Podcasts about this old heart

The Isley Brothers (/ˈaɪzli/ EYEZ-lee) are an American soul group originally from Cincinnati, Ohio, that began as a vocal trio consisting of the brothers O'Kelly Isley Jr., Rudolph Isley and Ronald Isley in the 1950s.[1][2][3][4][5] With a career spanning over seven decades, the group has enjoyed one of the "longest, most influential, and most diverse careers in the pantheon of popular music".[6]Together with a fourth brother, Vernon, the group performed gospel music until Vernon's death a few years after its formation. After moving to New York City in the late 1950s, the group had their first successes during these early years, and rose to prominence in 1959 with their fourth single, "Shout", written by the three brothers, which became their first single to chart on the Billboard Hot 100, and sold over a million copies. In the 1960s, the group recorded songs for a variety of labels, including the top 20 single "Twist and Shout" and the Motown single "This Old Heart of Mine (Is Weak for You)", before recording and releasing the Grammy Award-winning hit "It's Your Thing" on their own label, T-Neck Records.The inclusion of younger brothers Ernie Isley (lead guitar, drums) and Marvin Isley (bass guitar), and Rudolph's brother-in-law Chris Jasper (keyboards, synthesizers), in 1973 turned the original vocal trio into a complete band and led to the group's reaching the height of their success. For the next full decade, they recorded a string of top-selling albums including 3 + 3, Between the Sheets, and The Heat Is On, with the latter peaking at number one on the Billboard 200 chart. The six-member band splintered in 1983, with Ernie, Marvin, and Chris Jasper forming the short-lived spinoff group Isley-Jasper-Isley. The oldest member, O'Kelly, died in 1986. Afterwards Rudolph and Ronald released a pair of albums as a duo before Rudolph retired to a life in the Christian ministry in 1989. After multiple lineup changes, the remaining duo of Ronald and Ernie achieved mainstream success with the albums Mission to Please (1996), Eternal (2001) and Body Kiss (2003). Eternal spawned the top 20 hit "Contagious". As of 2025The Isley Brothers have sold over 18 million units in the United States alone.[7] With their first major hit charting in 1959 ("Shout"), and their last one in 2001 ("Contagious"), they are among the few groups ever to have hit the Billboard Hot 100 with new music in six different decades and the only act in musical history to have achieved this accomplishment in consecutive decades (1950s, 60s, 70s, 80s, 90s, and 2000s).[8] The group's long R&B chart span landed them a Guinness World Record.[9] Sixteen of their albums charted in the Top 40 and thirteen of those albums have been certified gold, platinum or multi-platinum by the RIAA. The brothers have been honored by several musical institutions, including the Rock and Roll Hall of Fame, which inducted them in 1992.[10] Five years later, they were added to Hollywood's Rockwalk, and in 2003 they were inducted to the Vocal Group Hall of Fame.[11] They received the Grammy Lifetime Achievement Award in 2014.[12]PICTURE: By T-Neck Records - Billboard, page 1, 7 June 1969, Public Domain, https://commons.wikimedia.org/w/index.php?curid=27166798

