Podcasts about these arms

Marc Broussard joins Ralph Sutton and Dov Davidoff and they discuss starting singing in church and "cleaning up his act" by 14 years old, being able to trip while sober and meditating, getting fired from a youth ministry, Marc Broussard going to Los Angeles in 2002 to pursue his career then finding out his girlfriend was pregnant back home, touring with Maroon 5, his 2024 album Time Is A Thief and how he was able to work with Jeremy Most, marrying his high school sweetheart in 2008, writing a song for Patrice O'Neal, a live performance of Man Ain't Supposed to Cry and a taste of These Arms of Mine, peeing next to Ozzy Osbourne, Marc Broussard's first concert, first drug and first sexual experience and so much more!(Air Date: March 26th, 2025)Support our sponsors!YoKratom.com - Check out Yo Kratom (the home of the $60 kilo) for all your kratom needs!To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!You can watch The SDR Show LIVE for FREE every Wednesday and Saturday at 9pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: SDR for discount on your subscription which will give you access to every SDR show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Marc BroussardTwitter: http://twitter.com/MarcBroussardInstagram: https://instagram.com/MarcBroussardRalph SuttonTwitter: https://twitter.com/iamralphsuttonInstagram: https://www.instagram.com/iamralphsutton/Dov DavidoffTwitter: https://twitter.com/DovDavidoffInstagram: https://instagram.com/DovDavidoffShannon LeeTwitter: https://twitter.com/IMShannonLeeInstagram: https://instagram.com/ShannonLee6982The SDR ShowTwitter: https://twitter.com/theSDRshowInstagram: https://www.instagram.com/thesdrshow/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The drops and the vibes were TURNT UP today with surprise guest movie star Jason Schwartzman from the new film "Between the Temples," director/writer Nathan Silver and Nathan's mom/inspiration behind the movie's story Cindy Silver. Our old pal Delicate Steve made his triumphant return to celebrate the release of "Delicate Steve Sings" with a delightful medley of "Yesterday," "Baby" and "These Arms of Mine" including very special guest harmonica master Judy Rudin. And we talked to YOU on zoom, we said goodbye to intern Alicia, and of course we featured a brand new City of the Day. Watch or listen to another hour of the show with more Steve, a jump scare from disgraced journalist Charlie Rose, harmonica talk with Judy, a thorough exploration of Pat Boone's 90th Birthday Tribute video, Trump's new bullet proof glass, a very bad trip with Tim and the boys, and get tons of other stuff when you subscribe to OFFICE HOURS+. Get a FREE seven-day trial at patreon.com/officehourslive. MERCH ALERT! We've got some brand new merch for sale. Check it out at officehours.merchtable.com. Pre-Order Tim's new album SLIPPING AWAY now at timheidecker.merchtable.com. Get tickets to "Between the Temples" at fandango.com/between-the-temples. Check out "Delicate Steve Sings" at delicatesteve.bandcamp.com/album/delicate-steve-sings. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cet épisode… c'est l'histoire de l'enregistrement d'un groupe de musiciens qui jouera un rôle important dans le développement de la musique des années 1960, ainsi que sur les premières années de Stax Records, un label qui deviendra aussi important que Chess, Motown ou Sun. Aujourd'hui, nous nous penchons sur "Green Onions" de Booker T. and the MGs, et sur la façon dont un violoniste blanc a accidentellement donné le coup d'envoi au label le plus important de la musique soul (celle du sud) Booker T. and the MGs, "Green Onions" Hoyt Jackson, "Enie Meanie Minie Moe" Ray Scott, "Boppin' Wig Wam WIllie" Hoyt Jackson, "It's A Little More Like Heaven (Where You Are)" Hank Locklin "It's a Little More Like Heaven" Johnny Cash, "You're the Nearest Thing to Heaven" Fred Byler, "Blue Roses" Don Willis, "Boppin' High School Baby" Warren Smith, "Rock and Roll Ruby" The Vel-Tones, "Fool in Love" Bill Black Combo : "Smokie (Part 2)" Rufus Thomas, "Bear Cat" Rufus and Carla Thomas, "'Cause I Love You" Carla Thomas, "Gee Whizz, Look at His Eyes" The Mar-Keys, "Last Night" The Mar-Keys, "The Morning After" [Excerpt: The Triumphs, “Burnt Biscuits” William Bell, "You Don't Miss Your Water" Nick Charles, "The Three Dogwoods" Billy Lee Riley et les Little Green Men, "Flyin' Saucers Rock 'n' Roll" Booker T and the MGs, "Behave Yourself" Booker T. and the MGs, "Green Onions" Johnny Jenkins, "Spunky" Otis Redding, "Hey Hey Baby" Otis Redding, "These Arms of Mine"

Emile Ardolino's 1987 sexy, summer, dance phenomenon, DIRTY DANCING, is our feature presentation this week. We talk screenwriter Eleanor Bergstein's real life setting the stage for the film, the animosity between PATRICK SWAYZE and JENNIFER GREY, the movie's iconic soundtrack, Swayze's love of "These Arms of Mine" love scenes, and much much more. We also eulogize filmmaker William Friedkin and pick our TOP 7 WILLIAM FRIEDKIN FILMS in this week's SILVER SCREEN 7. Check out the final film in our BIG WEIRD SUMMER series. Subscribe, become a regular, and tell your movie-loving friends about us!

