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DJ Jesse Luscious spins brand new Fishbone, Powerplant, Unicorn Dogs, Fuzzbox Kollective, & the mysterious Tony Bluetile, and highlights some new vinyl he found on his US tour. He also plays classics from NoMeansNo, Buzzcocks, Blatz, Poly Styrene, Hank 3, Steve Adamyk Band, Smokers, Monica and The Explosion, Mean Jeans, Naked Raygun, Tension Span, Bratmobile, Carbon/Silicon, Leila & The Snakes, The Vaxxines, Twistin' Tarantulas, The Toy Dolls, Plus Ones, Speculativism/The Sound of Apskaft, Cheap Dirty Horse, The Underground Railroad to Candyland, Jello Biafra with D.O.A., & Black Flag, and features the Luscious Listener's Choice! Smokers- The Irish Tenor Naked Raygun- Metastasis Tension Span- The Future Died Yesterday Powerplant- Crashing Cars Monica And The Explosion- Go Out! Toy Dolls- Spiders In The Dressing Room Cheap Dirty Horse- PROTECTTRANSKIDS (edit) Blatz- Dolly Bratmobile- Panik Carbon/Silicon The Whole Truth Fishbone- Last Call In America Speculativism- Your Racist Friend (TMBG cover) Fuzzbox Kollective- Restraining Order (edit) Poly Styrene- Virtual Boyfriend Tony Bluetile- You Gotta Give Me Something Black Flag- Gimme Gimme Gimme Leila And The Snakes- Rock And Roll Weirdos Nip Drivers- Fox On The Run Vaxxines- Poison Kiss Mean Jeans- Possessed To Party Underground Railroad To Candyland- I Dunno What I'm Sayin' Nomeansno- The Tower Twistin' Tarantulas- Ain't Got All Night Hank Williams III- Satan Is Real/Straight To Hell (edit) Buzzcocks- Fiction Romance Plus Ones- You Still Want Me Unicorn Dogs- Executive Order (radio edit) Steve Adamyk Band- Five One Zero Jello Biafra With D.O.A.- Full Metal Jackoff
Sintonía: "Ali Pang" - Robert Johnson & Punchdrunks"Let Me Dream" - Sam Hawkins; "I Can´t Go" - Buddy Lucas; "Struttin ´n Twistin´" - Roosevelt Grier; "Ho-Ho" - Margie Day; "Eternal Thing" - Jimmy Anthony; "Dixie Woman" - The Newports; "Rag Mop" - Joe Liggins; "The Patty Cake" - Mamie Bradley Todas las canciones extraídas de la recopilación (1x10") "Methusalem - Popcorn Sound Of Vienna Vol. 1: Eternal Thing" (Methusalem, 2022)"Troubles" - Lee Rogers; "Catch Up With Your Crowd" - Ricky Allen; "Itty Bitty Love" - Hannah Dean; "I Don´t Know (School Gir)" - Calvin and Clarence; "Please, Please, Be Mine" - El Pauling, Royal Abbit The Royalton; "The Chase" - Davey Jones; "Looking For My Baby" - Jimmy Dotson & The Blue Bloys Todas las canciones extraídas de la recopilación "Blues with a Rhythm Vol. 2: Troubles" (Farewell Records, 2015)"You K.O.´D Me" de Harold Burrage y "Just A Little Bit More" de Miss Betty Hope, extraídas de MethusalemEscuchar audio
Atención a lo nuevo de Javi Ruibal, ya en solitario. Los Rebeldes siguen vivo, redivivos y nos alegran la vida misma. Escucha las maravillas de Tina Turner, Lou Rawls y Sam Cooke y las joyitas perdidas en el tiempo de Arnett Cobb, Save Ferris, Incognito, Luca Frasca o Nicole Atkins. DISCO 1 JAVI RUIBAL XochiquetzalDISCO 2 LOS REBELDES Siempre vivosDISCO 3 SAVE FERRIS Come On EileenDISCO 4 SAM COOKE Twistin’ The Night Away DISCO 5 NICOLE ATKINS Listen UpDISCO 6 TINA TURNER Root, toot Indisputable Rock & RollerDISCO 7 DURAND JONES & THE INDICATIONS Is It Any Wonder?DISCO 8 DAVID BYRNE Miss AmericaDISCO 9 THE STYLE COUNCIL Move On UpDISCO 10 RANDALL BRAMBLETT Come OnDISCO 11 LUCA FRASCA My Long ADISCO 12 INCOGNITO SunburnDISCO 13 LOU RAWLS & DIANNE REEVES At LastDISCO 14 ARNETT COBB Mr. PogoEscuchar audio
National hot sauce day. Entertainment from 1972. Swiss guards arrived to protect the pope, Pennsylvania politician committed suiced on live TV. Todays birthday - Sam Cooke, Bill Bixby, Steve Perry, Linda Blair, Michael Hutchence, Diane Lane, DJ Jazzy Jeff, Guy Fieri, Olivia D'Abo. Heath Ledger died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Hot Sauce - BrelandAmerican Pie - Don McCleanCarolynBirthdays - In da club - 50 Cent http://50cent.com/Twistin the night away - Sam CookeIncredible Hulk TV openingAnyway you want it - JourneyNew sensation - INXSParents just don't under stand - DJ Jazzy Jeff & The Fresh PrinceDiners Drive-Ins & Dives TV themeExit - It's not love - Dokken http://dokken.net/
Con Sam Cooke, Rebeldes del Rock, Bobby Rydell ft. Chubby Checker, Dúo Dinámico, Mike Ríos, Rudy Ventura y Su Conjunto, Gelu, Luisito Rey, Adriano Celentano, Peppino di Capri, les Chats Sauvages, Dalida, Serge Gainsbourg, Chaka Demus & Pliers, Trixie Smith & the Black Masters, Barry White, Shirley & Company, Bee Gees, Led Zeppelin y Bachman Turner Overdrive.