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our milestone 100th episode with the legendary Lamont Dozier! ABOUT LAMONT DOZIERLamont Dozier, along with brothers Eddie and Brian Holland, wrote and produced more than 20 consecutive singles recorded by the Supremes, including ten #1 pop hits: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can't Hurry Love,” “You Keep Me Hangin' On,” “Love is Here and Now You're Gone,” and “The Happening.” Other Top 5 singles they wrote for the Supremes include “My World is Empty Without You” and “Reflections.” In addition to their hits with the Supremes, Holland, Dozier, and Holland helped further define the Motown sound by writing major pop and R&B hits such as “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack” for Martha and the Vandellas, “Mickey's Monkey” for the Miracles, “Can I Get a Witness” and “You're a Wonderful One” for Marvin Gaye, and “(I'm A) Road Runner” for Junior Walker and the All Stars. The trio found particular success with The Four Tops, who scored hits with their songs “Baby I Need Your Loving,” “I Can't Help Myself (Sugar Pie Honey Bunch),” “It's the Same Old Song,” “Reach Out I'll Be There,” “Standing in the Shadows of Love,” and “Bernadette.” Additional hits include “Crumbs Off the Table” for Glass House, “Give Me Just a Little More Time” for Chairmen of the Board, “Band of Gold” for Freda Payne, and Dozier's own recording of “Why Can't We Be Lovers.” Hit cover versions of his songs by rock artists include “Don't Do It” by the Band, “Take Me in Your Arms (Rock Me a Little While)” by the Doobie Brothers, “How Sweet It Is (To Be Loved By You)” by James Taylor, and “This Old Heart of Mine” by Rod Stewart. With hits spanning multiple decades, Dozier also co-wrote “Two Hearts” with Phil Collins, earning a #1 pop hit, a Grammy award, a Golden Globe, and an Oscar nomination. Dozier is in the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He is the recipient of the prestigious Johnny Mercer Award for songwriting, as well as the BMI Icon award. Lamont Dozier was additionally named among Rolling Stone magazine's 100 Greatest Songwriters of All Time.

In den 80ern eroberte Rod Stewart mit seinen unverwechselbaren Hits wie „Young Turks“ und „Baby Jane“ die Charts und Tanzflächen weltweit. Doch schon zuvor hatte Rod Stewart mit seinem Mix aus Bluesrock, Folk und Pop für Aufsehen gesorgt. Diese Folge taucht ein in seine Erfolgsjahre, beleuchtet seinen ikonischen Sound, seine Songtexte und den unverkennbaren Gesangsstil. Außerdem sprechen wir über die überraschenden Hobbys des Rockstars, warum er sich nicht mit Sting versteht und wie er einst Tom Waits den Swimmingpool finanzierte. ++++++++++Song-Tipps zur Folge++++++++++ "Maggy May", "Mandolin Wind", "True Blue", "I Don't Want To Talk About It", "„This Old Heart of Mine“, „Sailing“, "Tonight's The Night (Gonna Be Alright)“, "First Cut Is The Deepest“, "The Killing of Georgie“, "Hot Legs", "You're In My Heart (The Final Acclaim)“, "You Keep Me Hanging On", "Da Ya Think I'm Sexy“, "Blondes Have More Fun", "She Won't Dance With Me", "Tonight I'm Yours", "Young Turks", "Baby Jane", "What Am I Gonna Do", "Some Guys Have All The Luck", "A Night Like This", "Another Heartache", "Every Beat Oy My Heart", "Lost In You", "Forever Young", "The Rhythm Of My Heart", "Have I Told You Lately", "Downtown Train", "Tom Traubert's Blues (Waltzing Matilda)", "All For Love"

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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 Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

C.V.'s 10 to Check Out PodcastCurtis and Aaron Vaughn came up with the idea for this podcast. The concept for this podcast is to give information and opinions about ten songs each month that may fly under the radar for most listeners of music. Also, we will play a snippet of each song and ask the listener to comment to us through one of our social media outlets so we can get different opinions on what you think about these songs and what they mean to you. The opinions of the music selected are only the opinions of Aaron and Curtis and may not reflect what the artist had in mind. They believe that is the beauty of music. It can mean so many different things to so many different people.  In short, Curtis came up with this quote to describe the show: “Sharing the joy of music in hopes of bringing back old memories or helping listeners discover unfamiliar artists, bands, or songs that they might want to look further into. At the same time, helping out Veterans and their families with donations along the way."Songs for this month are:1. Please Do Not Go - Violent Femmes2. Dream On - Nazareth3. I'm Gonna Be Myself - The Sheepdogs4. Sir Duke - Stevie Wonder5. What You Give - Tesla6. A Change Is Gonna Come - D'Virgilio, Morse, & Jennings7. This Old Heart of Mine (Is Weak for You) - The Isley Brothers8. Put Your Hands Together - The O'Jays9. If Ever I Stray - Frank Turner10. Center Stage - Indigo Girls11. Reason - Collective SoulOur email is cvs10tocheckout@gmail.comOur Twitter handle is @cvs10tocheckoutClick on the the link below and sign up for a paid Buzzsprout plan and get a $20 Amazon gift card!https://www.buzzsprout.com/?referrer_id=1660801We are always promoting Veterans' charities, so contact us if you want to discuss donating to the charity of your choice or partnering with us to sponsor our show and giving to Veterans and their families through that avenue.Please listen to the full songs of the artists discussed in the podcast on your favorite streaming services to help them out.Support the show (https://www.patreon.com/cvs10tocheckout)Support the show