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar was reviewing Dirty Dancing - The Classic Story On Stage as the UK and Ireland touring production visited the Alexandra Theatre in Birmingham on Saturday 22 July at 2.30pm with description by professional Audio Describer Anne Hornsby.  The Story It's the summer of 1963, and 17 year-old Frances ‘Baby' Houseman is about to learn some major lessons in life as well as a thing or two about dancing. On holiday in New York's Catskill Mountains with her older sister and parents, she shows little interest in the resort activities, and instead discovers her own entertainment when she stumbles across an all-night dance party at the staff quarters. Mesmerised by the raunchy dance moves and the pounding rhythms, Baby can't wait to be part of the scene, especially when she catches sight of Johnny Castle the resort dance instructor. Her life is about to change forever as she is thrown in at the deep end as Johnny's leading lady both on-stage and off, and two fiercely independent young spirits from different worlds come together in what will be the most challenging and triumphant summer of their lives. The Music Dirty Dancing – The Classic Story On Stage features hit songs including ‘Hungry Eyes', ‘Hey! Baby', ‘Do You Love Me?' and the heart-stopping ‘(I've Had) The Time Of My Life'. Many favourite original masters feature within this stage sensation which blends the movie soundtrack seamlessly with live performances by our cast. Some of these classic tracks include ‘Cry To Me' by the larger-than-life rhythm & blues singer Solomon Burke, the No.1 hit single ‘Hey! Baby' by Bruce Channel and ‘These Arms of Mine', Otis Redding's first solo record. Other artists featured include Gene Chandler, The Chantels, The Drifters, Marvin Gaye, Lesley Gore, Mickey & Sylvia, The Surfaris and Django Reinhardt. The History Dirty Dancing – The Classic Story On Stage originally opened at London's Aldwych Theatre in 2006 with a record-breaking advance of £15 million, making it the fastest ever selling show in West End theatre history. The production became the longest running show in the history of the Aldwych Theatre and played to over 2 million people during its triumphant 5 year run. Since its Australian debut in 2004, Dirty Dancing – The Classic Story On Stage has become a worldwide phenomenon, with productions staged in the USA, Canada, Germany, the Netherlands, Sweden, South Africa, Hong Kong, Singapore and throughout Europe, consistently breaking box office records. Recent sell out tours include France, Germany and Australia. The first ever UK tour of Dirty Dancing – The Classic Story On Stage launched in 2011 and then returned to the West End in 2013 playing at the Piccadilly Theatre in London, prior to launching a second UK and Ireland tour. A further tour and West End Christmas season followed in 2016/17. It went on to embark on a 2018/19 tour, entertaining audiences up and down the country. More details about the current UK and Ireland tour of Dirty Dancing - The Classic Story on Stage along with performance venues, dates and times can be found on the following website - https://dirtydancingonstage.co.uk/uk-and-ireland/tour-dates/ Image: RNIB Connect Radio Bright Green 20th Anniversary Logo

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Première incursion dans la soul. On reste quand même dans les pantoufles puisque c'est un artiste qui a toujours été aux frontières du Rock et de la Soul. Un épisode d'1 heure 20. Il fallait bien ça. Enjoy, Capt Diligaf Wilson Pickett: “In the Midnight Hour” The Mississippi Blind Boys, “Will My Jesus Be Waiting?” The Sensational Nightingales,  “God's World Will Never Pass Away” The Violinaires, “Sign of the Judgement” The Falcons,  “Baby That's It” The Falcons, “You're So Fine” The Falcons, “Just For Your Love” Elmore James, “The Sky is Crying” The Falcons,  “Pow! You're in Love” The Falcons, “I Found a Love” Wilson Pickett, “Let Me Be Your Boy” Wilson Pickett, “If You Need Me” Solomon Burke, “If You Need Me” Wilson Pickett, “I'm Gonna Cry (Cry Baby)” Wilson Pickett and Tami Lyn, “Come Home Baby” Rod Stewart and P.P. Arnold, “Come Home Baby” Sir Mack Rice, “Mustang Sally” The Young Rascals, “Mustang Sally” Otis Redding,  “These Arms of Mine” Otis Redding, “Mr. Pitiful” Sam and Dave, “A Place Nobody Can Find” Billy Ward and the Dominoes, “Do Something For Me” The Larks, “The Jerk” Carla Thomas, “Comfort Me” The Marvelettes, “Beechwood 45789” Wilson Pickett, “634-5789” Sister Rosetta Tharpe, “Ninety-Nine and One Half Won't Do” Wilson Pickett, “Ninety-Nine and One Half Won't Do” Don Covay, “See Saw” Joe Tex, “Hold What You Got” Percy Sledge, “When a Man Loves a Woman” Chris Kenner, “Land of a Thousand Dances” Cannibal and the Headhunters, “Land of a Thousand Dances” Wilson Pickett, “Land of a Thousand Dances” Wilson Pickett, “Mustang Sally” Wilson Pickett, “Funky Broadway” Wilson Pickett,  “I'm In Love” The Beatles, “Hey Jude” Wilson Pickett, “Hey Jude” Don Covay and Wilson Pickett, “Nine Times a Man”

Ein Junge aus einem Südstaaten-Kaff der USA wird zum König des Soul: Otis Redding hat Soulklassiker wie "Respect" und "These Arms of Mine" geschrieben, aber er war selbst nie ganz oben in den Charts - das geschah erstmals kurz nach seinem Tod mit nur 26 Jahren... Autor: Uwe Schulz Von Uwe Schulz.

Join us as we talk with Philip Hall, the playwright of These Arms of Mine. --- Support this podcast: https://anchor.fm/dptc/support

Charlie Parr "Poor Lazarus"Tom Waits "Warm Beer And Cold Women"Margo Price "Sweet Revenge"Slim Dunlap "Hate This Town"Jerry Jeff Walker "Pick Up The Tempo"Vic Chesnutt "Coward"Valerie June "Summer's End"Dirtball "Get a Load of This"Drive-By Truckers "Aftermath USA"Dirtball "Over and Over"Drive-By Truckers "Mercy Buckets"John Prine "Spanish Pipedream"Willie Dixon "Nervous"Baby Huey & The Baby Sitters "Mama Get Yourself Together"Mississippi John Hurt "Since I've Laid My Burden Down"Alison Krauss "Come and Go Blues"Neil Young "Revolution Blues"Miss Lavelle White "I've Never Found a Man"Dolly Parton "Here I Am"Lucinda Williams "It's Nobody's Fault But Mine"Otis Redding "These Arms of Mine"Mavis Staples "We Shall Not Be Moved"Jason Isbell and the 400 Unit "Last of My Kind"S.G. Goodman "If You Were Someone I Loved"Chris Stapleton "Gotta Serve Somebody"The 40 Acre Mule "Brown Eyed Handsome Man"Mildred Anderson "Cool Kind of Poppa (Good Kind Daddy)"Lightnin Hopkins "Uncle Stan, The Hip Hit Record Man"Nina Simone "Nobody Knows You When You're Down And Out"The Meters "Can You Do Without?"R.E.M. "Gardening At Night"Two Cow Garage "The Little Prince and Johnny Toxic"The Hold Steady "Stay Positive"Two Cow Garage "My Concern"Nikki Lane "Walk of Shame"Black Joe Lewis & The Honeybears "No Rhyme or Reason"Bonnie "Prince" Billy "Make Worry for Me"Jake Xerxes Fussell "Love Farewell"Dolly Parton "To Know Him Is to Love Him"Billy Joe Shaver "Sunbeam Special"Hurray for the Riff Raff "Crash on the Highway"

