those records, you might end up massively sick of them.) [Excerpt: "Blue Moon", Elvis Presley, going into "I Will Always Love You" by Dolly Parton, going into "I'm the One" by DJ Khaled] But while it has been used in almost every genre of music, the reason why we call this progression the doo-wop progression is that it's behind almost every doo-wop song of the fifties and early sixties. "Duke of Earl", "Why Do Fools Fall In Love", "In The Still of the Night", "Sh'boom" -- it forms the basis of more hit records in that genre than I could name even if I spent the whole of this podcast naming them. And today we're going to talk about a song that cemented that sequence as the doo-wop standard, imitated by everyone, and which managed to become a massive hit despite containing almost nothing at all original. The Penguins were a vocal group, that formed out of the maelstrom of vocal groups in LA in the fifties, in the scene around Central Ave. One thing you'll notice when we talk about vocal groups, especially in LA, is that it gets very confusing very fast with all the different bands swapping members and taking each others' names. So for clarity, the Hollywood Flames, featuring Bobby Byrd, were different from the Famous Flames, who also featured Bobby Byrd, who wasn't the same Bobby Byrd as the Bobby Byrd who was a Hollywood Flame. And when we talk about bird groups, we're talking about groups named after birds, not groups featuring Bobby Byrd. And the two members of the Hollywood Flames who were previously in a bird group called the Flamingoes weren't in the bird group called the Flamingoes that people normally mean when they talk about the Flamingoes, they were in a different band called the Flamingoes that went on to become the Platters. Got that? I'm sorry. I'll now try to take you slowly through the convoluted history of the Penguins, in a way that will hopefully make sense to you. But if it doesn't, just remember, not what I actually just said, but how hard it was to follow. Even the sources I'm consulting for this, written by experts who've spent decades trying to figure out who was in what band, often admit to being very unsure of their facts. Vocal groups on the West Coast in the US were far more fluid than on the East Coast, and membership could change from day to day and hour to hour. We'll start with the Hollywood Flames. The Hollywood Flames initially formed in 1948, at one of the talent shows that were such important incubators of black musical talent in the 1950s. In this case, they all separately attended a talent show at the Largo Theatre in Los Angeles, where so many different singers turned up that instead of putting them all on separately, the theatre owner told them to split into a few vocal groups. Shortly after forming, the Hollywood Flames started performing at the Barrelhouse Club, owned by Johnny Otis, and started recording under a variety of different names. Their first release was as "The Flames", and came out in January 1950: [excerpt: "Please Tell Me Now", the Flames] Another track they recorded early on was this song by an aspiring songwriter named Murry Wilson: [excerpt "Tabarin", the Hollywood Flames] Murry Wilson would never have much success as a songwriter, but we'll be hearing about him a lot when we talk about his three sons, Brian, Carl, and Dennis, once we hit the 1960s and they form the Beach Boys. At some point in late 1954, Curtis Williams, one of the Hollywood Flames, left the group. It seems likely, in fact, that the Hollywood Flames split up in late 1954 or early 55, and reformed later -- throughout 1955 there were a ton of records released featuring various vocalists from the Hollywood Flames in various combinations, under other band names, but in the crucial years of 1955 and 1956, when rock and roll broke out, the Hollywood Flames were not active, even though later on they would go on to have quite a few minor hits. But while the band wasn't active, the individuals were, and Curtis Williams took with him a song he had been working on with another member, Gaynell Hodge. That song was called "Earth Angel", and when he bumped into his old friend Cleve Duncan, Williams asked Duncan if he'd help him with it. Duncan agreed, and they worked out an arrangement for the song, and decided to form a new vocal group, each bringing in one old friend from their respective high schools. Duncan brought in Dexter Tisby, while Williams brought in Bruce Tate. They decided to call themselves The Penguins, after the mascot on Kool cigarettes. Williams and Tate had both attended Jefferson High School, and now is as good a time as any to talk about that school. Because Jefferson High School produced more great jazz and R&B musicians than you'd expect from a school ten times its size, or even a hundred. Etta James, Dexter Gordon, Art Farmer, Johnny "Guitar" Watson, Barry White, Richard Berry… The great jazz trumpeter Don Cherry actually got in trouble with his own school because he would play truant – in order to go and play with the music students at Jefferson High. And this abundance of talent was down to one good teacher -- the music teacher Samuel Browne, who along with Hazel Whittaker and Marjorie Bright was one of the first three black teachers to be employed to teach secondary school classes in LA. Several of the white faculty at Jefferson asked to be transferred when he started working at Jefferson High, but Browne put together an astonishing programme of music lessons at the school, teaching the children about the music that they cared about -- jazz and blues -- while also teaching them to play classical music. He would have masterclasses taught by popular musicians like Lionel Hampton or Nat "King" Cole, and art musicians like William Grant Still, the most important black composer and conductor in the classical world in the mid-twentieth century. It was, quite simply, the greatest musical education it was possible to have at that time, and certainly an education far beyond anything that most poor black kids of the time could dream of. Half the great black musicians in California in the forties and fifties learned in Browne's lessons. And that meant that there was a whole culture at Jefferson High of taking music seriously, which meant that even those who weren't Browne's star pupils knew it was possible for them to become successful singers and songwriters. Jesse Belvin, who had been a classmate of Curtis Williams and Gaynell Hodge when they were in the Hollywood Flames, was himself a minor R&B star already, and he would soon become a major one. He helped Williams and Hodge with their song “Earth Angel”, and you can see the resemblance to his first hit; a song called "Dream Girl": [Excerpt: "Dream Girl", Jesse and Marvin] Note how much that melody line sounds like this bit of "Earth Angel": [Excerpt: "Earth Angel", the Penguins] But that's not the only part of “Earth Angel” that was borrowed. There's the line "Will you be mine?", which had been the title of a hit record by the Swallows: [Excerpt: "Will You Be Mine?": The Swallows] Then there's