The Toronto Blue Jays take an absolutely CRAZY win over the Los Angeles Angels to emerge from their road trip with a winning record. Mark, Bryson and Jacob discuss the wild series and look ahead to Toronto's homecoming at last. Did John Schneider make the wrong bullpen decisions on Sunday? Should Matt Chapman stay in the cleanup spot? How concerned should we be about Yusei Kikuchi and José Berríos? Subscribe to Section 138 on YouTube for video podcasts. Follow @section138pod on Instagram, Twitter and TikTok. Join the Discord community or support our podcast at linktr.ee/section138pod. Music: "This Old Heart of Mine (Is Weak For You)," The Isley Brothers.

When it comes to childhood trauma, do our bodies keep the score, and with what emotional impacts? Historian of child psychology Emma Sutton finds out about the recent explosion of interest in "trauma-informed" approaches and their impact on family relationships. She tries out some trauma-informed therapy herself, and discusses with therapists and experts what this approach can mean for dealing with the aftermath of adverse childhood experiences - including the additional harm done to families when someone decides to "go no contact" with a parent. Emma discusses with Reverend Giles Fraser the dangers of overly medicalising painful experiences - and Giles speaks about his own experience of being beaten frequently when at school. The episode ends with a visit to the Kazzum Arts project and its director Alex Evans - who speaks about the powerful influence that adults can have in protecting children from the worst effects of trauma, by being playful, curious, accepting and empathetic in their interactions with them. Steve Haines is a bodyworker and author who is deeply interested in pain, trauma and anxiety. @stevehaines66 Dr Charley Baker is an associate professor of Mental Health at the University of Nottingham. @CharleyBaker1 Dr Angela Davis is a historian of motherhood and parenting in twentieth-century Britain. She is the author of Modern Motherhood: Women and Family in England, 1945–2000. Dr Joshua Coleman is psychologist in private practice in the San Francisco Bay Area and a Senior Fellow with the Council on Contemporary Families, a non-partisan organization of leading sociologists, historians, psychologists and demographers dedicated to providing the press and public with the latest research and best practice findings about American families. @drjcoleman Reverend Giles Fraser is the Vicar of St Anne's in Kew, as well as being a journalist and author. His most recent book is Chosen: Lost and Found Between Christianity and Judaism, and in 2017 he made a series for Radio 4 - “This Old Heart of Mine” - about the experience of surviving a heart attack and bypass surgery. It gave him the chance to reflect on matters of the heart - physical, emotional, and spiritual. @giles_fraser Alex Evans is a visual artist, director and creative facilitator living and working in London. He is proud to be the Artistic Director of Kazzum Arts, after taking on the role in June 2017. @KazzumArts "Living With Feeling" is produced by Natalie Steed for Rhubarb Rhubarb, and supported by the Wellcome Trust. It is brought to you by the Queen Mary Centre for the History of the Emotions. Find out more about our work at The Emotions Lab website.