This week, it's another classic Q&H word game, because Hallie has written six trivia questions about people and things who share their names with big companies! We also talk classic literature, some spy history, and mythology!2:14: Q1 (Times & Places): The original surname of what World War I spy is the same as the name of a United States-based digital payments network owned by seven of the largest banks in the country?9:41: Q2 (Arts & Literature): The chief mate of the Pequod in Moby-Dick has the same name as what world's largest chain of coffeehouses?14:05: Q3 (Sports & Games): The largest exporter of beef in the United States, what Fortune 500 company is also the surname of an athlete who became infamous in the late 1990s after mutilating Evander Holyfield?25:22: Q4 (Movies & TV): The main character in the musical Funny Girl has the same first name as that of what company, officially called the Federal National Mortgage Association?31:34: Q5 (Everything Else): The name of what company was chosen by founder Phil Knight while at the Temple of Athena in Greece?35:32: Q6 (Music): What singer/songwriter, known for “Try a Little Tenderness” and “These Arms of Mine” has the same name as a company with the slogan “Made to move you”?Theme music: "Thinking it Over" by Lee Rosevere, licensed under CC BY 2.0E-Mail: quizandhers@gmail.com Facebook: https://www.facebook.com/quizandhers/Twitter: https://twitter.com/quizandhersInstagram: https://www.instagram.com/quizandhers/Body Count Podcast: https://podcasts.apple.com/us/podcast/body-count/id1445765613

Brian Cook was the first ever guest on this podcast, and he is back with a vengeance...  Some of that is true.  But regardless of his thirst for revenge, Brian has had an insane two years since we last spoke.  Since then he has released a solo album which you should listen to here, These Arms Are Snakes had a reunion, Russian Circles recorded a new album, they toured with Korn and System of a Down, they had all their gear stolen, and so much more... This is not the traditional Rigs of Dad long-form interview either... This is a glimpse into all the tangents and derailed conversations that always happen with every guest during the Lightning Crashes Lightning Round.  There was simply too much stuff to cut out, so I let a lot of that role for the release.  If you want to hear the whole thing, head over to the Rigs of Dad Patreon Page where you can hear that and all other extended interviews and beyond. Be sure to listen to listen to any and all of Brian's music wherever you get your tunes.  Russian Circles can be heard here. Sumac can be heard here. And you'll just have to listen to the episode to find out where you can hear These Arms and Botch next!! Head over to Age of Ruin's Instagram and dive into some of the best thrash I have ever heard.  Their new album is coming soon.  It's produced by Mike Schleibaum of Darkest Hour and is just a relentless and refreshing metal cleanse. Big shout out and congrats to the homies at www.shearrevival.com as well!!  Take care of yourself by investing in your body care.  Look good, smell good, and feel good.  Treat your body and neighbors nose with love using Shear Revival! Use the code CLEANTONE10 to get 10% off your order!! Huge loves to the incredible Sacha Dunable.  Check out www.dunableguitars.com if you need some real tone in your life.   Buy Local if you are in DC by swinging through Chuck Levin's Washington Music Center I also want to give a shoutout to Quantum Industries.  These dudes are putting out true tanks of guitar cases.  Check them out at BE SURE to enter ROD10 for a discount on your order!!! Much love to the fine folks at Custom District Pedalboards for allowing me to pack the heaviest tones on the lightest boards.  Get yours over at www.customdistrictpedalboards.com

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

#65-61Intro/Outro: Heebie-Jeebies by Little Richard65. Adele (Chasing Pavements & Send My Love (To Your New Lover))64. Jay-Z (Izzo (H.O.V.A.) & Run This Town [feat. Rihanna])63. Talking Heads (Psycho Killer & Once in a Lifetime)62. Gov't Mule (Blind Man in the Dark & Mule [feat. John Popper])61. Otis Redding (Try a Little Tenderness & These Arms of Mine)