this song by the Hollywood Flames, recorded when Williams was still in the band with Hodge: [Excerpt: The Hollywood Flames, "I Know"] That sounds like a generic doo-wop song now, but that's because every generic doo-wop song patterned itself after "Earth Angel". It wasn't generic when the Hollywood Flames recorded that. And finally, the Hollywood Flames had, a while earlier, been asked to record a demo for a local songwriter, Jessie Mae Robinson. That song, "I Went to Your Wedding", later became a hit for the country singer Patti Page. Listen to the middle eight of that song: [Excerpt: "I Went to Your Wedding", Patti Page] Now listen to the middle eight of "Earth Angel": [Excerpt: "Earth Angel", the Penguins] The song was a Frankenstein's monster, bolted together out of bits of spare parts from other songs, But like the monster, it took on a life of its own. And the spark that gave it life came from Dootsie Williams. Dootsie Williams was the owner of Doo-Tone Records, and was a former musician, who had played trumpet in jazz and R&B bands for several years before realising that he could make more money by putting out records by other people. His first commercial successes came not from music at all, but from comedy. Williams was a fan of the comedian Red Foxx, and wanted to put out albums of Foxx's live set. Foxx initially refused, because he thought that if he recorded anything then people wouldn't pay to come and see his live shows. However, he became short of cash and agreed to make a record of his then-current live set. Laff of the Party became a massive hit, and more or less started the trend for comedy albums: [excerpt: Red Foxx: Laff of the Party] Williams wasn't, primarily, a record-company owner, though. He was like Sam Phillips -- someone who provided recording services -- but his recordings were songwriters' demos, and so meant to be for professionals, unlike the amateurs Phillips recorded. The Penguins would record some of those demos for him, performing the songs for the songwriters who couldn't sing themselves, and as he put it "I had the Penguins doing some vocals and they begged me 'Please record us so we can get a release and go on the road and get famous' and all that. They kept buggin' me 'til I said, 'Okay, what have you got?'" Their first single, credited to "The Dootsie Williams Orchestra, with Vocal by The Penguins" didn't even feature the Penguins on the other side. The song itself, "There Ain't No News Today", wasn't an original to the band, and it bore more than a slight resemblance to records like Wynonie Harris' "Who Threw the Whisky in the Well?" [Excerpt: The Dootsie Williams Orchestra with the Penguins, "There Ain't No News Today"] But the "what have you got?" question had also been about songs. Williams was also a music publisher, and he was interested in finding songs he could exploit, not just recordings. As he put it, talking to Johnny Otis: "They said, 'We got a song called 'Earth Angel' and a song called 'Hey Senorita'.' Of course, 'Earth Angel' was all messed up, you know how they come to you. So I straightened it out here and straightened it out there, and doggone, it sounded pretty good. "Earth Angel" was not even intended to be an A-side, originally. It was tossed off as a demo, and a demo for what was expected to be a B-side. The intended A-side was "Hey Senorita": [excerpt: The Penguins, "Hey Senorita"] Both tracks were only meant to be demos, not the finished recordings, and several takes had to be scrapped because of a neighbour's dog barking. But almost straight away, it became obvious that there was something special about "Earth Angel". Dootsie Williams took the demo recording to Dolphin's of Hollywood, the most important R&B record shop on the West Coast. We've talked about Dolphin's last episode, but as a reminder, as well as being a record shop and the headquarters of a record label, Dolphin's also broadcast R&B radio shows from the shop. And Dolphin's radio station and record shop were aimed, not at the black adult buyers of R&B generally, but at teenagers. And this is something that needs to be noted about "Earth Angel" -- it's a song where the emphasis is definitely on the "Angel" rather than on the "Earth". Most R&B songs at the time were rooted in the real world -- they were aimed at adults and had adult concerns like sex, or paying the rent, or your partner cheating on you, or your partner cheating on you because you couldn't pay the rent and so now you had no-one to have sex with. There were, of course, other topics covered, and we've talked about many of them, but the presumed audience was someone who had real problems in their life -- and who therefore also needed escapist music to give them some relief from their problems. On the other hand, the romance being dealt with in "Earth Angel" is one that is absolutely based in teenage romantic idealisations rather than in anything like real world relationships. (This is, incidentally, one of the ways in which the song resembles "Dream Girl", which again is about a fantasy of a woman rather than about a real woman). The girl in the song only exists in her effects on the male singer -- she's not described physically, or in terms of her personality, only in the emotional effect she has on the vocalist. But this non-specificity works well for this kind of song, as it allows the listener to project the song onto their own crush without having to deal with inconvenient differences in detail -- and as the song is about longing for someone, rather than being in a relationship with someone, it's likely that many of the adolescents who found themselves moved by the song knew almost as little about their crush as they did about the character in the song. The DJ who was on the air when Dootsie Williams showed up was Dick "Huggy Boy" Hugg, possibly the most popular DJ on the station. Huggy Boy played "Earth Angel" and "Hey Senorita", and requests started to come in for the songs almost straight away. Williams didn't want to waste time rerecording the songs when they'd gone down so well, and released it as the final record. Of course, as with all black records at this point in time, the big question was which white people would have the bigger hit with it? Would Georgia Gibbs get in with a bland white cover, or would it be Pat Boone? As it turns out, it was the Crew Cuts, who went to number one (or number three, I've seen different reports in different sources) on the pop charts with their version. After "Sh'Boom", the Crew Cuts had briefly tried to go back to barbershop harmony with a version of "The Whiffenpoof Song", but when that did nothing, in quick succession they knocked out hit, bland, covers first of "Earth Angel" and then of "Ko Ko Mo", which restored them to the top of the charts at the expense of the black originals. [excerpt: The Crew Cuts, "Earth Angel"] But it shows how times were slowly changing that the Penguins' version also made the top ten on the pop charts, as Johnny Ace had before them. The practice of white artists covering black artists' songs would continue