When it comes to childhood trauma, do our bodies keep the score, and with what emotional impacts?Historian of child psychology Emma Sutton finds out about the recent explosion of interest in "trauma-informed" approaches and their impact on family relationships. She tries out some trauma-informed therapy herself, and discusses with therapists and experts what this approach can mean for dealing with the aftermath of adverse childhood experiences - including the additional harm done to families when someone decides to "go no contact" with a parent.Emma discusses with Reverend Giles Fraser the dangers of overly medicalising painful experiences - and Giles speaks about his own experience of being beaten frequently when at school. The episode ends with a visit to the Kazzum Arts project and its director Alex Evans - who speaks about the powerful influence that adults can have in protecting children from the worst effects of trauma, by being playful, curious, accepting and empathetic in their interactions with them. Steve Haines is a bodyworker and author who is deeply interested in pain, trauma and anxiety. @stevehaines66Dr Charley Baker is an associate professor of Mental Health at the University of Nottingham. @CharleyBaker1Dr Angela Davis is a historian of motherhood and parenting in twentieth-century Britain. She is the author of Modern Motherhood: Women and Family in England, 1945–2000.Dr Joshua Coleman is psychologist in private practice in the San Francisco Bay Area and a Senior Fellow with the Council on Contemporary Families, a non-partisan organization of leading sociologists, historians, psychologists and demographers dedicated to providing the press and public with the latest research and best practice findings about American families. @drjcolemanReverend Giles Fraser is the Vicar of St Anne's in Kew, as well as being a journalist and author. His most recent book is Chosen: Lost and Found Between Christianity and Judaism, and in 2017 he made a series for Radio 4 - “This Old Heart of Mine” - about the experience of surviving a heart attack and bypass surgery. It gave him the chance to reflect on matters of the heart - physical, emotional, and spiritual. @giles_fraserAlex Evans is a visual artist, director and creative facilitator living and working in London. He is proud to be the Artistic Director of Kazzum Arts, after taking on the role in June 2017. @KazzumArts "Living With Feeling" is produced by Natalie Steed for Rhubarb Rhubarb, and supported by the Wellcome Trust. It is brought to you by the Queen Mary Centre for the History of the Emotions. Find out more about our work at The Emotions Lab website. Hosted on Acast. See acast.com/privacy for more information.

I am blown away by the incredibly knowledgable AnorakThing! We chat about his crate digging skills, photography, his time with The Phantom Five, his DIY mod fan zine, and so much more! As always, guests pick the playlist (you won't want to miss out on this one). Check out his records on sale over on Discogs under Anorakthing  While you're at it, check out his blog where he uncovers hidden musical gems and history under Anorakthing Check out his IG with loads of music, photography, and fashion under AnorakThing! The V.I.P.'s. Straight Down to the Bottom The Lloyd Alexander Real Estate. I'm Gonna Live Again Donnie Elbert. This Old Heart of Mine Mickey Lee Lane. She Don't Want To Sammy Davis Jr. Up Up and Away The Kelly Brothers. Crystal Blue Persuasion Los Iberos. Liar Liar Small Faces. Eddie's Dreaming Background: The Marksmen. Lost Guitar

In this first episode of our new series about emotions in the 21st century, priest and writer Giles Fraser and psychotherapist Philippa Perry join Thomas Dixon for a lively conversation about the place of emotions in modern culture.Philippa, Giles, and Thomas discuss whether people are too ready to interpret painful or difficult emotions as signs of mental illness, and whether it is always true that "Your emotions are valid". Can emotions ever be wrong?Giles confesses to an emotional outburst in the middle of the night, and suggests we should all try to be a bit more like the Queen, while Philippa explains how important it is to be able to live with and contain our own feelings, and those of our children, without necessarily always expressing them.We explore what Christianity and psychotherapy have to say about the idea that we are all emotionally broken or disordered in some way, and Giles and Philippa share their views about smartphones and emotions, and whether they would like to be cared for by a robot nurse, and if not why not.Philippa Perry is a psychotherapist and artist. She is the author of The Book You Wish Your Parents Had Read: (And Your Children Will Be Glad That You Did) - and the “Ask Philippa” advice column in the Observer. She says that responding to your children's feelings appropriately is foundational to their future emotional health. @philippa_perryReverend Giles Fraser is the Vicar of St Anne's in Kew, as well as being a journalist and author. His most recent book is Chosen: Lost and Found Between Christianity and Judaism, and in 2017 he made a series for Radio 4 - “This Old Heart of Mine” - about the experience of surviving a heart attack and bypass surgery. It gave him the chance to reflect on matters of the heart - physical, emotional, and spiritual. @giles_fraserProfessor Thomas Dixon is Director of the Queen Mary Centre for the History of the Emotions, the author of Weeping Britannia: Portrait of a Nation in Tears (2015), and previously presented "The Sound of Anger" podcast series. @ProfThomasDixon"Living With Feeling" is produced by Natalie Steed for Rhubarb Rhubarb, and is supported by the Wellcome Trust.To find out more about the work of the Queen Mary Centre for the History of the Emotions, please visit The Emotions Lab website at emotionslab.org Hosted on Acast. See acast.com/privacy for more information.