Episode 105 of A History of Rock Music in Five Hundred Songs looks at "Green Onions", and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "He's So Fine" by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources I used three main books when creating this episode. Two were histories of Stax -- Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon.  Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it's less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs' music. If the Erwin Records tracks here interest you, they're all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It's out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since "Telstar" we've been looking at records from 1962 that came out just before "Love Me Do" -- we've essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we're moving forward into 1963. Today we're going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we're looking at "Green Onions" by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, "Green Onions"] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn't making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he'd had was in the house band at a venue where Elvis sometimes played in his early years, and he'd seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn't do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label -- it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it's not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis' own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson's "Enie Meanie Minie Moe": [Excerpt: Hoyt Jackson, "Enie Meanie Minie Moe"] and "Boppin' Wig Wam Willie" by Ray Scott, who had written "Flyin' Saucers Rock & Roll" for Billy Lee Riley, and who was backed by Riley's Little Green Men on this single: [Excerpt: Ray Scott, "Boppin' Wig Wam WIllie"] Ellis' label wasn't hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber's chair. He told Stewart that you didn't make money from the records themselves -- small labels didn't sell much -- but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions -- and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you'd already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay -- and if you owned enough songs, then some of them might get covered by a big star, and then you'd get some real money. Hoyt Jackson, Ellis' biggest act, hadn't had any hits himself, but he'd written "It's A Little More Like Heaven (Where You Are)": [Excerpt: Hoyt Jackson, "It's A Little More Like Heaven (Where You Are)"] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin "It's a Little More Like Heaven"] And Johnny Cash had rewritten it a bit, as "You're the Nearest Thing to Heaven", and had also had a top five country hit with it: [Excerpt: Johnny Cash, "You're the Nearest Thing to Heaven"] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song -- the only song he'd ever write -- Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim's wife's uncle's garage. They came up with the name Satellite Records for their label -- nobody liked it, but they couldn't think of anything better, and satellites were in the news with the recent launch of Sputnik. "Blue Roses" by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, "Blue Roses"] The next record was more interesting -- "Boppin' High School Baby" by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said "hang on, isn't that a bit much?": [Excerpt: Don Willis, "Boppin' High School Baby"] That also didn't sell -- Stewart and his partners knew nothing about the music business. They didn't know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart's wife's uncle wanted to use his garage again and so wouldn't let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart's new barber was also interested in music -- he had a daughter who he thought could sing, and he had a large storage space he wasn't using, in Brunswick on the outskirts of the city. If they'd record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend's guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who'd had a minor hit with "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Smith liked Moman's playing, and offered him a job -- Moman's initial response was "doing what?" Moman had joined Smith's band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time -- though I've never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He'd then joined Gene Vincent's Blue Caps, before being in an accident which had led him to come back to Memphis. He'd played guitar on the Don Willis session, and he'd essentially produced it, applying some of the techniques he'd learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop -- so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber's storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release -- a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, "Fool in Love"] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn't doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways -- it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart's barber's daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably "Smokie (Part 2)" by the Bill Black Combo, the group that Elvis' former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: "Smokie (Part 2)"] For their studio, Hi used an old cinema -- a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there'd been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren't exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle's son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I've had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn't have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I'm just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined -- an all-white group who loved to play R&B -- was called the Royal Spades. This was supposedly because of their love of playing cards, but there's more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They'd laughed when he told them he'd only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they'd expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too -- as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself -- with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme -- buy nine records and get a tenth record for free -- which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she'd have sold you nineteen dollars' worth of records before you left -- she'd leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin' circuit show in the area, and he was also a popular singer. He'd been the one to record the first hit on Sun Records, "Bear Cat", the answer record to "Hound Dog" we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, "Bear Cat"] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you've got a record label, and a DJ wants to make a record with you, that's a godsend -- you're guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who'd made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, "'Cause I Love You", with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session -- Porter was skipping school so he could be in a real recording studio, even though he wasn't going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. -- Booker T. Jones -- and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school's music room, went back to the studio, and Jones played on "'Cause I Love You" by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, "'Cause I Love You"] "'Cause I Love You" became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn't really know anything about the business, but when Wexler explained to Stewart that he was the producer of "What'd I Say" by Ray Charles, Stewart knew that was someone he needed to work with -- he'd recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company's new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, "Gee Whizz, Look at His Eyes". For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn't turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn't written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement -- something string players normally never do -- and ended up giving them directions like "just play donuts!", meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, "Gee Whizz" went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, "Gee Whizz, Look at His Eyes"] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on "marquis" as in the noble title, and "keys" as in keyboards, as Estelle Axton thought -- entirely correctly -- that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who'd been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys' name that the record was released. An instrumental, "Last Night", was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players -- Lewie Steinberg, Wilbur's brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken "Ooh, last night!" that punctuated the record: [Excerpt: The Mar-Keys, "Last Night"] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential -- and also believed in her son, who Stewart had little time for. Jim Stewart didn't want his useless nephew's band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister's pressure, and agreed to release the record. There was only one problem -- when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job -- I *think* I can hear the splice, but if it's where I think it is, it's about the cleanest editing job on analogue tape I've ever heard. If I'm right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, "Last Night"] Did you hear it? The song's authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he'd been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn't contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying "Ooh last night" as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton's surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single -- which brought resentment from the Black session players, some of whom claim that during the session it hadn't even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren't getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis -- he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band's leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour -- the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, "The Morning After"] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt -- if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn't seem like they were playing one label too much -- and the first single on it was an instrumental that Chips Moman wrote, "Burnt Biscuits", by a group consisting of Moman, Rufus Thomas' son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, "Burnt Biscuits"] That wasn't a hit, though Moman thought it had the potential to become as big as "Last Night". It was released under the name "the Triumphs", after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he'd make for Stax, when he produced "You Don't Miss Your Water" by a new singer, William Bell, who had previously been one of the backing vocalists on "Gee Whiz". That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ -- by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn't be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, "You Don't Miss Your Water"] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander's records, but it would be the last thing Moman would do at Stax. He'd not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I'm sure we'll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like "The Three Dogwoods" by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, "The Three Dogwoods"] That was co-written by Cropper, which shows that even the man who co-wrote "In the Midnight Hour", "Dock of the Bay" and "Knock on Wood" had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his "Flyin' Saucers Rock 'n' Roll": [Excerpt: Billy Lee Riley and the Little Green Men, "Flyin' Saucers Rock 'n' Roll"] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one's quite sure what he was using the studio for in early 1962 -- some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians -- Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell's band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn't want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player -- Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, "Behave Yourself"] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he'd heard on the radio one day when he'd been driving with Booker -- they'd both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one's figured out what the song they'd heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, "Green Onions"] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became "Green Onions". As the last instrumental they'd released with food as a title, "Burnt Biscuits", had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn't want to have a trademark lawsuit on their hands). "Green Onions" went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes -- Booker T actually went off to university soon after recording "Green Onions", so for a couple of years he could only play on weekends and during holidays -- on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg's looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax's records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they'd had a few of those. Jenkins did eventually release a single on Stax, but it wasn't particularly special, and didn't have any success: [Excerpt: Johnny Jenkins, "Spunky"] The day of Jenkins' first session was a flop, they'd not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins' band -- if he'd drive Jenkins to the studio, since Jenkins couldn't drive, he'd try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins' driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn't particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, "Hey Hey Baby"] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, "These Arms of Mine"] Otis Redding would never again be thought of as just Johnny Jenkins' driver, and Stax Records was about to hit the big time.  