Music behind DJ: Chet Atkins - "Jingle Bell Rock" - Christmas with Chet Atkins [0:00:00] Merle Haggard - "If We Make It Through December" [0:05:09] Buck Owens - "Santa Looked A Lot Like Daddy" [0:08:14] Patsy Cline & Ferlin Husky - "Let It Snow" [Ozark Jubilee, 1960] [0:10:07] Patsy Cline & Red Foley - "Winter Wonderland" [0:11:46] Dolly Parton - "Hard Candy Christmas" [0:13:28] Hank Snow - "The Reindeer Boogie" [0:17:11] Music behind DJ: Chet Atkins - "Jolly Old St. Nicholas" - Christmas with Chet Atkins [0:19:23] Ernest Tubb And His Texas Troubadours - "Who's Gonna Be Your Santa Claus This Year" [0:22:23] George Jones & Tammy Wynette - "Mr. & Mrs.Santa Claus" [0:24:35] Bobby Helms - "Jingle Bell Rock" [0:27:41] Loretta Lynn - "To Heck With Ole Santa Claus" [0:28:33] Red Simpson - "Truckin' Trees for Christmas" - Truckers' Christmas [0:30:43] Music behind DJ: Chet Atkins - "White Christmas" - Christmas with Chet Atkins [0:33:15] John Prine - "I'll Be Home for Christmas" [0:35:59] Chester Ayers and the Shades - "Trimmin' the Tree at the Rockin' B-III" [0:39:25] Brenda Lee - "Rockin' Around the Christmas Tree" [0:41:29] Charlie Louvin - "Shut In At Christmas" [0:43:33] Music behind DJ: Chet Atkins - "Little Drummer Boy" - Christmas with Chet Atkins [0:46:54] Elvis Presley - "Blue Christmas" [0:49:23] Dr. Jim Matthews "The Singing Surgeon" - "We'll Have a Blue Christmas, Elvis" [0:51:35] The Western Caravan featuring Thirsty Dave - "Psycho Santa" [0:54:52] Willie Nelson - "Winter Wonderland" [0:58:14] Music behind DJ: Chet Atkins - "Hark! The Herald Angels Sing" - Christmas with Chet Atkins [0:59:56] The Del Vetts - "I Want A Boy For Christmas" [1:03:09] The Temptations - "Rudolph, The Red Nosed Reindeer" [1:05:20] Huey "Piano" Smith and The Clowns - "All I Want For Christmas" [1:08:38] Twistin' Kings - "Xmas Twist" [1:11:14] Music behind DJ: Chet Atkins - "Jingle Bell Rock" - Christmas with Chet Atkins [1:14:05] The Cinnamons - "I'm Not Gonna Worry (Cause I Know He's Mine)" [1:17:22] Little Ann - "Sweep It Out In The Shed" - Deep Shadows [1:19:37] Barbara Greene - "Young Boy" [1:22:35] Junior Mance Trio - "Out South" - Happy Time [1:25:11] Ibrahim Maalouf - "True Sorry" - Illusions [1:30:36] The Books - "Tokyo" - The Lemon of Pink [1:35:18] Music behind DJ: Junior Mance Trio - "Jitterbug Waltz" - Happy Time [1:38:53] The Smiths - "Heaven Knows I'm Miserable Now" [1:43:54] Yo La Tengo - "From A Motel 6" - Painful [1:47:33] Garbage - "Milk" [1:51:35] Sparks - "When Do I Get To Sing “My Way”" - Gratuitous Sax and Senseless Violins [1:55:31] Music behind DJ: The Majestics - "Here Come Da Judge" - Here Come Da Judge [1:59:45] A. Colomer - "Himna de Marato de Barcelona 1980" [2:03:57] Tarta Relena - "Stabat Mater" [2:07:28] Duo Dinamico - "Perdoname" [2:11:18] Los Amaya - "Nueva York, Nueva York" [2:14:24] Jorge Drexler - "La Turba (Night Rally)" - Spanish Model [2:18:05] Music behind DJ: The Majestics - "Tighten Up" - Here Come Da Judge [2:20:39] Sonny Harris and the Soul Reflections - "You Were Only Making Believe" [2:23:47] Sugar Pie Desanto - "Soulful Dress" [2:26:21] The Ideals - "You Lost and I Won" [2:29:07] Thelma Houston - "96 Tears" [2:37:17] Alba & The Mighty Lions - "La Verdad" [2:34:49] Ken Boothe - "Everything I Own" [2:39:01] Music behind DJ: The Majestics - "Dock of the Bay" - Here Come Da Judge [2:43:04] The Replacements - "Left of the Dial" - Tim [2:46:32] The Dirtbombs - "If You Can Want" - Ultraglide in Black [2:50:37] Love and Rockets - "Kundalini Express" - Express [2:52:47] Music behind DJ: The Majestics - "Here Come Da Judge" - Here Come Da Judge [2:58:22] Jazz Emu - "The True Meaning of the Season" [3:01:47] Deidre & the Dark - "One Night" [3:04:22] George Harrison - "Devil and the Deep Blue Sea" [3:08:11] Belle and Sebastian - "Like Dylan in the Movies" - If You're Feeling Sinister [3:10:51] Ted Leo/Rx - ""(None)"" [3:14:58] R.E.M. - "Pretty Persuasion" - Reckoning [3:18:18] Music behind DJ: Junior Mance Trio - "Jitterbug Waltz" - Happy Time [3:22:05] Fairuz - "Nassam Alayna" [3:25:12] Ernesto Djedje - "Wanne" [3:29:18] Terence Blanchard - "Dancing In The Dark" - Perry Mason Official Soundtrack [3:32:07] Miles Davis - "Safta" - Sketches of Spain [3:37:53] Music behind DJ: Junior Mance Trio - "Jitterbug Waltz" - Happy Time [3:40:23] Bill Callahan - "Too Many Birds" - Sometimes I Wish We Were An Eagle [3:42:27] Emperor X - "Raytracer" - Central Hug [3:47:23] Sufjan Stevens - "Decatur, or, Round of Applause for Your Stepmother!" - Come On Feel The Illinoise [3:48:54] Brian Eno - "2/2" - Ambient 1: Music For Airports [3:51:56] https://www.wfmu.org/playlists/shows/147458
Music behind DJ: Chet Atkins - "Jingle Bell Rock" - Christmas with Chet Atkins [0:00:00] Merle Haggard - "If We Make It Through December" [0:05:09] Buck Owens - "Santa Looked A Lot Like Daddy" [0:08:14] Patsy Cline & Ferlin Husky - "Let It Snow" [Ozark Jubilee, 1960] [0:10:07] Patsy Cline & Red Foley - "Winter Wonderland" [0:11:46] Dolly Parton - "Hard Candy Christmas" [0:13:28] Hank Snow - "The Reindeer Boogie" [0:17:11] Music behind DJ: Chet Atkins - "Jolly Old St. Nicholas" - Christmas with Chet Atkins [0:19:23] Ernest Tubb And His Texas Troubadours - "Who's Gonna Be Your Santa Claus This Year" [0:22:23] George Jones & Tammy Wynette - "Mr. & Mrs.Santa Claus" [0:24:35] Bobby Helms - "Jingle Bell Rock" [0:27:41] Loretta Lynn - "To Heck With Ole Santa Claus" [0:28:33] Red Simpson - "Truckin' Trees for Christmas" - Truckers' Christmas [0:30:43] Music behind DJ: Chet Atkins - "White Christmas" - Christmas with Chet Atkins [0:33:15] John Prine - "I'll Be Home for Christmas" [0:35:59] Chester Ayers and the Shades - "Trimmin' the Tree at the Rockin' B-III" [0:39:25] Brenda Lee - "Rockin' Around the Christmas Tree" [0:41:29] Charlie Louvin - "Shut In At Christmas" [0:43:33] Music behind DJ: Chet Atkins - "Little Drummer Boy" - Christmas with Chet Atkins [0:46:54] Elvis Presley - "Blue Christmas" [0:49:23] Dr. Jim Matthews "The Singing Surgeon" - "We'll Have a Blue Christmas, Elvis" [0:51:35] The Western Caravan featuring Thirsty Dave - "Psycho Santa" [0:54:52] Willie Nelson - "Winter Wonderland" [0:58:14] Music behind DJ: Chet Atkins - "Hark! The Herald Angels Sing" - Christmas with Chet Atkins [0:59:56] The Del Vetts - "I Want A Boy For Christmas" [1:03:09] The Temptations - "Rudolph, The Red Nosed Reindeer" [1:05:20] Huey "Piano" Smith and The Clowns - "All I Want For Christmas" [1:08:38] Twistin' Kings - "Xmas Twist" [1:11:14] Music behind DJ: Chet Atkins - "Jingle Bell Rock" - Christmas with Chet Atkins [1:14:05] The Cinnamons - "I'm Not Gonna Worry (Cause I Know He's Mine)" [1:17:22] Little Ann - "Sweep It Out In The Shed" - Deep Shadows [1:19:37] Barbara Greene - "Young Boy" [1:22:35] Junior Mance Trio - "Out South" - Happy Time [1:25:11] Ibrahim Maalouf - "True Sorry" - Illusions [1:30:36] The Books - "Tokyo" - The Lemon of Pink [1:35:18] Music behind DJ: Junior Mance Trio - "Jitterbug Waltz" - Happy Time [1:38:53] The Smiths - "Heaven Knows I'm Miserable Now" [1:43:54] Yo La Tengo - "From A Motel 6" - Painful [1:47:33] Garbage - "Milk" [1:51:35] Sparks - "When Do I Get To Sing “My Way”" - Gratuitous Sax and Senseless Violins [1:55:31] Music behind DJ: The Majestics - "Here Come Da Judge" - Here Come Da Judge [1:59:45] A. Colomer - "Himna de Marato de Barcelona 1980" [2:03:57] Tarta Relena - "Stabat