for a while, but within a couple of years it would have more-or-less disappeared, only to come back in a new form in the sixties. The Penguins recorded a follow-up single, "Ookey Ook": [excerpt: the Penguins, "Ookey Ook"] That, however, wasn't a hit. Dootsie Williams had been refusing to pay the band any advances on royalties, even as "Earth Angel" rose to number one on the R&B charts, and the Penguins were annoyed enough that they signed with Buck Ram, the songwriter and manager who also looked after the Platters, and got a new contract with Mercury. Williams warned them that they wouldn't see a penny from him if they broke their contract, but they reasoned that they weren't seeing any money from him anyway, and so decided it didn't matter. They'd be big stars on Mercury, after all. They went into the studio to do the same thing that Gene and Eunice had done, rerecording their two singles and the B-sides, although these recordings didn't end up getting released at the time. Unfortunately for the Penguins, they weren't really the band that Ram was interested in. Ram had used the Penguins' current success as a way to get a deal both for them *and* for the Platters, the group he really cared about. And once the Platters had a hit of their own -- a hit written by Buck Ram -- he stopped bothering with the Penguins. They made several records for Mercury, but with no lasting commercial success. And since they'd broken their contract with Dootone, they made no money at all from having sung "Earth Angel”. At the same time, the band started to fracture. Bruce Tate became mentally ill from the stress of fame, quit the band, and then killed someone in a hit-and-run accident while driving a stolen car. He was replaced by Randy Jones. Within a year Jones had left the band, as had Dexter Tisby. They returned a few months after that, and their replacements were sacked, but then Curtis Williams left to rejoin the Hollywood Flames, and Teddy Harper, who had been Dexter Tisby's replacement, replaced Williams. The Penguins had basically become Cleve Duncan, who had sung lead on "Earth Angel", and any selection of three other singers, and at one point there seem to have been two rival sets of Penguins recording. By 1963, Dexter Tisby, Randy Jones, and Teddy Harper were touring together as a fake version of the Coasters, along with Cornell Gunter who was actually a member of the Coasters who'd split from the other three members of *his* group. You perhaps see now why I said that stuff at the beginning about the vocal group lineups being confusing. At the same time, Cleve Duncan was singing with a whole other group of Penguins, recording a song that would never be a huge hit but would appear on many doo-wop compilations -- so many that it's as well known as many of the big hits: [excerpt: "Memories of El Monte", the Penguins] It's fascinating to listen to that song, and to realise that by the very early sixties, pre-British Invasion, the doo-wop and rock-and-roll eras were *already* the subject of nostalgia records. Pop not only will eat itself, but it has been doing almost since its inception. We'll be talking about the co-writer of that song, Frank Zappa, a lot more when he starts making his own records. And meanwhile, there were lawsuits to contend with. "Earth Angel" had originally been credited to Curtis WIlliams and Gaynell Hodge, but they'd been helped out in the early stages of writing it by Jesse Belvin, and then Cleve Duncan had adjusted the melody, and Dootsie Williams claimed to have helped them fix up the song. Belvin had been drafted into the army when "Earth Angel" had hit, and when he got out he was broke, and he was persuaded by Dootsie Williams, who still seems to have held a grudge about the Penguins breaking their contract, to sue over the songwriting royalties. Belvin won sole credit in the lawsuit, and then signed over that sole credit to Dootsie Williams, so (according to Marv Goldberg) for a while Dootsie Williams was credited as the only writer. Luckily, for once, that injustice was eventually rectified. These days, thankfully, the writing credits are split between Curtis Williams, Jesse Belvin, and Gaynell Hodge, and in 2013 Hodge, the last surviving co-writer of the song, was given an award by BMI for the song having been played on the radio a million times, and Hodge and the estates of his co-writers receive royalties for its continued popularity. Curtis Williams and Bruce Tate both died in the 1970s. Jesse Belvin died earlier than that, but his story is for another podcast. Dexter Tisby seems to be still alive, as is Gaynell Hodge. And Cleve Duncan continued performing with various lineups of Penguins until his death in 2012, making a living as a performer from a song that sold twenty million copies but never paid its performers a penny. He always said that he was always happy to sing his hit, so long as the audiences were happy to hear it, and they always were.

    Welcome to episode twenty-five of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Earth Angel” by the Penguins. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Much of the information here comes from various articles on Marv Goldberg’s site, which is an essential resource for 50s vocal group information.  The quotes from Dootsie Williams are from Upside Your Head!: Rhythm and Blues on Central Ave by Johnny Otis. And this CD contains all the Penguins’ releases up to the point that they became just a name for Cleve Duncan. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When you’re dealing with music whose power lies in its simplicity, as early rock and roll’s does, you end up with music that relies on a variety of formulae, and whose novelty relies on using those formulae in ever-so-slightly different ways. This is not to say that such music can’t be original — but that its originality relies on using the formulae in original ways, rather than in doing something completely unexpected. And one of the ways in which early rock and roll was formulaic was in the choice of chord sequence. When writing a fifties rock and roll song, you basically had four choices for chord sequence, and those four choices would cover more than ninety percent of all records in the genre. There was the twelve-bar blues — songs like “Hound Dog” or “Roll Over Beethoven” or “Shake, Rattle, and Roll” are all based around the twelve-bar blues. There’s the variant eight-bar blues, which most of the R&B we’ve talked about uses — that’s not actually one chord sequence but a bunch of related ones. Then there’s the three-chord trick, which is similar to the twelve bar blues but just cycles through the chords I IV V IV I IV V IV — this is the chord sequence for “La Bamba” and “Louie Louie” and “Twist and Shout” and “Hang On Sloopy”. And finally, there’s the doo-wop chord sequence. This is actually two very slightly different chord sequences — I , minor sixth, minor second, fifth: [demonstrates on guitar] and I, minor sixth, fourth, fifth: [demonstrates on guitar] But those two sequences are so similar that we’ll just lump them both