Episode 105 of A History of Rock Music in Five Hundred Songs looks at “Green Onions”, and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “He’s So Fine” by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources I used three main books when creating this episode. Two were histories of Stax — Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon.  Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it’s less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs’ music. If the Erwin Records tracks here interest you, they’re all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It’s out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since “Telstar” we’ve been looking at records from 1962 that came out just before “Love Me Do” — we’ve essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we’re moving forward into 1963. Today we’re going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we’re looking at “Green Onions” by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, “Green Onions”] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn’t making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he’d had was in the house band at a venue where Elvis sometimes played in his early years, and he’d seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn’t do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label — it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it’s not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis’ own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson’s “Enie Meanie Minie Moe”: [Excerpt: Hoyt Jackson, “Enie Meanie Minie Moe”] and “Boppin’ Wig Wam Willie” by Ray Scott, who had written “Flyin’ Saucers Rock & Roll” for Billy Lee Riley, and who was backed by Riley’s Little Green Men on this single: [Excerpt: Ray Scott, “Boppin’ Wig Wam WIllie”] Ellis’ label wasn’t hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber’s chair. He told Stewart that you didn’t make money from the records themselves — small labels didn’t sell much — but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions — and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you’d already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay — and if you owned enough songs, then some of them might get covered by a big star, and then you’d get some real money. Hoyt Jackson, Ellis’ biggest act, hadn’t had any hits himself, but he’d written “It’s A Little More Like Heaven (Where You Are)”: [Excerpt: Hoyt Jackson, “It’s A Little More Like Heaven (Where You Are)”] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin “It’s a Little More Like Heaven”] And Johnny Cash had rewritten it a bit, as “You’re the Nearest Thing to Heaven”, and had also had a top five country hit with it: [Excerpt: Johnny Cash, “You’re the Nearest Thing to Heaven”] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song — the only song he’d ever write — Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim’s wife’s uncle’s garage. They came up with the name Satellite Records for their label — nobody liked it, but they couldn’t think of anything better, and satellites were in the news with the recent launch of Sputnik. “Blue Roses” by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, “Blue Roses”] The next record was more interesting — “Boppin’ High School Baby” by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said “hang on, isn’t that a bit much?”: [Excerpt: Don Willis, “Boppin’ High School Baby”] That also didn’t sell — Stewart and his partners knew nothing about the music business. They didn’t know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart’s wife’s uncle wanted to use his garage again and so wouldn’t let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart’s new barber was also interested in music — he had a daughter who he thought could sing, and he had a large storage space he wasn’t using, in Brunswick on the outskirts of the city. If they’d record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend’s guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who’d had a minor hit with “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Smith liked Moman’s playing, and offered him a job — Moman’s initial response was “doing what?” Moman had joined Smith’s band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time — though I’ve never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He’d then joined Gene Vincent’s Blue Caps, before being in an accident which had led him to come back to Memphis. He’d played guitar on the Don Willis session, and he’d essentially produced it, applying some of the techniques he’d learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop — so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber’s storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release — a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, “Fool in Love”] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn’t doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways — it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart’s barber’s daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably “Smokie (Part 2)” by the Bill Black Combo, the group that Elvis’ former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: “Smokie (Part 2)”] For their studio, Hi used an old cinema — a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there’d been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren’t exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle’s son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I’ve had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn’t have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I’m just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined — an all-white group who loved to play R&B — was called the Royal Spades. This was supposedly because of their love of playing cards, but there’s more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They’d laughed when he told them he’d only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they’d expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too — as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself — with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme — buy nine records and get a tenth record for free — which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she’d have sold you nineteen dollars’ worth of records before you left — she’d leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin’ circuit show in the area, and he was also a popular singer. He’d been the one to record the first hit on Sun Records, “Bear Cat”, the answer record to “Hound Dog” we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, “Bear Cat”] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you’ve got a record label, and a DJ wants to make a record with you, that’s a godsend — you’re guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who’d made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, “‘Cause I Love You”, with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session — Porter was skipping school so he could be in a real recording studio, even though he wasn’t going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. — Booker T. Jones — and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school’s music room, went back to the studio, and Jones played on “‘Cause I Love You” by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, “‘Cause I Love You”] “‘Cause I Love You” became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn’t really know anything about the business, but when Wexler explained to Stewart that he was the producer of “What’d I Say” by Ray Charles, Stewart knew that was someone he needed to work with — he’d recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company’s new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, “Gee Whizz, Look at His Eyes”. For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn’t turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn’t written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement — something string players normally never do — and ended up giving them directions like “just play donuts!”, meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, “Gee Whizz” went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, “Gee Whizz, Look at His Eyes”] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on “marquis” as in the noble title, and “keys” as in keyboards, as Estelle Axton thought — entirely correctly — that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who’d been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys’ name that the record was released. An instrumental, “Last Night”, was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players — Lewie Steinberg, Wilbur’s brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken “Ooh, last night!” that punctuated the record: [Excerpt: The Mar-Keys, “Last Night”] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential — and also believed in her son, who Stewart had little time for. Jim Stewart didn’t want his useless nephew’s band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister’s pressure, and agreed to release the record. There was only one problem — when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job — I *think* I can hear the splice, but if it’s where I think it is, it’s about the cleanest editing job on analogue tape I’ve ever heard. If I’m right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, “Last Night”] Did you hear it? The song’s authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he’d been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn’t contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying “Ooh last night” as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton’s surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single — which brought resentment from the Black session players, some of whom claim that during the session it hadn’t even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren’t getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis — he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band’s leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour — the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, “The Morning After”] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt — if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn’t seem like they were playing one label too much — and the first single on it was an instrumental that Chips Moman wrote, “Burnt Biscuits”, by a group consisting of Moman, Rufus Thomas’ son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, “Burnt Biscuits”] That wasn’t a hit, though Moman thought it had the potential to become as big as “Last Night”. It was released under the name “the Triumphs”, after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he’d make for Stax, when he produced “You Don’t Miss Your Water” by a new singer, William Bell, who had previously been one of the backing vocalists on “Gee Whiz”. That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ — by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn’t be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, “You Don’t Miss Your Water”] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander’s records, but it would be the last thing Moman would do at Stax. He’d not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I’m sure we’ll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like “The Three Dogwoods” by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, “The Three Dogwoods”] That was co-written by Cropper, which shows that even the man who co-wrote “In the Midnight Hour”, “Dock of the Bay” and “Knock on Wood” had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his “Flyin’ Saucers Rock ‘n’ Roll”: [Excerpt: Billy Lee Riley and the Little Green Men, “Flyin’ Saucers Rock ‘n’ Roll”] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one’s quite sure what he was using the studio for in early 1962 — some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians — Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell’s band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn’t want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player — Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, “Behave Yourself”] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he’d heard on the radio one day when he’d been driving with Booker — they’d both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one’s figured out what the song they’d heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, “Green Onions”] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became “Green Onions”. As the last instrumental they’d released with food as a title, “Burnt Biscuits”, had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn’t want to have a trademark lawsuit on their hands). “Green Onions” went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes — Booker T actually went off to university soon after recording “Green Onions”, so for a couple of years he could only play on weekends and during holidays — on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg’s looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax’s records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they’d had a few of those. Jenkins did eventually release a single on Stax, but it wasn’t particularly special, and didn’t have any success: [Excerpt: Johnny Jenkins, “Spunky”] The day of Jenkins’ first session was a flop, they’d not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins’ band — if he’d drive Jenkins to the studio, since Jenkins couldn’t drive, he’d try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins’ driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn’t particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, “Hey Hey Baby”] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, “These Arms of Mine”] Otis Redding would never again be thought of as just Johnny Jenkins’ driver, and Stax Records was about to hit the big time.  

Story by: Gail NoblesSong by: Otis ReddingSong title: The Doc of the BayVocal and actor: Gail NoblesOtis Ray Redding Jr. was a singer, songwriter, record producer, arranger, and talent scout. He was really great. A great singer. You know Otis. He would sing something like .....(singing)Yes sir, The man could sing! And he also did a song called "These Arms of Mine". When the record came out, it was a pretty big record. There were many songs that he did, and I loved them all. Sometimes I just want to go back and hear him again. I'm the Cat Bear's paw. An echo. And you're listening to an Explanae Moment. Echo, info, and an explanation about a song.