Mater" [2:07:28] Duo Dinamico - "Perdoname" [2:11:18] Los Amaya - "Nueva York, Nueva York" [2:14:24] Jorge Drexler - "La Turba (Night Rally)" - Spanish Model [2:18:05] Music behind DJ: The Majestics - "Tighten Up" - Here Come Da Judge [2:20:39] Sonny Harris and the Soul Reflections - "You Were Only Making Believe" [2:23:47] Sugar Pie Desanto - "Soulful Dress" [2:26:21] The Ideals - "You Lost and I Won" [2:29:07] Thelma Houston - "96 Tears" [2:37:17] Alba & The Mighty Lions - "La Verdad" [2:34:49] Ken Boothe - "Everything I Own" [2:39:01] Music behind DJ: The Majestics - "Dock of the Bay" - Here Come Da Judge [2:43:04] The Replacements - "Left of the Dial" - Tim [2:46:32] The Dirtbombs - "If You Can Want" - Ultraglide in Black [2:50:37] Love and Rockets - "Kundalini Express" - Express [2:52:47] Music behind DJ: The Majestics - "Here Come Da Judge" - Here Come Da Judge [2:58:22] Jazz Emu - "The True Meaning of the Season" [3:01:47] Deidre & the Dark - "One Night" [3:04:22] George Harrison - "Devil and the Deep Blue Sea" [3:08:11] Belle and Sebastian - "Like Dylan in the Movies" - If You're Feeling Sinister [3:10:51] Ted Leo/Rx - ""(None)"" [3:14:58] R.E.M. - "Pretty Persuasion" - Reckoning [3:18:18] Music behind DJ: Junior Mance Trio - "Jitterbug Waltz" - Happy Time [3:22:05] Fairuz - "Nassam Alayna" [3:25:12] Ernesto Djedje - "Wanne" [3:29:18] Terence Blanchard - "Dancing In The Dark" - Perry Mason Official Soundtrack [3:32:07] Miles Davis - "Safta" - Sketches of Spain [3:37:53] Music behind DJ: Junior Mance Trio - "Jitterbug Waltz" - Happy Time [3:40:23] Bill Callahan - "Too Many Birds" - Sometimes I Wish We Were An Eagle [3:42:27] Emperor X - "Raytracer" - Central Hug [3:47:23] Sufjan Stevens - "Decatur, or, Round of Applause for Your Stepmother!" - Come On Feel The Illinoise [3:48:54] Brian Eno - "2/2" - Ambient 1: Music For Airports [3:51:56] https://www.wfmu.org/playlists/shows/147458
Trump ran out of brain power to continue his town hall so he swayed awkwardly on stage for about 30 minutes. Good job! The Wizards are going to be awful, but that's good. There's a flurry of NFL trades, headlined by Davante Adams heading to the Jets. Adam and Jack make perfect NFL week 7 picks. The duo play "Can Trump Do That" to see if Trump could accomplish normal human activities.
Moose and Dews catch up again this week, ahead of Dews making a touristy trip to London. For a podcast by a radio station, there's a surprising amount of tourist information here tbh... Amazingly, they do eventually end up talking business, with some excellent news about the recent Primordial annual subs cycle. There's also a heartfelt congratulations for the recently sold-out Bloodstock festival team, as well as some pie-in-the-sky Download musings. Check out our chosen charity Metal For Good and some of the great charity work they do here https://metalforgood.org/ https://primordialradio.com https://www.instagram.com/primordialradio https://tiktok.com/@primordialradio https://www.facebook.com/primordialradio https://www.twitter.com/primordialradio
David Byrne's follow up to Rei Momo, the 1992 LP "Uh-oh" co-incided with the official end of Talking Heads. A new producer helped bring a clean, commercial sound to David's oddball instrumentation and left of center lyrics. While the songs were still like children to him, the overall album needed to walk the line of appealing to his previous Talking Heads audience while also showing that he wasn't taking himself too seriously and didn't mind whether you liked it or not. Tracks: Now I'm your mom Girls on my mind Something ain't right She's mad Hanging upside down A walk in the dark Twistin' in the wind The Cowboy Mambo (Hey lookit me now) Monkey Man A million miles away Tiny Town Somebody Live cover: Who were you thinking of (w. Richard Thompson) See omnystudio.com/listener for privacy information.
Send us a textSingles Going Around- Telefunken Hound Dog Taylor- "See Me In The Evening"Dick Dale- "Let's Go Tripping"The Kinks- "Picture Book"Screamin' Jay Hawkins- "What That Is"The Rolling Stones- "Shattered"Neil Young- "Star Of Bethlehem"The Clash- "The Leader"Jimi Hendrix- "Midnight"Otis Redding- "Love Man"The Faces- "Twistin' The Night Away"Link Wray- "Tail Dragger"Led Zeppelin- "South Bound Saurez"Dr John- "What Comes Around"George Thorogood- "Who Do You Love"
This is Modcast #563, Mr. Suave's Twistin' Summer Punk Party, and it is packed I tell you, absolutely packed with the best songs of the moment. Lots of new music coming your way, plus some diamond geezers, As always find a complete track list, a bonus third set of songs, and all the important links to all the important stuff over on the modcast homepage at http://www.mistersuave.com/2024/06/modcast-563-twistin-summer-punk-party.html/And keep up with me between modcasts: X Facebook Instagram Spotify iHeart Radio Subscribe with iTunes What is Mod? Mr. Suave's Mod Mod World is the web's original modcast celebrating mod-influenced music from past eras including #mod #powerpop #punkrock #garagerock #northernsoul #britpop #acidjazz #lounge #exotica #ska #modrevival & more. Featuring over 500 mod friendly music mixes since 2006.
In this soulful episode of Dem Vinyl Boyz, we pay tribute to the legendary Sam Cooke by diving into his "Greatest Hits" album. Known as the "King of Soul," Sam Cooke’s smooth voice, profound lyrics, and groundbreaking contributions to music have left an indelible mark on the industry. This compilation album brings together some of his most beloved tracks, showcasing the breadth and depth of his talent. "Sam Cooke's Greatest Hits" features timeless classics such as "You Send Me," "A Change Is Gonna Come," "Cupid," and "Twistin' the Night Away." Each song highlights Cooke’s incredible ability to convey deep emotion and connect with listeners on a profound level, making this album a perfect introduction to his remarkable legacy. Throughout this episode, we'll explore the stories behind these iconic tracks, discussing the cultural and historical context of Cooke’s music and its impact on the soul genre. We’ll delve into his influence on future generations of artists and how his songs have become anthems for both love and social change. Join us on Dem Vinyl Boyz as we celebrate the enduring legacy of Sam Cooke, reliving the magic of his greatest hits and reflecting on his contributions to music and society. This episode is a heartfelt homage to an artist whose voice continues to inspire and move listeners around the world. Taking care of your mental health is crucial, and BetterHelp makes it accessible and convenient. BetterHelp offers professional therapy from over 30,000 licensed therapists. Visit BetterHelp.com/vinyl and use the code "vinyl" to get 10% off your first month. Start your journey to better mental health today. Protect your personal data with Incogni. Data brokers shouldn't control your personal information—take back your privacy with Incogni. Visit Incogni.com/demvinylboyz and use the link to get 60% off an annual Incogni plan. Safeguard your data easily and effectively with Incogni. Eating well is essential for a healthy lifestyle, and Factor makes it easy with chef-prepared, dietitian-approved meals. Get fresh, balanced meals delivered to your door. Visit factormeals.com/dvb50 and use the code "DVB50" to get 50% off your first box plus 20% off your next month. Enjoy real nutrition, made simple with Factor.