in under the single heading of “the doo-wop chord sequence” from now on. When I talk about that in future episodes, that’s the chord sequence I mean. And that may be the most important chord sequence ever, just in terms of the number of songs which use it. It’s the progression that lies behind thirties songs like “Blue Moon”, and the version of “Heart and Soul” most people can play on the piano (the original song is slightly different), but it’s also in “Oliver’s Army” by Elvis Costello, “Enola Gay” by Orchestral Manoeuvres in the Dark, “Million Reasons” by Lady Gaga, “I’m the One” by DJ Khaled… whatever genre of music you like, you almost certainly know and love dozens of songs based on that progression. (And you almost certainly hate dozens more. It’s also been used in a *lot* of big ballads that get overplayed to death, and if you’re not the kind of person who likes those records, you might end up massively sick of them.) [Excerpt: “Blue Moon”, Elvis Presley, going into “I Will Always Love You” by Dolly Parton, going into “I’m the One” by DJ Khaled] But while it has been used in almost every genre of music, the reason why we call this progression the doo-wop progression is that it’s behind almost every doo-wop song of the fifties and early sixties. “Duke of Earl”, “Why Do Fools Fall In Love”, “In The Still of the Night”, “Sh’boom” — it forms the basis of more hit records in that genre than I could name even if I spent the whole of this podcast naming them. And today we’re going to talk about a song that cemented that sequence as the doo-wop standard, imitated by everyone, and which managed to become a massive hit despite containing almost nothing at all original. The Penguins were a vocal group, that formed out of the maelstrom of vocal groups in LA in the fifties, in the scene around Central Ave. One thing you’ll notice when we talk about vocal groups, especially in LA, is that it gets very confusing very fast with all the different bands swapping members and taking each others’ names. So for clarity, the Hollywood Flames, featuring Bobby Byrd, were different from the Famous Flames, who also featured Bobby Byrd, who wasn’t the same Bobby Byrd as the Bobby Byrd who was a Hollywood Flame. And when we talk about bird groups, we’re talking about groups named after birds, not groups featuring Bobby Byrd. And the two members of the Hollywood Flames who were previously in a bird group called the Flamingoes weren’t in the bird group called the Flamingoes that people normally mean when they talk about the Flamingoes, they were in a different band called the Flamingoes that went on to become the Platters. Got that? I’m sorry. I’ll now try to take you slowly through the convoluted history of the Penguins, in a way that will hopefully make sense to you. But if it doesn’t, just remember, not what I actually just said, but how hard it was to follow. Even the sources I’m consulting for this, written by experts who’ve spent decades trying to figure out who was in what band, often admit to being very unsure of their facts. Vocal groups on the West Coast in the US were far more fluid than on the East Coast, and membership could change from day to day and hour to hour. We’ll start with the Hollywood Flames. The Hollywood Flames initially formed in 1948, at one of the talent shows that were such important incubators of black musical talent in the 1950s. In this case, they all separately attended a talent show at the Largo Theatre in Los Angeles, where so many different singers turned up that instead of putting them all on separately, the theatre owner told them to split into a few vocal groups. Shortly after forming, the Hollywood Flames started performing at the Barrelhouse Club, owned by Johnny Otis, and started recording under a variety of different names. Their first release was as “The Flames”, and came out in January 1950: [excerpt: “Please Tell Me Now”, the Flames] Another track they recorded early on was this song by an aspiring songwriter named Murry Wilson: [excerpt “Tabarin”, the Hollywood Flames] Murry Wilson would never have much success as a songwriter, but we’ll be hearing about him a lot when we talk about his three sons, Brian, Carl, and Dennis, once we hit the 1960s and they form the Beach Boys. At some point in late 1954, Curtis Williams, one of the Hollywood Flames, left the group. It seems likely, in fact, that the Hollywood Flames split up in late 1954 or early 55, and reformed later — throughout 1955 there were a ton of records released featuring various vocalists from the Hollywood Flames in various combinations, under other band names, but in the crucial years of 1955 and 1956, when rock and roll broke out, the Hollywood Flames were not active, even though later on they would go on to have quite a few minor hits. But while the band wasn’t active, the individuals were, and Curtis Williams took with him a song he had been working on with another member, Gaynell Hodge. That song was called “Earth Angel”, and when he bumped into his old friend Cleve Duncan, Williams asked Duncan if he’d help him with it. Duncan agreed, and they worked out an arrangement for the song, and decided to form a new vocal group, each bringing in one old friend from their respective high schools. Duncan brought in Dexter Tisby, while Williams brought in Bruce Tate. They decided to call themselves The Penguins, after the mascot on Kool cigarettes. Williams and Tate had both attended Jefferson High School, and now is as good a time as any to talk about that school. Because Jefferson High School produced more great jazz and R&B musicians than you’d expect from a school ten times its size, or even a hundred. Etta James, Dexter Gordon, Art Farmer, Johnny “Guitar” Watson, Barry White, Richard Berry… The great jazz trumpeter Don Cherry actually got in trouble with his own school because he would play truant – in order to go and play with the music students at Jefferson High. And this abundance of talent was down to one good teacher — the music teacher Samuel Browne, who along with Hazel Whittaker and Marjorie Bright was one of the first three black teachers to be employed to teach secondary school classes in LA. Several of the white faculty at Jefferson asked to be transferred when he started working at Jefferson High, but Browne put together an astonishing programme of music lessons at the school, teaching the children about the music that they cared about — jazz and blues — while also teaching them to play classical music. He would have masterclasses taught by popular musicians like Lionel Hampton or Nat “King” Cole, and art musicians like William Grant Still, the most important black composer and conductor in the classical world in the mid-twentieth century. It was, quite simply, the greatest musical education it was possible to have at that time, and certainly an education far beyond anything that most poor black kids of the time could dream of. Half the great black musicians in California in the forties and fifties learned in Browne’s lessons. And that meant that there was a whole culture at