This is Blurred Laws & Life with acclaimed lawyer & litigator Richard Busch. On this second episode, we discuss: Having a blast doing these podcasts, interviewing music legend Al Bell & how they met, The Behind The Scenes of Litigation & the stakes, how he began his career, Entertainment Lawyer Relief Act 2001, Atomic Dog & Copyright Infringement, Winning & more. Then it's an honor & a privilege to have the legendary Al Bell join us on Blurred Laws & Life with Richard Busch to discuss: Being thankful that Richard is doing a podcast & the mutual respect they have for each other, the last time that they were together & Richard vs. Joe's Crab Shack, how they met at a low point in Al's life in 2002 & filing a lawsuit together, Al's life in the music industry landscape, losing multiple siblings, writing "I'll Take You There" in 1972 after the death of his brother & the story to how it was created in the backyard through tears, Stax Records, Segregation in Memphis, Tennessee, The Oasis, Racism in Arkansas, becoming a Senior Executive at Stax Records, being in the radio industry to start, These Arms of Mine by Otis Redding exploding on the radio, taking over as National Programs Director at Stax Records after being offered equity interest in the company, taking a pay cut but believing in the company, making music that resonates with people enough to sell, Some of the biggest artists & hits he worked on at Stax Records & other companies, Isaac Hayes & "Hot Buttered Soul", having a great staff of writers, charts from Stax & how the government wondered if it was Payola, Otis Redding being the lead horse by setting the standard, recording "Sitting on the Dock of the Bay" the night before his tragic plane crash in Wisconsin, publisher of "Try A Little Tenderness" suing Otis Redding, getting into songwriting & becoming a Disc Jockey, wanting to learn the story of an entire song, music diversity taste of African American listeners on radio, the 3 verses in song writing, promoting Stax Records from city to city & finding out the different kinds of music being played there, Isaac Hayes' Shaft Theme winning an Academy Award for Best Song & how he convinced MGM to let it happen, buying billboards on Sunset Blvd & getting White America to appreciate the song, Performing at the Oscars and the fight to make this happen, selling 1 Million Units the next day, the Top 4 songwriters that he worked with, the Blurred Lines lawsuit, the loss of Otis Redding & what he meant to the artists at Stax Records, Jim Stewart, living 5 lives in 1, the trial of their lawsuit a together, Tag Team & "Whoomp, There It Is", Hip Hop artists sampling pre-existing music without licensing it & ultimately leading to the organization filing bankruptcy, the story of the lawsuit that they won together, having his music compositions being taken over by DM Records due to financial concerns, how Hurricane Katrina affected the lawsuit, the arguments that the opposing side made, winning the case & the jury applauding them, how he's spending Quarantine in Little Rock, Arkansas & more.  New Episodes air every Thursday at 6PM EST/3 PM PST Produced by  www.DBPodcasts.com Music Provided by FreePlayMusic.com

Social distancing cannot keep Ross and Brian Cook from a bicoastal bro-down.  Ross talks with Brian from Russian Circles, These Arms are Snakes, Botch, and more about everything from being a musician during a pandemic, to writing processes for different projects, to the importance of films like "Crank 2". Great conversation.  Hard hitting questions.  More feels than a blindfolded grandmother at a fabric store. Don't forget to subscribe and check out the Rigs of Dad Patreon for an extended episode and more. One Love.  Jah Bless.  Stay Safe and keep your distance!

If you’ve ever been in love, then you’ve heard the name All-4-One and their timeless songs “I Swear”, “I Can Love You Like That”, “So Much In Love”, “ I Turn To You”, “These Arms”, “Beautiful As You” and much more. The Grammy Award Winning group All-4-One is internationally known for making beautiful love songs that not only chart radio airwaves, but also garner countless awards. All-4-One’s very first single “So Much In Love“, scaled to RIAA Gold Sales and top 5 pop status.The California based quartet soon marked their place in the industry as premier balladeers. Their second single, “I Swear“, claimed the billboard “Hot 100” #1 spot for 11 consecutive weeks, while sales sky rocketed to hold the #1 selling single status in 1994 and third most successful single of the rock era. “I Swear” STILL holds a spot on Billboard’s “Hot 100”as one of the most successful singles of all time and has been named by ASCAP as one of the greatest love songs of the 20th Century. “I Swear” is recorded in history with an imprint in the Guinness’s World Book of records (as the biggest selling single of 1994). The groups second album was highlighted by “I Can Love You Like That”, a mid-tempo which hit the top 5 on the Billboard “Hot 100”.To date they have released a total of seven albums and sold over 20 million units worldwide, won a bevy of awards including a Grammy, an American Music Award, a Blockbuster Award, countless international awards and completed multiple major world tours. In celebration a two decade career milestone, All-4-One released their best album yet with Twenty+ on July 24, 2015. Twenty+ includes 14 new songs and 6 of the groups biggest hits that helped propel them them to international success.

If you’ve ever been in love, then you’ve heard the name All-4-One and their timeless songs “I Swear”, “I Can Love You Like That”, “So Much In Love”, “ I Turn To You”, “These Arms”, “Beautiful As You” and much more. The Grammy Award Winning group All-4-One is internationally known for making beautiful love songs that not only chart radio airwaves, but also garner countless awards. All-4-One’s very first single “So Much In Love“, scaled to RIAA Gold Sales and top 5 pop status.The California based quartet soon marked their place in the industry as premier balladeers. Their second single, “I Swear“, claimed the billboard “Hot 100” #1 spot for 11 consecutive weeks, while sales sky rocketed to hold the #1 selling single status in 1994 and third most successful single of the rock era. “I Swear” STILL holds a spot on Billboard’s “Hot 100”as one of the most successful singles of all time and has been named by ASCAP as one of the greatest love songs of the 20th Century. “I Swear” is recorded in history with an imprint in the Guinness’s World Book of records (as the biggest selling single of 1994). The groups second album was highlighted by “I Can Love You Like That”, a mid-tempo which hit the top 5 on the Billboard “Hot 100”.To date they have released a total of seven albums and sold over 20 million units worldwide, won a bevy of awards including a Grammy, an American Music Award, a Blockbuster Award, countless international awards and completed multiple major world tours. In celebration a two decade career milestone, All-4-One released their best album yet with Twenty+ on July 24, 2015. Twenty+ includes 14 new songs and 6 of the groups biggest hits that helped propel them them to international success.

Paul chooses The Yellow Rose of Texas, Mitch Miller and These Arms of Mine, Otis Redding.

Guest presenters Shaun Keaveny and Kate Silverton are joined by Anneka Rice. She reveals the story of Clemmie Hart, her fictional agent. Matthew Barley, the internationally renowned cellist, describes how a skiing accident transformed the way he plays. On the 50th anniversary of the John Lennon and Yoko’s Bed-In For Peace in Montreal, Saturday Live listener Gail Renard recalls her front row seat at rock and roll history. Dustin Lance Black, the Oscar winning filmmaker and husband to Tom Daley, talks about fatherhood and how growing up in a strict Mormon household shaped his determination to fight prejudice. And Paul Young shares his Inheritance Tracks. He chooses The Yellow Rose of Texas by Mitch Miller and These Arms of Mine by Otis Redding. Producer: Louise Corley Editor: Beverley Purcell