Delusional beliefs have a long and varied history, with false beliefs ranging from those as minor as imposter syndrome to those as significant as thinking we are dead or decapitated. Victoria Shepherd, author of A History of Delusions, has dedicated her career to exploring the history of fixed false beliefs and the context in which false beliefs can develop. On this episode of POTC, she and Yael discuss the importance of understanding the function of delusions within social context. Join us in this episode for practical advice on caring for loved ones who experience delusions, evidence-based methods of being compassionate towards yourself and others when dealing with delusional beliefs, and much, much more, today! Listen and Learn: Yael and Jill's take on delusional thinking and fixed false beliefs The importance of understanding the functionality of delusions within a context Practical advice for caring for loved ones who experience delusions Common delusions we all frequently experience Three ways delusions might be helpful for distressed individuals Expert-approved strategies for becoming more aware of your own delusional thinking and managing overwhelm and uncertainty  How the human desire for agency over a situation plays into delusional thinking Some of the experiences of the intriguing characters in Victoria's book! Perceptions of individuals in power that influence widely held beliefs  How biological causes contribute to delusions Evidence-based methods of being compassionate towards yourself and others when dealing with delusional beliefs Resources: Grab your copy of Victoria's book, A History of Delusions: The Glass King, a Substitute Husband, and a Walking Corpse! Learn more about Charles The Mad Grab your copy of all our favorite books at bookshop.org/shop/offtheclockpsych. Check out Debbie, Diana, Yael, and Jill's websites to access their offerings, sign up for their newsletters, buy their books, and more!  About Victoria Shepherd: Victoria Shepherd, a born and bred south Londoner, has an M.A. from the University of East Anglia in creative writing. She's an experienced audio producer for BBC Radio making documentaries and podcasts, and her short film documentary, 2 Princelet Street, was selected by the National Film School Docs program. Many of her documentaries can be found on BBC Sounds, and recent highlights include: ‘A History of Delusions', presented by Professor Daniel Freeman (co-produced by Eve Streeter), ‘The Glass Delusion', presented by Adam Phillips; ‘A History of the Future', and ‘Experiments in Living' presented by Juliet Gardiner; ‘This Old Heart of Mine' presented by Giles Fraser, ‘A Natural History of the Banker' presented by Andrew Ross Sorkin, ‘The Periodic Table' presented by Chris Addison; ‘Headstrong and Proud' presented by Michael Crick, ‘The Wizard of Oz', presented by Salman Rushdie. Learn more about her work here, and buy her book A History of Delusions: The Glass King, a Substitute Husband, and a Walking Corpse now. Related Episodes: Episode 235. The Urge: The Shaping of Addiction & Mental Health with Carl Erik Fisher Episode 251. Wonder with Frank Keil Episode 118. Moral Injury and Shame with Lauren Borges and Jacob Farnsworth Learn more about your ad choices. Visit megaphone.fm/adchoices