Jefferson High of taking music seriously, which meant that even those who weren’t Browne’s star pupils knew it was possible for them to become successful singers and songwriters. Jesse Belvin, who had been a classmate of Curtis Williams and Gaynell Hodge when they were in the Hollywood Flames, was himself a minor R&B star already, and he would soon become a major one. He helped Williams and Hodge with their song “Earth Angel”, and you can see the resemblance to his first hit; a song called “Dream Girl”: [Excerpt: “Dream Girl”, Jesse and Marvin] Note how much that melody line sounds like this bit of “Earth Angel”: [Excerpt: “Earth Angel”, the Penguins] But that’s not the only part of “Earth Angel” that was borrowed. There’s the line “Will you be mine?”, which had been the title of a hit record by the Swallows: [Excerpt: “Will You Be Mine?”: The Swallows] Then there’s this song by the Hollywood Flames, recorded when Williams was still in the band with Hodge: [Excerpt: The Hollywood Flames, “I Know”] That sounds like a generic doo-wop song now, but that’s because every generic doo-wop song patterned itself after “Earth Angel”. It wasn’t generic when the Hollywood Flames recorded that. And finally, the Hollywood Flames had, a while earlier, been asked to record a demo for a local songwriter, Jessie Mae Robinson. That song, “I Went to Your Wedding”, later became a hit for the country singer Patti Page. Listen to the middle eight of that song: [Excerpt: “I Went to Your Wedding”, Patti Page] Now listen to the middle eight of “Earth Angel”: [Excerpt: “Earth Angel”, the Penguins] The song was a Frankenstein’s monster, bolted together out of bits of spare parts from other songs, But like the monster, it took on a life of its own. And the spark that gave it life came from Dootsie Williams. Dootsie Williams was the owner of Doo-Tone Records, and was a former musician, who had played trumpet in jazz and R&B bands for several years before realising that he could make more money by putting out records by other people. His first commercial successes came not from music at all, but from comedy. Williams was a fan of the comedian Red Foxx, and wanted to put out albums of Foxx’s live set. Foxx initially refused, because he thought that if he recorded anything then people wouldn’t pay to come and see his live shows. However, he became short of cash and agreed to make a record of his then-current live set. Laff of the Party became a massive hit, and more or less started the trend for comedy albums: [excerpt: Red Foxx: Laff of the Party] Williams wasn’t, primarily, a record-company owner, though. He was like Sam Phillips — someone who provided recording services — but his recordings were songwriters’ demos, and so meant to be for professionals, unlike the amateurs Phillips recorded. The Penguins would record some of those demos for him, performing the songs for the songwriters who couldn’t sing themselves, and as he put it “I had the Penguins doing some vocals and they begged me ‘Please record us so we can get a release and go on the road and get famous’ and all that. They kept buggin’ me ’til I said, ‘Okay, what have you got?'” Their first single, credited to “The Dootsie Williams Orchestra, with Vocal by The Penguins” didn’t even feature the Penguins on the other side. The song itself, “There Ain’t No News Today”, wasn’t an original to the band, and it bore more than a slight resemblance to records like Wynonie Harris’ “Who Threw the Whisky in the Well?” [Excerpt: The Dootsie Williams Orchestra with the Penguins, “There Ain’t No News Today”] But the “what have you got?” question had also been about songs. Williams was also a music publisher, and he was interested in finding songs he could exploit, not just recordings. As he put it, talking to Johnny Otis: “They said, ‘We got a song called ‘Earth Angel’ and a song called ‘Hey Senorita’.’ Of course, ‘Earth Angel’ was all messed up, you know how they come to you. So I straightened it out here and straightened it out there, and doggone, it sounded pretty good. “Earth Angel” was not even intended to be an A-side, originally. It was tossed off as a demo, and a demo for what was expected to be a B-side. The intended A-side was “Hey Senorita”: [excerpt: The Penguins, “Hey Senorita”] Both tracks were only meant to be demos, not the finished recordings, and several takes had to be scrapped because of a neighbour’s dog barking. But almost straight away, it became obvious that there was something special about “Earth Angel”. Dootsie Williams took the demo recording to Dolphin’s of Hollywood, the most important R&B record shop on the West Coast. We’ve talked about Dolphin’s last episode, but as a reminder, as well as being a record shop and the headquarters of a record label, Dolphin’s also broadcast R&B radio shows from the shop. And Dolphin’s radio station and record shop were aimed, not at the black adult buyers of R&B generally, but at teenagers. And this is something that needs to be noted about “Earth Angel” — it’s a song where the emphasis is definitely on the “Angel” rather than on the “Earth”. Most R&B songs at the time were rooted in the real world — they were aimed at adults and had adult concerns like sex, or paying the rent, or your partner cheating on you, or your partner cheating on you because you couldn’t pay the rent and so now you had no-one to have sex with. There were, of course, other topics covered, and we’ve talked about many of them, but the presumed audience was someone who had real problems in their life — and who therefore also needed escapist music to give them some relief from their problems. On the other hand, the romance being dealt with in “Earth Angel” is one that is absolutely based in teenage romantic idealisations rather than in anything like real world relationships. (This is, incidentally, one of the ways in which the song resembles “Dream Girl”, which again is about a fantasy of a woman rather than about a real woman). The girl in the song only exists in her effects on the male singer — she’s not described physically, or in terms of her personality, only in the emotional effect she has on the vocalist. But this non-specificity works well for this kind of song, as it allows the listener to project the song onto their own crush without having to deal with inconvenient differences in detail — and as the song is about longing for someone, rather than being in a relationship with someone, it’s likely that many of the adolescents who found themselves moved by the song knew almost as little about their crush as they did about the character in the song. The DJ who was on the air when Dootsie Williams showed up was Dick “Huggy Boy” Hugg, possibly the most popular DJ on the station. Huggy Boy played “Earth Angel” and “Hey Senorita”, and requests started to come in for the songs almost straight away. Williams didn’t want to waste time rerecording the songs when they’d gone down so well, and released it as the final record. Of course, as with all black records at this point in time, the big question was which white people would