Sunday, June 24, 2018 By the end of this podcast we discover how much we disagree about movie twists and also we were dead all along.0:00 -- Intro, major software complaints, soccer stuff6:53 -- Diggstown40:52 -- Infernal Affairs1.11:58 -- The Village1.29:18 -- Awards and rankings2.01:06 -- Next podcast planning2.09:15 -- Outro and outtakesHey! Check out this clip of the Springfield soccer riot!Hey! Check out this episode of The Canon Podcast that talks about Infernal Affairs and The Departed!Hey! Check out Patton Oswald talking about the petty magician!Hey! Check out the clip about 17 stab wounds in the back!Hey! Make sure you watch The Hudsucker Proxy, Kiss Kiss Bang Bang, and Never Let Me Go for next time!Hey! Subscribe in iTunes!Hey! Check out the Facebook page and vote on the next category!Hey! Check out Jon's YM&T Letterboxd list!Hey! Check out Roy's YM&T Letterboxd list!Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!
A fun chat with Mary Kubica all about her book She's Not Sorry, Chicago running, and how the twist came first. Plus – Laura slaps bold paint on an historic house and gets some unsolicited advice from the neighbors ITUNES – SPOTIFY – GOOGLE PODCASTS
ANYTHING to wake up and get by the week... Happy TwosDay.Late 90s/2000s through 2020's. (some 80s too) when love takes over - k rowland pumped up kicks - foster the people moves like jagger - maroon 5 and xtina made you look - meghan trainor get this party started - pink its like that - mariah padam padam - kylie all for you - janet blue monday - new order werk b!TCH - Britney dance the night away - dua lipa look what you made me do - taylor i'm the hot one - paris one more night - amber ray of light - madonna in my house - jodie - everybody's welcome in my house we belong together - mariah we found love - rihanna absolutely not - deborah cox anti hero - taylor roar - katy perry tell me something good sandy b with miss honey juice - lizzo things just aint the same - deborah cox some lovin - kristine w. who's your daddy - steve ronson dont cha - pussy cat dolls ride the pain - juliette so excited - janet do it to it - cherish my love is your love - whitney
National hot sauce day. Entertainment from 1990. Swiss guard arrived to protect the pope, Pennsylvania politician committed suiced on live TV. Todays birthday - Sam Cooke, Bill Bixby, Steve Perry, Linda Blair, Michael Hutchence, Diane Lane, DJ Jazzy Jeff, Guy Fieri, Olivia D'Abo. Heath Ledger died. Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Hot Sauce - BrelandHow am I suppose to live without you - Michael BoltonNobody's home - Clint BlackBirthdays - In da club - 50 Cent http://50cent.com/ Twistin the night away - Sam CookeIncredible Hulk TV openingAnyway you want it - JourneyNew sensation - INXSParents just don't under stand - DJ Jazzy Jeff & The Fresh PrinceDiners Drive-Ins & Dives TV themeExit - It's not love - Dokken http://dokken.net/https://cooolmedia.com/
Podcast émission radio du mercredi 10 janvier 2024 "Johnny de A à Z" n°534 Les Duos Impossibles 2Des duos virtuels : Johnny chantant sur les instrumentaux originels ou l'inverse, des duos qui n'ont pu jamais voir le jour... 38 titres, 2h30 de musique setlist :Johnny Hallyday - Un cri d'amourJohnny Hallyday Cliff Richard - Mais je reviens - I'm the lonely oneJohnny Hallyday Rolling Stones - Honky tonk woman - liveJohnny Hallyday Gene McDaniels - Avec une poignée de terre - A Hundred pounds of clayJohnny Hallyday Brian Cadd - C'est pas facile - Yesterday dreamsJohnny Hallyday Toto Cutugno - Un diable entouré d'anges - Una serata come tanteJohnny Hallyday Rod Stewart - Hot legs - liveJohnny Hallyday Elvis Presley - Love me tender (symphonique)Johnny Hallyday Johnny Preston - Feel so fineJohnny Hallyday - J'ai pleuré sur ma guitareJohnny Hallyday Gene Vincent - Frankie & JohnnyJohnny Hallyday Elvis Presley - I forgot to remember to forgetJohnny Hallyday Paul McCartney - Je veux te graver dans ma vie - Got to get you into my lifeJohnny Hallyday Rosebud - Sauvez-moi - SalvationJohnny Hallyday Eric Clapton - I wanna make love to youJohnny Hallyday Elvis Presley - J'ai oublié de me souvenir - I forgot to remember to forgetJohnny Hallyday Bobby Ridell - Je ne danserai plus jamais - I'll never dance againJohnny Hallyday The Rolling Stones - A double tour - Drift awayJohnny Hallyday Elvis Presley - Lawdy Miss Clawdy - LiveJohnny Hallyday Johnny Guitar Watson - Pour moi tu es la seule - Sweet lovin' mamaJohnny Hallyday Spooky Tooth - Moraya - MoriahJohnny Hallyday David Hallyday - Requiem pour un fouJohnny Hallyday Floyd Robinson - T'aimer follement - Makin' loveJohnny Hallyday Bob Seger - Mon p'tit loup - LiveJohnny Hallyday Chris Réa - True to youJohnny Hallyday Elvis Presley - Trying to get to youJohnny Hallyday C'est pas facile (remix Yesterday dreams)Johnny Hallyday Jerry Lee Lewis - Je sais que tu ne peux pas trouver mieux ailleurs - I betcha gonna like itJohnny Hallyday The Greg Allman Band - Tout m'enchaine - Cryin' shameJohnny Hallyday Elvis Presley - La terre promise - Promised landJohnny Hallyday Jacques Brel - La quêteJohnny Hallyday Bob Seger - Comme un roc - Like a rockJohnny Hallyday Small Faces - Amen - That manJohnny Hallyday Escape Club - Je serai là - I'll be thereJohnny Hallyday Adriano Celentano - Pas cette chanson - Don't play that songJohnny Hallyday - Moraya - Moriah (Mi-Drumless)Johnny Hallyday Sam Cooke - Laissez-nous twister - Twistin' the night awayJohnny Hallyday Bob Seger - Le bon temps du rock n'roll - Live
L'épisode de cette semaine se penche sur "Twist and Shout" des Isley Brothers et sur les débuts de la carrière de Bert Berns. Si certains d'entre vous se demande qui c'est…. C'est un songwriter et producteur responsable de titre comme Everybody need somebody, "Piece of My Heart", "Brown Eyed Girl" et "Under the Boardwalk". Et….. Twist and shout bien sur….. The Isley Brothers, "Twist and Shout" The Isley Brothers, "Standing on the DanceFloor" The Isley Brothers, "The Snake" Jerry Butler, "Make it Easy on Yourself" The Five Pearls, "Please Let Me Know" Dave "Baby" Cortez, "The Happy Organ" Ray Peterson, "Corrina, Corrina" The Top Notes, "Hearts of Stone" Ersel Hickey, "Bluebirds Over the Mountain" Bert and Bill Giant, “The Gettysburg Address” Bert Berns, "The Legend of the Alamo" LaVern Baker, "A Little Bird Told Me" Austin Taylor, "Push Push" The Top Notes, "Twist and Shout" The Jarmels, "A Little Bit of Soap" Russell Byrd, "You'd Better Come Home" Russell Byrd, "Nights of Mexico" Solomon Burke, "Just Out of Reach" Solomon Burke, "Cry to Me" The Isley Brothers, "Twist and Shout" The Contours, "Do You Love Me" Jan et Dean, "Linda" The Isley Brothers, "Twistin' With Linda" The Isley Brothers, "Nobody But Me" The Isley Brothers, "Surf and Shout" The Isley Brothers, "Who's That Lady ?" The Isley Brothers, "Testify" Don Covay and the Goodtimers, "Mercy, Mercy" Little Richard, "I Don't Know What You've Got But It's Got Me" Les Beatles, "Twist and Shout"
SONGLIST: 1) Bakers Duz'n - Skunkytown 2) Bakers Duz'n - Lesson #1, 3) Bakers Duz'n - Born Of The Funk, 4) Bakers Duz'n - Thirst Trip, 5) Bakers Duz'n - Oddysey, 6) Bakers Duz'n - Twistin' The Screw, 7) BONUS: Free To Grow - Weekend Freaky Girl, 8) BONUS: Classified feat. #MikeBoyd - The Hardy Boyds. Enjoy!