Freddie King "Woman Across the River"Digable Planets "Jettin'"Jason Isbell and the 400 Unit "White Man's World"The Como Mamas "You've Got to Move"Jimi Hendrix "Power to Love"Two Cow Garage "Movies"North Mississippi Allstars "What You Gonna Do?"Run The Jewels "pulling the pin"Branford Marsalis "Waiting for Tain"Gladys Knight & The Pips "Midnight Train to Georgia"John Hammond, Jr. "It's Mighty Crazy"Joan Shelley "The Spur"Memphis Minnie "Moaning The Blues"John Lee Hooker "Shake It Baby"Bonnie Raitt "Love Me Like a Man"Jack White "What's the Trick?"Mary J. Blige "Don't Let Me Be Misunderstood"Don Nix "Feel a Whole Lot Better"The Vandellas "(Love Is Like A) Heat Wave"Lauryn Hill "Doo Wop (That Thing)"The Isley Brothers "This Old Heart of Mine (Is Weak for You)"Vic Chesnutt "Onion Soup"Kris Kristofferson "Blame It on the Stones"Big Mama Thornton "Cotton Picking Blues"Jean Knight "Mr. Big Stuff"JAY Z "Hard Knock Life"Buddy Guy "She Suits Me To A Tee"The Black Keys "Wild Child"R.E.M. "So. Central Rain"Laura Marling "Soothing"Johnnie Taylor "Who's Making Love"Lucero "Baby Don't You Want Me"Stevie Wonder "Signed Sealed Delivered I'm Yours"Erykah Badu "Didn't Cha Know"Cat Clyde "Sheets of Green"Sonny Rollins "Till There Was You"The Temptations "Ain't Too Proud To Beg"Drive-By Truckers "Sea Island Lonely"Little Richard "Kansas City"Tom T. Hall "Faster Horses (The Cowboy and The Poet)"Johnny Cash "Committed To Parkview"R.L. Burnside "Bad Luck and Trouble"The Del McCoury Band "Blackjack County Chains"the Fox Hunt "Sinners Like Me"Reverend Gary Davis "Let's Get Together"Drag the River "Embrace the Sound"Gillian Welch "If I Ain't Going To Heaven"

This Old Heart of Mine and Troponin Testing by SAEM

En este podcast de Pop Music Chile te proponemos un playlist con 8 temas del cantante británico Rod Stewart, con los éxitos que logró durante la década del 70'. Escucharemos los temas: Maggie May, Sailing, This Old Heart of Mine, Tonight's the Night, I Don't Want to Talk About It, You're in My Heart, Hot Legs y Da Ya Think I'm Sexy.