have the bigger hit with it? Would Georgia Gibbs get in with a bland white cover, or would it be Pat Boone? As it turns out, it was the Crew Cuts, who went to number one (or number three, I’ve seen different reports in different sources) on the pop charts with their version. After “Sh’Boom”, the Crew Cuts had briefly tried to go back to barbershop harmony with a version of “The Whiffenpoof Song”, but when that did nothing, in quick succession they knocked out hit, bland, covers first of “Earth Angel” and then of “Ko Ko Mo”, which restored them to the top of the charts at the expense of the black originals. [excerpt: The Crew Cuts, “Earth Angel”] But it shows how times were slowly changing that the Penguins’ version also made the top ten on the pop charts, as Johnny Ace had before them. The practice of white artists covering black artists’ songs would continue for a while, but within a couple of years it would have more-or-less disappeared, only to come back in a new form in the sixties. The Penguins recorded a follow-up single, “Ookey Ook”: [excerpt: the Penguins, “Ookey Ook”] That, however, wasn’t a hit. Dootsie Williams had been refusing to pay the band any advances on royalties, even as “Earth Angel” rose to number one on the R&B charts, and the Penguins were annoyed enough that they signed with Buck Ram, the songwriter and manager who also looked after the Platters, and got a new contract with Mercury. Williams warned them that they wouldn’t see a penny from him if they broke their contract, but they reasoned that they weren’t seeing any money from him anyway, and so decided it didn’t matter. They’d be big stars on Mercury, after all. They went into the studio to do the same thing that Gene and Eunice had done, rerecording their two singles and the B-sides, although these recordings didn’t end up getting released at the time. Unfortunately for the Penguins, they weren’t really the band that Ram was interested in. Ram had used the Penguins’ current success as a way to get a deal both for them *and* for the Platters, the group he really cared about. And once the Platters had a hit of their own — a hit written by Buck Ram — he stopped bothering with the Penguins. They made several records for Mercury, but with no lasting commercial success. And since they’d broken their contract with Dootone, they made no money at all from having sung “Earth Angel”. At the same time, the band started to fracture. Bruce Tate became mentally ill from the stress of fame, quit the band, and then killed someone in a hit-and-run accident while driving a stolen car. He was replaced by Randy Jones. Within a year Jones had left the band, as had Dexter Tisby. They returned a few months after that, and their replacements were sacked, but then Curtis Williams left to rejoin the Hollywood Flames, and Teddy Harper, who had been Dexter Tisby’s replacement, replaced Williams. The Penguins had basically become Cleve Duncan, who had sung lead on “Earth Angel”, and any selection of three other singers, and at one point there seem to have been two rival sets of Penguins recording. By 1963, Dexter Tisby, Randy Jones, and Teddy Harper were touring together as a fake version of the Coasters, along with Cornell Gunter who was actually a member of the Coasters who’d split from the other three members of *his* group. You perhaps see now why I said that stuff at the beginning about the vocal group lineups being confusing. At the same time, Cleve Duncan was singing with a whole other group of Penguins, recording a song that would never be a huge hit but would appear on many doo-wop compilations — so many that it’s as well known as many of the big hits: [excerpt: “Memories of El Monte”, the Penguins] It’s fascinating to listen to that song, and to realise that by the very early sixties, pre-British Invasion, the doo-wop and rock-and-roll eras were *already* the subject of nostalgia records. Pop not only will eat itself, but it has been doing almost since its inception. We’ll be talking about the co-writer of that song, Frank Zappa, a lot more when he starts making his own records. And meanwhile, there were lawsuits to contend with. “Earth Angel” had originally been credited to Curtis WIlliams and Gaynell Hodge, but they’d been helped out in the early stages of writing it by Jesse Belvin, and then Cleve Duncan had adjusted the melody, and Dootsie Williams claimed to have helped them fix up the song. Belvin had been drafted into the army when “Earth Angel” had hit, and when he got out he was broke, and he was persuaded by Dootsie Williams, who still seems to have held a grudge about the Penguins breaking their contract, to sue over the songwriting royalties. Belvin won sole credit in the lawsuit, and then signed over that sole credit to Dootsie Williams, so (according to Marv Goldberg) for a while Dootsie Williams was credited as the only writer. Luckily, for once, that injustice was eventually rectified. These days, thankfully, the writing credits are split between Curtis Williams, Jesse Belvin, and Gaynell Hodge, and in 2013 Hodge, the last surviving co-writer of the song, was given an award by BMI for the song having been played on the radio a million times, and Hodge and the estates of his co-writers receive royalties for its continued popularity. Curtis Williams and Bruce Tate both died in the 1970s. Jesse Belvin died earlier than that, but his story is for another podcast. Dexter Tisby seems to be still alive, as is Gaynell Hodge. And Cleve Duncan continued performing with various lineups of Penguins until his death in 2012, making a living as a performer from a song that sold twenty million copies but never paid its performers a penny. He always said that he was always happy to sing his hit, so long as the audiences were happy to hear it, and they always were.

Show #778 Thru The Cracks In this episode of Bandana Blues Spinner presents to you music that fell thru the cracks, so to speak, but definitely deserves some attention. Enjoy. 01. Phantom Blues Band - A Good Time With The Blues (3:15) (Inside Out, VizzTone Records, 2012) 02. Fiona Boyes - Juke Joint on Moses Lane (3:29) (Blues Woman, Yellow Dog Records, 2009) 03. Kansas City Blues Band - Two Years of Torture (8:34) (Danger Zone, Serenity Hill Records, 2009) 04. Eric Bibb & Jean-Jacques Milteau - Rock Island Line (3:53) (Lead Belly's Gold, Stony Plain Records, 2015) 05. Trampled Under Foot - Heart On The Line (4:22) (Wrong Side of the Blues, VizzTone Records, 2011) 06. Mighty Mike Schermer - Heaven's On The Other Side (4:27) (Blues In Good Hands, Finedog / VizzTone, 2015) 07. Asylum Street Spankers - Never Goin' Back (3:54) (The Last Laugh, Yellow Dog Records, 2014) 08. Eden Brent - Opportunity (4:31) (Jigsaw Heart, Yellow Dog Records, 2014) 09. Colin Linden - From the Water (5:30) (Still Live, Yellow Dog Records, 2012) 10. Ragpicker String Band - Minor Blues (3:43) (The Ragpicker String Band, Yellow Dog Records, 2015) 11. Joe Zaklan - Warning Signs (4:33) (There Ain't No Better Time, Zak 'n Blue Records, 2010) 12. Livin' Blues - Bamboozle Song + Overture (6:36) (Bamboozle, Philips Records, 1971) 13. Barrelhouse with Albert Collins - Blue River Rising + Cock It On The Wall (9:39) (Live, Munich Records, 1979) 14. Crew - Good Woman Go Bad (4:46) (No Peace Of Mind, Blue Sting Records, 1988) 15. Little Steve & The Big Beat - I Gotta Know (3:15) (Another Man, Continental Record Services, 2016) 16. Cassie Taylor - No Ring Blues (4:01) (Out of My Mind, Yellow Dog Records, 2013) 17. Woodbrain - Storm Clouds (6:30) (Swimming in Turpentine, Yellow Dog Records, 2009) 18. William Lee Ellis - How the Mighty Have Fallen (3:52) (Conqueroo, Yellow Dog Records, 2003) 19. Samantha Fish - Highway's Holding Me Now (4:25) (Wild Heart, Ruf Records, 2015) 20. The DogTown Blues Band - Shrimp Walk (4:04) (Everyday, RVL Music, 2016) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Today's Best & your All Time Favorites From the US, Texas & Canada 1st for Canadian Country in Europe program Fred's Country 2018 w # 38: Part 1: - Daryle Singletary, Amen Kind Of Love – All of You – 1996/Giant - Various Artists, Rise Up 35 Year Anniversary - S – 2018/Slaight - The Lantanas, Seeds – S – 2018/Lantanas - Gord Bamford, Dive Bar - Neon Smoke – 2018/Cache Sony - Aaron Tippin, There Ain't Nothin' Wrong With The Radio - Read Between The Lines – 1992/RCA Part 2: - Jamie Warren feat Beverley Mahood, What's The Worst - S – 2018/JW - Jason Benoit, Slow Hand - S – 2018/Viktory Music Group - Terri Clark, Young As We Are Tonight - Raising the Bar – 2018/Baretrack-EMI - Terri Clark, Cowboys in This Town - Raising the Bar – 2018/Baretrack-EMI - Don Williams vs Alan Jackson, It Must Be Love - Expressio ns/Under the Influence – 1979/2000 - MCA/Arista Part 3: - Granger Smith, You're in It – When the Good Guys Win – 2017/Wheelhouse - Robert Ray, Two Steppin At a Time – Run Away with You – 2018/Big RIG - Dustin Sonnier, Drinkin' Alone - S – 2018/DS - Randall King, Mirror Mirror - Randall King – 2018/RK - Diamond Rio, Mirror Mirror – Diamond Rio – 1991/Arista Part 4: - Codie Prevost, Today's Not My Day - S – 2018/CP - Kacey Musgraves, Kansas City Star – King of the Road, Tribute to Roger Miller – 2018/BMG - Sunny Sweeney, Next Big Nothing - Heartbreaker's Hall of Fame/Big Machine Classics – 2007/2018/Big Machine - Casey Donahew, That Got the Girl - All Night Party – 2016/Almost Country - Ilona Pal, A Farm in Indiana - S – 2018/IP

There Ain't No Rest for the....Knife Maker? Grimso's dragging from pulling a 14.5 hour shift to get the SAGA ready for Blade Show! Speaking of Blade Show, it's TODAY! Gathering the team with pens in pockets, GK heads to Atlanta, GA for the World's Largest Knife Show--and it's going to be his best year yet! If you're headed there, make sure to stop by table 948 to find them! Tolerances on Tolerances Is GD&T controversial? This system for defining and communicating tolerances seems like a great way to employ another lean principle but Saunders senses some hesitance. Work-Flow for Tweaks? Numbered egg crates. Low hanging fruit. Multiple Fusion File Updates? Boring Out Stainless 45RC? With constant surface speed 350 ft/min (106.68 M/min), the RPM changes make the subspindle sing. That little ditty could be a sign of struggle. The MAM72-35V has made a lasting impression on Saunders. Check out the newly released AMAZING Matsuura 5-Axis CNC Show Room and Interview with Katsu Matsuura! It's about the JOURNEY--not the DESTINATION Grimsmo's taking advice about capturing the SAGA of the SAGA on film! See the newest SAGA SATURDAY EPISODE! The journey is ALWAYS on PI TIME. Process Sheets & Manuals Underway The SAGA is the first GK product with documented process sheets! Ed creates a Guide to Shipping for SMW. QUE:The 2-year long Johnny 5 Project With helping hands from the J5 Guru, the SMW team is making headway at a faster-than-anticipated speed but remember, Rome wasn't built in a day. Broken Tools - THOSE ARE ROOKIE NUMBERS! Click HERE to check out the IG POST.

Playlist: Baby Dynamite, Scream, Heather Gillis Band, When You Get Older, Felix Y Los Gatos,Bag Of Chile, New Orleans Suspects, Cocaine Jane, Steve Howell & Jason Weinheimer, Basin Street Blues, Joel DaSilva, Down In The Delta, Johnny Rawls, Rain Keep Fallin’(Til I’m Free), Trevor Sewell, You Ain’t What I’m Looking For, Jason Ricci, I Got Cleaned Up, Lew Jetton, Sold Us Out, Hamilton Loomis, Looking Into A Dream, Mindi Abair And The Boneshakers, Not That Kind Of Girl, Webster Ave, Never Tender Your Goodbyes, Johnny Oskam, Hold Your Tongue, Benny Turner, See See Baby, Savoy Brown, Memphis Blues, Rob Lutes, There’s No Way To Tell You That Tonight, Andrew B. Chapman AKA JoJo, Harley Hotstuff, Mambo Sons, Overend Watts, Scottie Miller, Rippin’ & Runnin’, Scott Ellison, Hope And Faith, Joshua Jacobson, Hide Me In Thy Bosom, Altered Five Blues Band, Three Forks, Lurrie Bell, Do You Hear, Rockin’ Johnny Burgin, Love Me Like I Want It, Scott Sharrard, Put Your Soul Records On, Chris Ruest, Get What You Want, Christine Ohlman & Rebel Montez, There Ain’t No Cure (feat Ian Hunter), Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, Miss Jill at Jill Kettles PR and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much!

Jene pulls out a Jerry Springer CD, one from a box he has had in storage in his garage for several years. David plays “There Ain't No Trash in My Trailer (track 11).” Jerry tells the story of how that CD came about and the time he performed in some casinos singing songs from that CD. Jene will be departing in the near future on a trip to Idaho on his birthday, so there won't be a chance for the podcast family to give him his proper birthday wishes. So maybe tonight would be a good time for everyone to sing him happy birthday. Jerry's Rant: Why Donald Trump is dangerous for America? Jene and Megan ask Jerry about the slogan he ended newscasts with when anchoring the news and now uses on his TV show. Where did it come from? We then get Jerry to tell the story about the time he refused to do his news commentary because of threatened management censorship.Musical guest: Rondstadt Generations See acast.com/privacy for privacy and opt-out information.

The Misfits definitely make Stormer singlehandedly come up with clues for a cruel, dead-end treasure hunt that the Holograms hope will lead to their stolen mastertape! (It won’t.) Listening to CWTAJ makes you a superstar! Our weekly Jem songs are ‘There’s a Melody Playin’’, performed by Britta Phillips and ‘There Ain’t Nobody Better’, performed by Ellen Bernfeld. CWTA Podcast’s intro/outro song is ‘Bizarre Dub Triangle’, by New Order. CWTA artwork by @ignoretherobot on Twitter. Email us at cwtapod@gmail.com and follow us on Twitter @CWTApod!

In this episode, we talk about: What's Rustling My Jimmies, There Ain't No Such Thing As A Free Lunch What's in the News, with a Silk Road trial update And Yet Another Bad Cop, or four Statists Say the Dumbest Shit featuring BlackBerry CEO John Chen The Next Generation with Busting the myth of the […] The post TLF004 – The There Ain't No Such Thing As A Free Lunch Edition appeared first on The LAVA Flow Podcast.