Singles Going Around- Chilli Burgers, Winchesters and Rickaritas.Had me a real good time with this weeks podcast!Faces- "Had Me A Real Good Time (At The BBC)AC/DC- "Love Hungry Man"Dennis Wilson- "What's Wrong"The Beatles- "Rain"Willie Nelson- "I Gotta Have Something I Ain't Got"Led Zepplin- "Bron-Y-Aur Stomp"Captain Beefheart & The Magic Band- "You Know Your A Man"13th Floor Elevators- "Never Another"Neil Young & Crazy Horse- "The Losing End"Faces- "Twistin' The Night Away" (At The BBC)Bob Dylan- "Down Along The Cove"Willie Nelson- "Whiskey River" (Alternate Version)Led Zepplin- "Since I Been Loving You"AC/DC- "Night Prowler"
Avec Sam Cooke, Rod Stewart, Sam Cooke et Elton John 1962, Sam Cooke, sort un album complet "Twistin'The Night Away" dédié à ce phénomène dansant qui envahit alors le monde, le Twist. Ce titre célèbre est repris dix ans plus tard par Rod Stewart. Sam Cooke, le Twist est omniprésent comme avec "Twistin'In The Kitchen with Dinah" et "Twistin in the Old Town Tonight" en 1962. En 1973 sur "Goodbye Yellow Brick Road", Elton John aussi évoque le twist avec "Your Sister Can't Twist (But She Can Rock'n'roll)". --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock.
Aujourd'hui nous allons parler de "Please Mr. Postman" des Marvelettes le premier groupe à avoir obtenu un numéro un sur le label Motown. The Marvelettes, Please Mr. Postman The Del-Rhythmettes, Chic-A-Boomer The Miracles, Shop Around The Chantels, Maybe The Fidelitones, Is It Too Late ? The Satintones, My Beloved The Supremes, I Want a Guy Les Marvelettes, Please Mr. Postman The Marvelettes, Twistin' Postman The Marvelettes, Playboy Freddie Gorman, The Day Will Come The Darnells, Too Hurt Too Cry, Too Much In Love To Say Goodbye The Marvelettes, Too Many Fish in the Sea The Marvelettes, Don't Mess With Bill The Marvelettes, The Hunter Gets Captured by the Game. Harvey et Ann, What Can You Do Now The Marvelettes, Destination : Anywhere Love, Peace, and Happiness, I Don't Want to Do Wrong New Birth, I Can Understand It The Marvelettes, Secret Love Affair
It's Happy Hour! In this episode Matthew is getting boozy with his Spirit of Sanoma. It's deep, dark and hiding a delicious secret at the bottom. Meanwhile Ben is washing away the bitter with his Orange You Glad It's Not Bitter. It's simple solid sour that's a precursor for cocktails to come later this month. They also discuss Halloween's past, how to create an original cocktail, and when to dirty dump. Pants optional. Recipes below.Spirit of Sanoma2 oz Rye Whiskey1/2 oz PX Sherry1/2 oz Cointreau2 dashes Angostura BittersLuxardo CherryOrange peel twistIn a Nick & Nora glass, add one Luxardo cherry with a bit of syrup in bottom of glass. Combine the other ingredients into a mixing glass with ice and stir for 30 seconds. Strain into prepared glass and express orange twist over drink and discard.Orange You Glad It's Not Bitter2 oz Rye Whiskey1 oz Lemon Juice1/2 oz Cointreau1/2 oz Honey SyrupCombine you combine ingredients in a shaker with ice. Shake until chilled. Pour entire contents into an empty rocks glass.
This week In The Current, The boys chat about the new duckblind situation. Pik discover TENTR an Airbnb situation for campers. And... Piks elk hunt is being threatened by wildfires. Ryan is twisting peeps trying to get everyone's bow set up before the start of the season. Check it out!! Instagram: @rutandriverpursuits For more In The Currents go to https://rutandriverpursuits.com/
El garito subterráneo del verano vuelve a abrir sus puertas para un divertida sesión cocinada con los sabores del rocknroll de los primeros años 60.(Foto del podcast; The Marcels)Playlist;(sintonía) THE VENTURES “The savage”DARLENE LOVE “A fine fine boy”JIMMY SOUL “Twistin’ Matilda”THE COASTERS “Run red run”THE ROUTERS “Let’s go (pony)”ELVIS PRESLEY “Viva las Vegas”RAY CHARLES “Don’t set me free”FREDDY CANNON “Buzz buzz diddle it”HANK BALLARD and THE MIDNIGHTERS “Nothing but good”GARY US BONDS “Dear twist señora”THE MAR KEYS “Last night”BARRETT STRONG “Money (that’s what I want)”THE SUPREMES “Buttered popcorn”THE AVANTIS “Keep on dancing”THE ROCKIN’ REBELS “Wild weekend”HOLLYWOOD ARGYLES “Alley Oop”THE MARCELS “Heartaches”ETTA JAMES “Something’s got a hold on me”JAMES BROWN “This old heart”DEE DEE SHARP “Ride”MARY WELLS “You lost the sweetest boy”LITTLE STEVIE WONDER “Workout Stevie workout”THE CONTOURS “Shake Sherry”BUSTER BROWN “Fannie Mae” Escuchar audio
Para el verano de 1962 la fiebre del Twist está completamente desatada. No solo surgen decenas de bailes paralelos, como el Pony, el Watusi o el Jerk, que intentaban clonar el éxito del Twist, sino que prácticamente todos los artistas del momento, vinculados o no al rocknroll, hacen alguna canción con referencias al baile más famoso de su tiempo.Playlist; (sintonía) THE VENTURES “The twist” (1962)FATS DOMINO “Dance with Mr Domino” (junio 1962)PROFESSOR LONGHAIR “Whole lotta twistin’” (1962)RAY ANTHONY and HIS BOOKENDS “Night train twist” (enero 1962)COUNT BASIE and HIS ORCHESTRA “The Basie twist” (1962)HENRY MANCINI and HIS ORCHESTRA “Tooty twist” (marzo 1962)PÉREZ PRADO and HIS ORCHESTRA “Venezuela Twist” (1962)FRANK SINATRA “Everybody’s twistin’” (marzo 1962)RAY BENNETT “Twistin’ to the blues” (noviembre 1962)SPEEDY WEST “Tulsa Twist” (1962)JOE HOUSTON “Crazy Twist” (1962)PETULA CLARK “Ya Ya Twist” (junio 1962)MINA “Ecclise Twist” (abril 1962)MIKE RIOS “Twist de Saint Tropez” (1962)DUO DINAMICO “Bailando Twist” (1962)SANDY NELSON “Twisted” (1962)DUANE EDDY “Twistin’ and Twangin’” (1962)STEVE DOUGLAS and THE REBEL ROUSERS “Surfer’s Twist” (1962)THE DOVELLS “Bristol Twistin’ Annie” (noviembre 1962)HANK BALLARD and THE MIDNIGHTERS “The Twist” (diciembre 1958) Escuchar audio
En la primera mitad de los años 60 el Twist se convirtió en una moda imparable que alcanzó a todo tipo de artistas y estilos, situándose como la punta de lanza -y como el baile más famoso- de lo que se conoció como la fiebre del baile. El twist original lo lanzó Hank Ballard con sus Midnighters a finales de 1958 y fue un pequeño éxito para la famosa banda de Detroit. Pero no fue hasta mediados de 1960 y en la voz de Chubby Cheker cuando el twist se convirtió en el gran baile de rocknroll que se extendería por todo el planeta.Playlist;(sintonía) THE VENTURES “Let’s twist again” (enero 1962)CHUBBY CHEKER “The Twist” (junio 1960)DANNY and THE JUNIORS “Twistin’ USA” (agosto 1960)JOEY DEE and THE STARLITERS “Peppermint Twist (part 1)” (octubre 1961)BILL DOGGETT “(Let’s do) The Hully Gully Twist” (noviembre 1960)THE CHAMPS “Tequila Twist” (diciembre 1961)LOUIS PRIMA, KEELY SMITH, SAM BUTTERA and THE WITNESSES “Better Twist now, baby” (1961)THE TOP NOTES “Twist and shout” (agosto 1961)THE ISLEY BROTHERS “Twistin’ with Linda” (septiembre 1962)HANK BALLARD “Do you know how to Twist” (enero 1962)CONNIE FRANCIS “Teach me how to twist” (1962)SAM COOKE “Twistin’ the night away” (enero 1962)THE MARVELETTES “Twistin’ postman” (diciembre 1961)GARY (U.S.) BONDS “Twist Twist señora” (marzo 1962)BO DIDDLEY “Mama don’t allow no twistin’” (1962)BOBBY “BORIS” PICKETT and THE CRYPTKICKERS “Transilvanian Twist” (1962)HOWIE CASEY and THE SENIORS “Twist at the top” (febrero 1962)THE CRYSTALS “Frankenstein Twist” (1962)KING CURTIS and THE SHIRELLES “Mr. Twister” (1962)KING CURTIS and HIS NOBLE KNIGHTS “Soul twist” (febrero 1962) Escuchar audio