SUPER-SIZED DELUXE DOUBLE EPISODE DETAILS: PART ONE Scott and Paul celebrate their 100th episode by looking back on the origins of Songcraft and answering Rolling Stone's list of the 100 Greatest Songwriters of All Time by counting down their own list of the 100 OTHER Greatest Songwriters of All Time.  PART TWO - 19:37 mark The guys revisit their love of Pearl Snap Studios in Nashville. PART THREE - 21:44 Scott and Paul chat about the search to find a writer for the 100th episode who's written at least 100 Top 10 hits on the Billboard charts. Plus, find out how to enter to win a signed copy of Lamont Dozier's new CD, Reimagination. PART FOUR - 26:26 Scott and Paul catch up with Lamont and proceed to be blown away by his amazing stories of  punching a time clock as a staff songwriter at Motown; an inside look at the company's weekly "quality control" meetings; the secret behind the unusual percussion on "Nowhere to Run;" what happened when Marvin Gaye forgot to learn "How Sweet It Is (To Be Loved By You)" before the recording session; why Diana Ross was pissed off when she cut the vocals for "Where Did Our Love Go;" which of Lamont's classics came about as a result of getting caught in a compromising situation at a no-tell motel; the time one of his Four Tops hits knocked one of his Supremes hits out of the #1 spot on the pop chart; the muse who inspired "Bernadette" and "I Hear a Symphony;" and what skills he believes are necessary for a long career as a songwriter. ABOUT LAMONT DOZIER Lamont Dozier, along with brothers Eddie and Brian Holland, wrote and produced more than 20 consecutive singles recorded by the Supremes, including ten #1 pop hits: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can’t Hurry Love,” “You Keep Me Hangin’ On,” “Love is Here and Now You’re Gone,” and “The Happening.” Other Top 5 singles they wrote for the Supremes include “My World is Empty Without You” and “Reflections.” In addition to their hits with the Supremes, Holland, Dozier, and Holland helped further define the Motown sound by writing major pop and R&B hits such as “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack” for Martha and the Vandellas, “Mickey’s Monkey” for the Miracles, “Can I Get a Witness” and “You’re a Wonderful One” for Marvin Gaye, and “(I’m A) Road Runner” for Junior Walker and the All Stars. The trio found particular success with The Four Tops, who scored hits with their songs “Baby I Need Your Loving,” “I Can’t Help Myself (Sugar Pie Honey Bunch),” “It’s the Same Old Song,” “Reach Out I’ll Be There,” “Standing in the Shadows of Love,” and “Bernadette.” Additional hits include “Crumbs Off the Table” for Glass House, “Give Me Just a Little More Time” for Chairmen of the Board, “Band of Gold” for Freda Payne, and Dozier’s own recording of “Why Can’t We Be Lovers.” Hit cover versions of his songs by rock artists include “Don’t Do It” by the Band, “Take Me in Your Arms (Rock Me a Little While)” by the Doobie Brothers, “How Sweet It Is (To Be Loved By You)” by James Taylor, and “This Old Heart of Mine” by Rod Stewart. With hits spanning multiple decades, Dozier also co-wrote “Two Hearts” with Phil Collins, earning a #1 pop hit, a Grammy award, a Golden Globe, and an Oscar nomination. Dozier is in the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He is the recipient of the prestigious Johnny Mercer Award for songwriting, as well as the BMI Icon award. Lamont Dozier was additionally named among Rolling Stone magazine’s 100 Greatest Songwriters of All Time.

Playlist: Danny Pease & The Regulators, Just Dance, Val Starr & The Blues Rocket, The Boozin’ Blues, Brauninger McDaniel, Louisiana Girl, Mike Crandall Band, Blind Love, James Leg, Dirty South, Supersonic Blues Machine, Bone Bucket Blues, The Bonnevilles, The Whiskey Lingers, The Bloodhounds, Indian Highway, Tasha Taylor, Little Miss Suzie, Mark CAmeron, Rusty OLd Model T, Layla Zoe, Work Horse, Guy King, Cookin’ In Style, Peter Karp, The Nietzsche Lounge, Shari Puorto, Better Left Unsaid, Blind Lemon Pledge, Birmingham Walk, Janiva Magness,Doorway, The Jordan Patterson Band, Can We Fall In Love Again, Harper & Midwest Kind, Hell Yeah, Debbie Bond, Enjoy The Ride, Brothers Brown, This Old Heart, Jeff Chaz, Four In The Morning, New Blues Revolution, Black Widow, Roots Of Creation(featuring Mighty Mystic + Rubblebucket Horns), Policy, Brian Charette, Late Night Tv, Mojomatics, Soy Baby

With Aasmah Mir and the Rev Richard Coles James Nesbitt talks about going back to his childhood home to play Colin Howell in real life drama The Secret, the return of Cold Feet and his Shakespearean roles. Edward Wilson-Lee has just published the book Shakespeare in Swahililand, he talks about growing up in Kenya and the bard's legacy in parts of Africa. Composer and musician William Lyons will be bringing Shakespearean music to life- bringing the shawm, bass dulcian, recorder and renaissance flute and bagpipes to play live in the studio. Listener Paul Kynaston is Assistant Head Teacher at Malvern Primary School in Liverpool. He invited JP Devlin to meet the schoolchildren in the drama club to hear what they think about Shakespeare. And offering a distinctive celebration of Shakespeare from Stratford-upon-Avon, JP Devlin will be hearing listener stories about their Shakespearean triumphs and tragedies, and talking to a Codpiece expert Victoria Bartels. She'll be explaining why this particular pouch was de rigueur in the 15th and 16th centuries and why it went out of fashion. Actor Kingsley Glover takes centre stage to be our codpiece model. BBC 6 Music breakfast presenter Shaun Keaveny shares his Inheritance Tracks: The Isley Brothers, This Old Heart of Mine and Purple Rain by Prince. The Secret staring James Nesbitt begins on April 29 on ITV at 9pm. Shakespeare in Swahililand is out now. Producer: Claire Bartleet Editor: Karen Dalziel.