Beep & CC are joined by Meagan to discuss 1.13 “These Arms of Mine” & 2.01 “Year of the Monkey” 1.13 These Arms of Mine Fate vs. Free will Pour one out for Aaron Marker Cassie vs. Cole POV debate #1 Foreshadowing the Casserole emotional divide Easter eggs! Jennifer’s first performance Cassie, Jennifer, and... unicorns Olivia & Ramse Hello Dr. Elliott Jones! Green to red The idea of “home” Your one vs. my one Jones has zero f*cks to give Cassie vs. Cole POV debate #2 Ramse & the consequences of not being the protagonist A slightly enthusiastic celebration of an epic romantic moment Time travel as a heightened exploration of relationships There’s nothing more powerful than fate Welcome to the future, Dr. Railly 2.01 Year of the Monkey Season 2 gets right what so much of tv gets wrong A masterful slow burn romance An exceptional execution of a time jump A primary fairytale that begins at the end An epic start to an epic season Olivia’s crumbling faith Mr. Bates pulls one over on us We depend on mother nature and she depends on us Becoming a better man The bromance reconciles, for now Red Forest foreshadowing Grieving who we were only gets in the way of who we need to become Hello, Mantis! Cassie & the terrible, horrible, no good, very bad day The Theodore Deacon guide to surviving the post apocalypse Chasing White Rabbits: 12 Monkeys & Alice in Wonderland Jennifer is tragically shackled by her adopted purpose Saving a life: a more hopeful take on post-apocalyptic drama The Jennifer & Cole mentorship ouroboros & choice Cassie vs. Cole POV Debate #3 Casserole is a rare exploration of what happens “after”

（上图左一：导演陈英杰）在网友刷屏的“多谢款待”中，6集的美食纪录片《人生一串》落下帷幕，留下了豆瓣9.0的高分，以及这个夏天里不输于世界杯的余味。B站弹幕里，网友在呼唤《人生一串》的“百万文案”、“百万配音”，“青春岁月已老，而我们还在烧烤”等等妙趣横生的旁白被配音师用充满故事感的烟嗓读出来，一部美食纪录片立刻活了。随着一篇篇关于节目的报道出来，答案浮出水面，“百万文案”、“百万配音”实际上都是一个人，他甚至还是这部纪录片的导演——陈英杰，他负责纪录片里一半左右的文案写作，同时把控文案整体调性，最后成了配音是因为团队寻遍专业配音和声优，都找不到有“烟火气”的声音。上周末，《虎扯》在北京石景山万达的一家日料店里找到了陈英杰老师，跟他聊了关于《人生一串》前前后后的故事。我们都聊了什么：【00：47】为什么拍美食纪录片【01：25】为什么定下了烧烤主题【03：57】这位河北导演关于烧烤的最初记忆【05：15】功成名就后依然喜欢路边摊的氛围【06：13】往纪录片内容中“夹带私货”【08：14】年轻人依附于网络生活是不可避免的现状【09：24】希望片子可以让年轻人看到烟火生活【10：42】为何《人生一串》令人感动【14：14】中国《人生一串》与日本《深夜食堂》之不同【15：23】中国人不像日本人有那么强烈的一致性【17：49】我们为什么没拍大城市的烤串店【19：36】镜头外的人和事【22：34】拍摄《人生一串》打破了三十年来的体重【23：36】《人生一串》第二季筹备中【24：41】因《人生一串》爆红的片尾曲演唱者——旧北乐队【26：02】烧烤摊主：“都是《人生一串》害的我！”【28：40】再次，“多谢款待！”BGM Playlist：Silver Balloon by Rowan StuartSafe in These Arms by Jimmy SomevilleAlong the River by JehroWhen We Were Young by AdeleOblivion by BastilleAll We've Done by Mark DiamondLost Without You by Freya RidingsBe Alright by Dean Lewis《如去年一样悲伤》by 旧北乐队PS：连B站董事长陈睿都在怨念“为何没有成都”，陈导在朋友圈里说道“这一次，过于包罗万象的城市都有点吃亏，下一季我们会有所考虑，有很厉害的线索也要尽早提供给我们，先到先得。

（上图左一：导演陈英杰）在网友刷屏的“多谢款待”中，6集的美食纪录片《人生一串》落下帷幕，留下了豆瓣9.0的高分，以及这个夏天里不输于世界杯的余味。B站弹幕里，网友在呼唤《人生一串》的“百万文案”、“百万配音”，“青春岁月已老，而我们还在烧烤”等等妙趣横生的旁白被配音师用充满故事感的烟嗓读出来，一部美食纪录片立刻活了。随着一篇篇关于节目的报道出来，答案浮出水面，“百万文案”、“百万配音”实际上都是一个人，他甚至还是这部纪录片的导演——陈英杰，他负责纪录片里一半左右的文案写作，同时把控文案整体调性，最后成了配音是因为团队寻遍专业配音和声优，都找不到有“烟火气”的声音。上周末，《虎扯》在北京石景山万达的一家日料店里找到了陈英杰老师，跟他聊了关于《人生一串》前前后后的故事。我们都聊了什么：【00：47】为什么拍美食纪录片【01：25】为什么定下了烧烤主题【03：57】这位河北导演关于烧烤的最初记忆【05：15】功成名就后依然喜欢路边摊的氛围【06：13】往纪录片内容中“夹带私货”【08：14】年轻人依附于网络生活是不可避免的现状【09：24】希望片子可以让年轻人看到烟火生活【10：42】为何《人生一串》令人感动【14：14】中国《人生一串》与日本《深夜食堂》之不同【15：23】中国人不像日本人有那么强烈的一致性【17：49】我们为什么没拍大城市的烤串店【19：36】镜头外的人和事【22：34】拍摄《人生一串》打破了三十年来的体重【23：36】《人生一串》第二季筹备中【24：41】因《人生一串》爆红的片尾曲演唱者——旧北乐队【26：02】烧烤摊主：“都是《人生一串》害的我！”【28：40】再次，“多谢款待！”BGM Playlist：Silver Balloon by Rowan StuartSafe in These Arms by Jimmy SomevilleAlong the River by JehroWhen We Were Young by AdeleOblivion by BastilleAll We've Done by Mark DiamondLost Without You by Freya RidingsBe Alright by Dean Lewis《如去年一样悲伤》by 旧北乐队PS：连B站董事长陈睿都在怨念“为何没有成都”，陈导在朋友圈里说道“这一次，过于包罗万象的城市都有点吃亏，下一季我们会有所考虑，有很厉害的线索也要尽早提供给我们，先到先得。

1:24: Our thoughts on Jessie J's new album “R.O.S.E.” 5:03: Our thoughts on Ne-Yo's new album “Good Man” 9:35: Who is Ne-Yo's current fanbase? 16:19: Luke James' new single “These Arms” 19:15: Eric Bellinger is the new King of R&B? 22:00: Our love for 702 25:25: Meelah joins the podcast 26:10: How did 702 reunite? 30:44: The “Star” era and The Neptunes singles 37:19: Creating “Get It Together” with Donell Jones on debut album 45:35: Current single “Now You're Mad” and solo project 48:51: Being a mother in the music industry 51:50: Keith Sweat vs Musiq Soulchild debate 53:15: Going to performing arts school with Ne-Yo Technical difficulties with the recording almost destroyed this episode but we did just enough to keep it alive and for good reason! Meelah from 702 joined us on this podcast to talk about the history of the group as well as some of their most memorable songs including the Neptunes produced record “I Still Love You”. We talk about 702's reunion as well as Meelah's debut album which is slated to come out later this year. We also talk about new music from Jessie J, Ne-Yo and Luke James. A lot of great stories on this episode about Ne-Yo and Donell Jones, so you definitely don't want to miss out!.