Hello Basementeers....Here we go one more time, yes here is one of the newer editions to the Christmas series from the basement.....So here we go one more time.Intro: Jingle Bells-The Ventures1. Twistin' Bells-Santo & Johnny2. Let's Make Everyday A Christmas Day-Charles Brown 3. Presents For Christmas-Solomon Burke 4. We Wish You A Merry Christmas-The Everly Brothers5. Good King-The Fab 46. Merry Christmas Baby-The Poets7. Merry Christmas Baby-Chuck Berry8. Better Days-The Goo Goo Dolls9. Surfin' Santa-Lord Douglas Bryan10. Santa's Coming On A Whirly Bird-Santa & The Mighty Elf's11. Merry Christmas Baby-The Beach Boys12. Frosty The Snowman-America13. Frosty The Snowman-The Fab 414. In The House Of Broken Gingerbread-The Monkees15. New York Christmas-Rob Thompson16. Merry Christmas I Love You-Chicago17. Good 'Ol 50's Christmas-Santa & The Mighty Elf's18. Santa-Lightning Hopkins19. Christmas Spirit-The Wailers20. Touch Hands On Christmas Morning-Mike Douglas21. Santa's Coming To Town-Ray Charles22. Blue Christmas-Glen Canpbell23. Monster Holiday-Bobby Pickett24. Santa's Back In Town-Santa & The Mighty Elf's25. Sleigh Ride- The Partridge Family26. Back Door Santa-Clearance Carter27. Mr. Santa Clause-Nathaniel Myer28. Your All I Want For Christmas-Brooke Benton29. Don't Believe In Christmas-The Sonics30. Let It Snow-The Minnesota Vikings 31. Rudolf The Red Nosed Reindeer-The Fab 432. Rudolf The Red Nosed Reindeer-Ringo Starr33. Soulful Christmas- James Brown34. Jingle Bells-Brooker T. The M.G's 35. Hey Santa Clause-The Moonglows36. Gee Wizz, It's Christmas-Carla Thomas37. Santa & The Satellite-Dickey Goodman38. Jingle Bells-The Ventures39. Lonely Christmas-Sonny Till40. Santa's Gone Rock N Roll-Santa & The Mighty Elf's41. By By Truly-The Students42. Gather Around-Earth, Wind & Fire43. What Are You Doing For New Years Eve-Sonny Till44. Reggae Christmas-Bryan Adams45. Christmas Comes Once A Year-Amos Milburn46. Peace Be With You-Ringo StarrOutro: Ram Bonshos-Joey Dee
Welcome to the Instant Trivia podcast episode 668, where we ask the best trivia on the Internet. Round 1. Category: Oz 1: This character gets a ride (likely to his home in Omaha) in the balloon meant to take Dorothy to Kansas. the Wizard. 2: The Wicked Witch's golden cap allows her to summon these to do her bidding 3 times. the flying monkeys. 3: Dorothy followed the Yellow Brick Road to this place, the capital of Oz. the Emerald City. 4: One chapter is called "The Magic Art of the Great" this 6-letter word meaning a hoax or fraud. humbug. 5: In L. Frank Baum's original book, this, not ruby, is the color of Dorothy's slippers. silver. Round 2. Category: Classic Pop Groups 1: When this group was inducted into the Rock and Roll Hall of Fame, Mike Love gave the acceptance speech. The Beach Boys. 2: In 1963, with "Walk Like a Man", this group became the first to score 3 straight No. 1 singles in the U.S.. The Four Seasons. 3: After Smokey Robinson left this group, they had a No. 1 hit in 1975 with "Love Machine (Part 1)". The Miracles. 4: This girl group followed up their No. 1 hit "Please Mr. Postman" with "Twistin' Postman". The Marvelettes. 5: "Nights In White Satin" appeared on their 1968 LP "Days of Future Passed" 4 years before the reissue hit the Top 10. The Moody Blues. Round 3. Category: God Save The British King Or Queen 1: All 3 of the kings with this name died violently. Richard. 2: At her death, aged 81, she was the oldest British monarch ever. Queen Victoria. 3: It has been reported that he was once seen having a conversation with an oak tree. George III. 4: John Bradshaw presided over the high court that sentenced this British king to death in 1649. Charles I. 5: In 1603 he became the first British monarch of the House of Stuart. James I. Round 4. Category: A River Runs Through Them 1: Georgetown and Alexandria. the Potomac. 2: Montreal and Quebec. the St. Lawrence. 3: Vientiane and Phnom Penh. the Mekong River. 4: Knoxville and Chattanooga. the Tennessee River. 5: Hyderabad and Sukkur. the Indus River. Round 5. Category: Bumps On The Globe 1: If Montana invaded Idaho, its forces would cross the Bitterroot range of these mountains. Rockies. 2: This country's Cordillera Cantabrica is even tougher to get across than the nearby Pyrenees. Spain. 3: The Kjolen Mountains, on the Norway-Sweden border, extend north into this people's "land". Lapps. 4: Eastern Russia's Stanovoy Mountains form a watershed between the Pacific Ocean and this one. Arctic Ocean. 5: The Elburz Mountains, on the Caspian Sea's south shore in this country, rise to over 18,000 feet at Mt. Damavand. Iran. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
This month, Kit and Joel talk about the rise, and abrupt fall, of the King of Soul himself, Sam Cooke. Singer of the hits "You Send Me," "Cupid," and "Twistin' the Night Away," Cooke was not only an artist with a unique, crooning voice, but also an inspirational figure in the Black community. His song "A Change is Gonna Come" was a staple African-American protest anthem, even being played at former President Barack Obama's rallies. Joel Flair's Sam Cooke Playlist Dick Clark interviews Sam Cooke (1964)
ontargetpodcast.caFrom the twist to funky feet this week takes you on a musical adventure that'll have you movin' and groovin' 'til the sun comes up.-----------------------------------------------The Playlist Is:"Louie Louie"Rockin Robin Roberts- Etiquette"It's Twistin' Time"Hank Ballard & The Midnighters- King"(I Wanna) Dance With Teacher"The Olympics- Reo"Ring-A-Leevio"Dale Brooks- Dolphin"Only Love (Can Save Me Now)"Solomon Burke- Atlantic"Now I've Got A Woman"Freddy King- Federal"Spoonful"The Allman Joys - Dial"Harlem Shuffle"The Fabulous Flippers- Cameo"Ain't Too Proud To Beg"The Groovers- A&M"Shake And Shingaling"Gene Waiters- Fairmount"My Love Is Getting Stronger"Cliff Nobles & Co.- J-V"Love What You're Doin' To Me"Janet & the Jays- Hi"Before It's Too Late"Jackie Day- Modern"Strawberry Shortcake"Jay & The Techniques- Smash"Which One Should I Choose"The Unifics - Kapp"I Can Only Give You Everything"MC5- Modern Harmonic"Movin' And Groovin'"Jackie & The Cedrics- One Plus Two"Can't Get Through To You"Sumpin' Else- Liberty"Woman"New Colony Six- Sentar"Funky Feet"Johnny Robinson - Epic"I Didn't Know"The Three Degrees- Philadelphia International"Twist City"Johnny Griffin & Matthew Gee & Their Soul Groovers- Atlantic