Ever feel like you’re blowing it? Barely keeping it together? This week your host is recovering from a head cold and sharing some advice about public meditation, cold-medicine prep, and rolling extra joints for the road.  —— Songs: “Hi-Five” by Angel Olsen (2014) and “There Ain’t Shit On T.V. Tonight” by Minutemen (1984) —— shytrying.tumblr.com 

Interview with Tom Steinberg on the topics of his talk "There Ain't No 'e' in PPE - How do we fill the digital skills gap at the top levels of government and politics?"

Porpoise Crispy Podcast Volume #2 Episode #4 They took to social life like props to aviators November 13, 2014 Curated By Jace Winston   1.  Marathon Shirt Self Subliminal Plastic Motives            2.  Third Density Blues Igneous Grimm The Man Outside 3.  Miststück Don Vito Split w/ No Nebraska 4.  50ft Queenie PJ Harvey Rid Of Me 5.  Night Of The Living Baseheads [w/ intro as excerpt from NOTLB (Dope Version)] Public Enemy It Takes A Nation Of Millions To Hold Us Back 6. Chi Cacoan Nels Cline Destroy All Nels Cline (w/ Daniel Johnston Beatles Spiel) 7.  The Beatles Daniel Johnston Yip Jump Music 8.  Ex-Lion Tamer (Wire Cover) Rollins Band Hot Animal Machine + Drive By Shooting 9.    Child Actors Great White Tourist You Grump 10.  Smokestack Lightnin’ Howlin’ Wolf Moanin’ In The Moonlight 11.  A Cat Named Jacob The Ocelots If Lightning Strikes Us Both               Volume #2 Episode #3 Recapitulation   12.  Victims Rights Pink Lincolns Back From The Pink Room 13. Sleep Buddy Rich & Max Roach Rich Versus Roach 14. Polish Fugazi Steady Diet Of Nothing 15. There Ain’t No Sanity Clause The Damned The Black Album (Deluxe) 16. Do You Remember? Hüsker Dü Everything Falls Apart And More 17. Low Life Public Image Ltd. Public Image 18. The Dream Ed Hall Permission To Rock…Denied 19. Amnesiac Lungfish Artificial Horizon   Jace’s Lecture Notes for this episode   Like The Page, enjoy the podcast. (Click RSS 2.0 for free subscription on your doohickey) Like North Texas Noise Alliance. Hit us up if you want to host a show or you have a request for an episode or even have a desire to be interviewed.    

Our Five(ish) Senses series continues with the second part of "Taste". Kevin, Joe, and Toren look at taste in the animal kingdom, the dangers of bitter orange, miracle fruit, vomit fruit, Scientist/Taster Carl Wilhelm Sheele , what happened to French wine, breast milk ice cream and pop culture! Note: The mentioned bonus content will appear mid-week! Music: "There Ain't No Sweet Man (That's Worth the Salt of My Tears)" by Bix Beiderbecke & Bing Crosby Images Videos http://www.youtube.com/watch?v=SX2Sc1BSMhM http://www.youtube.com/watch?v=NO8V72pDw1o http://www.youtube.com/watch?v=t6i5p8RbTCg

This program continues with the sixth segment from the session of August 31, 1988. The musicians are Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), John Kafalas (trombone), Don Frothingham (piano), Steve Pratt (bass), and Stu Grover (drums). The selections are “That’s All There Is, There Ain’t No More” and “Louisian-I-A.” Send questions or comments … Continue reading Podcast #85: August 31, 1988 Part VI →

--{ Philanthropy -- Before the Takeover, Scrooge Has a Makeover: "In Popular Lore were Tales of Lycanthropy, Modern Lore says Wolves Moved into Philanthropy, They're Private, "Non-Profit Organizations", Where Leaders Pull Paychecks of Vast Compensations, Whole Communities to Borrow, Then Backs to Bend, Paying Back with Grand Interest to Those that Lend, Only the Basest Fool or a Very Young Whelp Would Be Blind to Banksters Who Want to Help, Yet the Change of a Word Blurs Meaning and Kind, The Disguise of Philanthropy Will Rob People Blind, When Towns or Communities Default on the Loans, These Philanthropists Will Own Land, People, Homes, Propaganda's Efficient, Blinding What You See, There Ain't Nothin' for Nothin' and Kicks Ain't Free" © Alan Watt }-- Scam of Alternating Nationalization and Privatization - Communitarianism on Soviet Model - Sovereignty Signed Away with UN Charter - Deindustrialization of Britain and U.S., Turned into Service Economies (Temporary) - GATT, West Paid for Setting up China - Micro-loans to Women in Third World - Philanthropists' Highly Profitable Charities and Social Investment - Cities and Towns Bought and Sold, Areas Privatized - Bailed-out Banks report Record Profits - China Millionaires Buy up Britain - Libraries Close, History Down the Memory Hole. Incessant Flu Shot Propaganda from W.H.O. - Mercury Still in Vaccines - Aerial Spraying and Weather Modification, Use of Aluminum, Barium and Nanoparticles - Public in Denial, Cannot Believe What is Happening to Them. (See http://www.cuttingthroughthematrix.com for article links.) *Title/Poem and Dialogue Copyrighted Alan Watt - Jan. 17, 2011 (Exempting Music, Literary Quotes, and Callers' Comments)

Dick Allen - Down here in TexasGene Stroman - Texas ProudMojave Green - If I Don't Love you There Ain't No Pickup In Texas Dick Bridges - Texas Love AffairAugie Meyers - Deed To TexasBob Brewer - Las Vegas You Busted MeFrank London - Drivin On the Transcon LineEddy Lynn - The Best Friends Money Can BuySteve Terry - Stop This TrainClint Welch - She Loves LyingMickey Crocker - When The Dopes All Gone Salt Lick - Are You Experienced Ray Hawthorne - Cowboys Love The HonkytonksChuck Jennings - Home Away From Home Ray Shang Kennedy - Rock N Disco Mr Bull FrogCash Roberts - It Takes One To Know One Wade Driver - Worthless Piece Of Paper Lee Browning - One Night Stand Smiley Weaver - What Makes Her Come From Your House To Mine T Tex Edwards - I'm A Gonna Kill You Support this podcast at — https://redcircle.com/thehonkytonkjukebox/exclusive-content