1. She Can Rock - Little Ike 2. Boney Maronie - Ritchie Valens 3. Oh, Little Girl - Dee Clark 4. Let’s Do Our Thing Together - Chuck Berry 5. Let The Daddy Hold You - Otis Blackwell SET 2 6. That’s All Right - Elvis Presley 7. Rocket 88 - Ike Turner & His Delta Cats 8. Please Mr. Postman - The Marvelettes 9. These Arms of Mine - Otis Redding SET 3 11. Ain’t That Peculiar - Dennis Edwards 12. Wilson Pickett - Barefootin' 13. Fire - Gino Parks 14. I Can Only Give You Everything - Them 15. You And Me - Stevie Wonder SET 4 16. Another Saturday Night - Sam Cooke 17. Soul Drums - Bernard “Pretty” Purdie 18. Fats Domino - Everybody's Got Something To Hide Except For Me And My Monkey 18. Be Young, Be Foolish, Be Happy - The Tams 50srocknroll 60srocknroll soul doowop girlgroups garagerock rocknroll rock&roll classicsoul

Tea for One/孤品兆赫-111, 摇滚/Shankin All Over微信订阅号：【孤品兆赫】微博（新浪/腾讯）：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/豆瓣小组：https://www.douban.com/group/topic/85837355/本期更新60年代摇滚乐专题，随便找了几首英国节奏与布鲁斯乐队的曲子，欢迎收听。Tracklist1. < Talkin' About You > -- The Animals, 19642. < Talkin' About You > -- The Rolling Stones, 1965 3. < That's How Strong My Love Is > -- The Rolling Stones, 19654. < That's How Strong My Love Is > -- Otis Redding, 1965 5. < These Arms of Mine > -- Otis Redding, 1962 6. < I Can See for Miles > -- The Who, 1967 7. < Shakin All Over > -- The Who, 1970 8. < Shakin All Over > -- The Guess Who, 1965 9. < C Jam Blues > -- The Animals, 1963

Tea for One/孤品兆赫-111, 摇滚/Shankin All Over微信订阅号：【孤品兆赫】微博（新浪/腾讯）：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/豆瓣小组：https://www.douban.com/group/topic/85837355/本期更新60年代摇滚乐专题，随便找了几首英国节奏与布鲁斯乐队的曲子，欢迎收听。Tracklist1. < Talkin' About You > -- The Animals, 19642. < Talkin' About You > -- The Rolling Stones, 1965 3. < That's How Strong My Love Is > -- The Rolling Stones, 19654. < That's How Strong My Love Is > -- Otis Redding, 1965 5. < These Arms of Mine > -- Otis Redding, 1962 6. < I Can See for Miles > -- The Who, 1967 7. < Shakin All Over > -- The Who, 1970 8. < Shakin All Over > -- The Guess Who, 1965 9. < C Jam Blues > -- The Animals, 1963

ALL -4- ONE . Releases New Album "TWENTY + January 18, 2016 If you’ve ever been in love, then you’ve heard the name All-4-One and their timeless songs “I Swear”, “I Can Love You Like That”, “So Much In Love”, “ I Turn To You”, “These Arms”, “Beautiful As You” and much more. The Grammy Award Winning group All-4-One is internationally known for making beautiful love songs that not only chart radio airwaves, but also garner countless awards. All-4-One’s very first single “So Much In Love“, scaled to RIAA Gold Sales and top 5 pop status. The California based quartet soon marked their place in the industry as premier balladeers. Their second single, “I Swear“, claimed the billboard “Hot 100” #1 spot for 11 consecutive weeks, while sales sky rocketed to hold the #1 selling single status in 1994 and third most successful single of the rock era. “I Swear” STILL holds a spot on Billboard’s “Hot 100”as one of the most successful singles of all time and has been named by ASCAP as one of the greatest love songs of the 20th Century. “I Swear” is recorded in history with an imprint in the Guinness’s World Book of records (as the biggest selling single of 1994). The groups second album was highlighted by “I Can Love You Like That”, a mid-tempo which hit the top 5 on the Billboard “Hot 100”.   To date they have released a total of seven albums and sold over 20 million units worldwide, won a bevy of awards including a Grammy, an American Music Award, a Blockbuster Award, countless international awards and completed multiple major world tours.

Leo's Radio show-"Bluesland" May 14, 2015 Part 1 of 2. Here is some good hand picked music just for you. I hope you enjoy the show and send me requests for my next show at webmaster@leosbluesland.com. Here is the playlist: Bluesland (Blues) with Leo Schumaker 05/14/2015 03:00PM to 04:30PM 03:00PM-03:03PM (3:33) Booker T And The M Gs “Green onions” from Stax 50th Anniversary on Atlantic (USA) 03:03PM-03:07PM (3:40) Buddy Guy “First time I met The Blues” composed by Buddy Guy from Can't Quit the Blues (CD, Album, Private, 2006) on Silvertone 03:07PM-03:13PM (5:52) Larry Knight and The Blowin' Smoke Rhythm and Blues Band “Built for Comfort” from Beyond The Blues Horizon 03:13PM-03:18PM (5:38) Eddy "The Chief" Clearwater “Cool Blues Walk” from Cool Blues Walk (1998) on Bullseye Blues (England) 03:18PM-03:21PM (3:00) Wynonna Carr “Should I Ever Love Again” composed by D.R. from Blues Brothers and Soul Sisters 03:21PM-03:32PM (10:11) Tab Benoit & Jimmy Thackery “These Arms of Mine” composed by Otis Redding from Whiskey Store Live (CD, Album, Private, 2004) on Telarc (USA) 03:32PM-03:34PM (2:36) Little Richard “I'm Just a Lonely Guy” composed by Dorothy LaBostrie from The Georgia Peach (Rock, 1956) on Specialty Rcrds 03:34PM-03:41PM (6:17) The Love Dogs “Keep On Lyin'” from Live and On Fire on T-Ray Records 03:41PM-03:46PM (5:00) The Mannish Boys w/Finis Tasby and Kid Ramos “You don't love me” from Double Dynamite 03:46PM-03:49PM (3:00) Jr. Wells “Prison Walls All Around Me” from The Profile Records Story on Fuel Records (USA) 03:52PM-03:58PM (6:01) Kirk Fletcher “Thats Why I'm Cryin'” from Shades of Blues6 "LADIOS"