The BBC 6 Music breakfast presenter shares his Inheritance Tracks: The Isley brothers, This Old Heart of Mine and Purple Rain by Prince.

Playlist: Danny Pease & The Regulators, Just Dance, Val Starr & The Blues Rocket, The Boozin’ Blues, Brauninger McDaniel, Louisiana Girl, Mike Crandall Band, Blind Love, James Leg, Dirty South, Supersonic Blues Machine, Bone Bucket Blues, The Bonnevilles, The Whiskey Lingers, The Bloodhounds, Indian Highway, Tasha Taylor, Little Miss Suzie, Mark CAmeron, Rusty OLd Model T, Layla Zoe, Work Horse, Guy King, Cookin’ In Style, Peter Karp, The Nietzsche Lounge, Shari Puorto, Better Left Unsaid, Blind Lemon Pledge, Birmingham Walk, Janiva Magness,Doorway, The Jordan Patterson Band, Can We Fall In Love Again, Harper & Midwest Kind, Hell Yeah, Debbie Bond, Enjoy The Ride, Brothers Brown, This Old Heart, Jeff Chaz, Four In The Morning, New Blues Revolution, Black Widow, Roots Of Creation(featuring Mighty Mystic + Rubblebucket Horns), Policy, Brian Charette, Late Night Tv, Mojomatics, Soy Baby

Intro SongBig Mama Thorton, “Down Home Shakedown”, Blues Harp Women, Ruf Records First Set Mark Cameron, “Doctor In The House”, Playing Rough, COP RecordsMitch Woods, “Boom Boom (featuring Billy Branch & Coco)”, Jammin' On The High C's, VizzToneBrothers Brown, “This Old Heart”, Dusty Roads, Funky Joint RecordsSecond Set - WIBDanielle Nicole, “Starvin' For Love”, Self Titled EPJaniva Magness, “Love Wins Again”, Love Wins Again, Fathead RecordsJoyann Parker Sweet Tea, “Closing Someone Else's Blinds”, On The Rocks Third Set Seasick Steve, “Chiggers”, Live at Brixton Academy Jon Spear Band, “Shake Your Boogie (Live)”, Live Music Is Better Guy King, “My Happiness (featuring Sarah Marie Young)”, Truth, Delmark RecordsFourth SetHoney Boy Edwards & Sunnyland Slim, “43rd Street Jump”, Old Friends, Earwig Music The Dave Muskett Acoustic Blues Band, “Pet That Thing”, Recorded Live at The Slippery Noodle Inn Kenny Neal, “Caught Your Back Door Man”, Big News From Baton Rouge, Alligator Records Thanks to Michael Allen from the Crossroads Blues Gallery!

The Zombies, This Old Heart of Mine (Live at the BBC)Thee Oh Sees, Tidal WaveThe Very Best, The Warm Heart of AfricaSonic Youth, Walkin' BlueThe Vibrarians, Red LightThe Cave Singers, Beach HouseGrizzly Bear, Southern PointCoconut Records, The SummerThe Dirty Projectors, Stillness is the MoveFanshaw, Dark EyesCollapsing Opposites, Fight!Kidnap Kids, LolitaChris-A-Riffic, Now, Now. There, There.The Rural Alberta Advantage, Frank, ABDump, Raspberry BeretPulp, Acrylic Afternoons