Ash brings on a new guest and a returning guest to discuss the traffic of South Florida, the courtesy flush, Crocs and Heelys, if Jurassic Park was real, the foundation of Florida, Ash's first Zyn, and how snapchat and instagram changed the game.......Support the show
AKIRA WILSONがお届けするPODCAST番組『AKIRAのWILSONへの道VOL.33』今回は『WELCOM TO TWISTIN’ DISCOTHEQUE』としてHARISS … 続きを読む VOL.33『WELCOME TO TWISTIN’ DISCOTHEQUE』 →
Twistin' it down, Shyamalan style https://linktr.ee/OutlawsNetwork thebloodystream.com Twitter & Instagram: @bloodystreampod Theme Song: Deadwalk by Eyes of Astoria
Welcome to the Instant Trivia podcast episode 478, where we ask the best trivia on the Internet. Round 1. Category: Toon Up 1: In the 1944 Warner Bros. cartoon "Birdy and the Beast", it was the birdy. Tweety. 2: Zoinks! This TV cartoon dog celebrated his 35th anniversary in 2004 (that's his 245th in dog years). Scooby-Doo. 3: Jean Vander Pyl was the voice of Rosie the Robot maid on this futuristic cartoon series. The Jetsons. 4: Originally, Nickelodeon aired episodes of this Wallaby's "Modern Life". Rocko. 5: Hey, mama! This smooth-talkin', biceps-bulgin', self-obessin' guy premiered on the Cartoon Network in '97. Johnny Bravo. Round 2. Category: Yangtze Doodle 1: The Grand Canal connects the Yangtze River to this other major river. the Yellow River. 2: The 2 rivers in the world that are longer than the Yangtze. the Amazon and the Nile. 3: The Yangtze flows through this province that's China's most populous and known for its spicy cuisine. Szechuan. 4: Native to the Yangtze river valley, this fruit is also known as a Chinese gooseberry. a kiwi. 5: This dam, one of the world's largest when completed, is being built on the Yangtze to control flooding. the Three Gorges Dam. Round 3. Category: Hoods 1: She remarked on her "Grandmother's" tooth size. Little Red Riding Hood. 2: The English name of this hooded snake is from Portuguese for "snake with a hood". Cobra. 3: According to his TV theme, he's "feared by the bad, loved by the good". Robin Hood. 4: It's the British term for the hood of a car; hopefully there are no bees in it. Bonnet. 5: Hoodman blind is another name for this game. Blind Man's Bluff. Round 4. Category: Let's Put On An Opera! 1: We hope our tardy cellists show up for this instrumental prelude to the opera. Overture. 2: We'll let Uncle Charlie be a "carrier" of one of these in the battle scene. Spear carrier. 3: Let's move the duel upstage so no one falls onto the musicians in this area. Orchestra pit. 4: We've got basses, we've got tenors, but we can't find one of these like the guy on the CD[audio clip]. Baritone. 5: From dealing with Betsy, I know why this 2-word Italian term can mean a diva or a real pain. Prima donna. Round 5. Category: Classic Pop Groups 1: When this group was inducted into the Rock and Roll Hall of Fame, Mike Love gave the acceptance speech. The Beach Boys. 2: In 1963, with "Walk Like a Man", this group became the first to score 3 straight No. 1 singles in the U.S.. The Four Seasons. 3: After Smokey Robinson left this group, they had a No. 1 hit in 1975 with "Love Machine (Part 1)". The Miracles. 4: This girl group followed up their No. 1 hit "Please Mr. Postman" with "Twistin' Postman". The Marvelettes. 5: "Nights In White Satin" appeared on their 1968 LP "Days of Future Passed" 4 years before the reissue hit the Top 10. The Moody Blues. Thanks for listening! Come back tomorrow for more exciting trivia!
Retransmitimos desde el interior de la cueva en la que habitan The Neanderthals, una de las bandas más divertidas que ha dado la historia reciente del frat rocknroll. Picoteamos en sus cuatro discos de estudio y aderezamos con una selección de originales de canciones que han sido versionadas por la banda más troglodita de las últimas décadas. Playlist; (sintonía) THE NEANDERTHALS “Mastodon” (The modern-stone age family, 1999) THE NEANDERTHALS “Arula mata gali” (The latest menace to the human race, 1995) THE NEANDERTHALS “Hula baby” (The latest menace to the human race, 1995) THE NEANDERTHALS “Lurch” (The modern-stone age family, 1999) THE NEANDERTHALS “Street cleaner” (Shutdown 2002 BC, 2002) THE NEANDERTHALS “Twistin’ out in space” (…in Space, 2005) NEIL SEDAKA “I go ape” (1959) LUDAWAY “The pig” (1964) THE ROADSTERS “Mag rims” (1964) THE SPATS “Go Go Yamaha” (1965) PAUL REVERE and THE RAIDERS “SS 396” (1965) RICHIE DERAN and THE NEW TONES “Girl and a hot rod” (1960) THE CATALINAS “Hot Rod USA” (1964) THE BOBBY FULLER FOUR “The Phantom Dragster” (1965) THE TRASHMEN “King of the surf” (1963) THE VENTURES “He never came back” (1964) MICKY LEE LANE “Shaggy dog” (1964) THE CREEP “Betty Lou’s got a new tattoo” (1964) THE NEANDERTHALS “Tarzan” (The modern-stone age family, 1999) THE NEANDERTHALS “Werewolves from outer space” (The latest menace to the human race, 1995) Escuchar audio
1 Hot Fun in the Summertime Freddy Robinson 02:56 Hot Fun in the Summertime2 Something Within Me Johnny Ray Daniels 03:44 Whatever You Need3 Does It Really Make A Difference (feat. Mavis Staples) Galactic 04:42 Into The Deep (Deluxe Edition)4 I Don't Care Anymore Doris Duke 03:13 Dave Godin's Deep Soul Treasures Vol. 45 The Jerk THE LARKS 02:36 6 Twistin the night away Blue Riddim Band 03:19 7 Walking On Eggs Arthur Conley 02:46 I'm Living Good 1964 - 19748 The Spoiler Eddie Purrell 02:47 Memphis 60 - Soul, R&b And Proto Funk From Soul City Usa9 I'm Gonna Tear Your Playhouse Down (Live in Memphis) Ann Peebles 03:22 Live in Memphis10 Love In Vain Pyeng Threadgill 04:37 Sweet Home- The Music Of Robert Johnson11 Wonderland Wonder 45 05:41 12 Bad Line The Bamboos 04:45 13 Willing Gil Scott-Heron 04:04 198014 Postcard Poverty Kobo Town 03:11 Jumbie In The Jukebox15 Real Love (Demo 2006) Joan Osborne 03:21 Radio Waves16 I'm Not Coming Back Black Merda 04:43 Force Of Nature17 Path to Macondo / Those Kind of Blues Brian Jackson 06:12 Path to Macondo / Those Kind of Blues18 Hapo Zamani Somi 04:36 Zenzile: The Reimagination of Miriam Makeba19 La Perla ( ft Rubén Blades Y La Chilinga) Calle 13 06:57 Los De Atrás Vienen Conmigo20 Ayesama Ebo Taylor 07:05 Appia Kwa Bridge21 It's the Music That Makes Us Do It Magnum 04:00 Fully Loaded22 Take It! Bobby Sparks II / Roy Hargrove / Rev. H.L. Stegar 06:54 Schizophrenia: The Yang Project23 Funkship Area - 51 (feat. Christian McBride & Brother Nature) Bootsy Collins 04:00 The Power of the One24 The Rock Cameo 03:58 Secret Omen25 We the People Chuck Brown & The Soul Searchers 05:27 By Special Request the Very Best of Chuck Brown26 Hope she'll be happier Bill Withers 04:27 Live at Carnegie Hall27 Members Only Bobby Blue Hand 04:08 The Last Soul Company, Malaco (Disc 4 of 6)
Welcome welcome welcome to our new post game show! Hangover Time is hosted by Alphonse Sidney and he's joined by Tiffany Meeks, Siobhan Beslow, Kenny Spence, Franky Garcia, Joey Houshour and Brassjazz. • Heat survive against a bottom feeder • Dos leches went off in the 4th • How much will Spo tighten up the playoff rotation? • RANTS ON RANTS ON RANTS ...and more!!! Visit TICKPICK.COM/HEATBEAT today and use the promo code HEATBEAT to save $10 on your first order of NBA tickets! Join our discord to be able to ask guests questions CLICK FOR THE DISCORD CHAT INVITE https://discord.gg/Ctk9h4SGaB STREAMS ON Twitch.Tv/MiamiHeatBeat BUY OUR NEW MERCH! http://shop.miamiheatbeat.com/ Learn more about your ad choices. Visit podcastchoices.com/adchoices
Frequent guest and music lover Camila Risso is always on the lookout for sounds that move her...or make her want to move! When she discovered then-25-year-old Leon Bridges and his debut album 'Coming Home' in 2015, she was immediately drawn to his smooth, soulful voice and deeply personal songs. You can brand it as 'retro', but the sound he created with Austin Jenkins and Josh Block of the Texas psych-rock band White Denim is both meticulously old-school and profoundly timeless. Songs featured in this episode: These Arms Of Mine - Otis Redding; Loveable - Sam Cooke; I've Got So Much To Give - Barry White; Oogum Boogum - Brenton Wood; Coming Home, Better Man, Brown Skin Girl, Smooth Sailin', Shine, Lisa Sawyer, Flowers, Pull Away, Twistin' & Groovin', River - Leon Bridges; Let's Talk About It - White Denim; Motorbike, River (live) - Leon Bridges
Sit back and enjoy an episode featuring some of my favorite records across a variety of down home styles. Just good records. Please subscribe to the show if you haven't done so already and share with family and friends. If you could be so kind, leave a review over at Apple podcasts as well as over at Spotify. Spotify has enabled a five star review system similar to Apple podcasts. Positive rankings sure do help the show. Also, go take a visit to the show's new website https://www.olddingyjukebox.com/home and have a look around. I appreciate the support.Thanks for listening and I hope you enjoy this episode of the Old Ding Jukebox: “Groundhog Gravy, Bad Hearts and Drunkard's Blues”Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USWebsite: https://www.olddingyjukebox.com/homeFacebook: https://www.facebook.com/olddingyjukeboxpodcastInstagram: @olddingyjukeboxpodcastE-mail: mailto: olddingyjukebox@gmail.comBig Joe Williams “Bad Heart Blues” 1952Georgia Serenaders “Raise A Ruckus Tonight” 1929The Carter Sisters & Mother Maybelle “Solid Gone” 1953Bix Biederbecke “Wringin' and Twistin'” 1935 (originally Okeh 1927)Chicago Sunny Boy “Western Union Man” (Joe Hill Louis) 1953Jack Reedy and his Walker Mountain String Band “Groundhog” 1928Jimmie Yancey “Old Quaker Blues” 1940Mose Coffman “Lost Indian” 1970 (Field Recording)Welling and McGhee “Sweeping Through The Gates” 1930Lefty Frizzell “Always Late” 1951Bob Wills and his Texas Playboys “Drunkard Blues” 1938Barbecue Bob “Barbecue Blues” 1927Jelly Roll Morton and his Red Hot Peppers “Sidewalk Blues” 1926Sonny Terry & Brownie McGhee “Confusion” 1958 (Folkways)Support the show (https://paypal.me/christiangallo1?locale.x=en_US)
Emission radio du mercredi 19 janvier 2022 "Johnny de A à Z" n°478 Salut les copains, l'album de la semaine et quelques versions originalesBack to the 60's ! setlist :Nous Quand On S'embrasseHigh School Confidential - Jerry Lee LewisSignes exterieurs de richesse - Sunday Rock live RTL 1984Toi Qui RegrettesViens Danser Le TwistLet's Twist AgainChubby Chucker - Let's twist againViens Le SoleilDouce ViolenceCet homme que voilà - Olympia 2000Tu Peux La PrendreYou can have her - Johnny Kidd & the PiratesAvec Une Poignée De TerreA Hundred Pounds Of Clay - Gene McDanielsLet's twist again - Olympia 1961 - Musicorama 21 septembre 1961 Europe1Il Faut Saisir Sa ChanceJe ne suis pas un héros - remix RIGAntoine de Caunes - Odyssée (Ceux que l'amour a blessés)Retiens La NuitSam'di SoirJoue Pas De Rock'n'roll - Tournée USA 2014La Ballade De Johnny - PubRock'n'roll Party - PubWap- Dou-WapSi Tu Me TéléphonesCroire En L'hommeTwistin 'u.s.a.Twistin' U.S.A. - Chubby CheckerRetiens La Nuit (Version Film Les Parisiennes)Jolie petite rock n' rolleuse - Destination VegasSirop Rock And Roll - Eddy MitchellEntre nousDanse Le Twist Avec MoiChubby Checker - Dance the mess aroundI got a woman - Olympia 27 oct 62 soirée
This is a bonus episode, part of Pledge Week 2021. Patreon backers get one of these with every episode of the main podcast. If you want to get those, and to support the podcast, please visit patreon.com/andrewhickey to sign up for a dollar a month or more. Click below for the transcript. In this week's main episode, we're taking our first trip to Jamaica, and having our first look at ska music. But of course, ska wasn't the only music to come out of the Caribbean, and calypso music had already had a great impact on the wider music world. Today we're going to look at a major R&B hit from 1963 that had its roots in a calypso song from decades earlier. We're going to look at the career of the great Trinidadian Calypsonian Roaring Lion, and the tragic story of Jimmy Soul, and "If You Wanna Be Happy": [Excerpt: Jimmy Soul, "If You Wanna Be Happy"] Jimmy Soul started his career as a gospel singer, but was signed to SPQR Records with a specific mandate -- sometimes Frank Guida, the producer for Gary "US" Bonds' hits, would come up with something that Bonds didn't want to record. When that happened, Soul got to sing them instead. This meant that Soul would often get saddled with novelty songs, like his first hit, "Twistin' Matilda", which managed to make number twenty-two in the charts: [Excerpt: Jimmy Soul, "Twistin' Matilda"] That was originally a Calypso song from the 1930s, and had been a hit for Harry Belafonte a few years earlier, in a non-Twist version. Soul recorded a follow-up, “When Matilda Comes Back”, but that had no success: [Excerpt: Jimmy Soul, “When Matilda Comes Back”] So they tried to repeat the formula, with was another 1930s calypso song that Bonds had rejected, this time a remake of a song from 1933, originally written and performed by the great Calypsonian Roaring Lion. Roaring Lion was one of the most important Calypsonians of the pre-war era, and wrote many classics of the genre, including his paeans to other singers like "The Four Mills Brothers": [Excerpt: Roaring Lion, "The Four Mills Brothers"] and "Bing Crosby": [Excerpt: Roaring Lion, "Bing Crosby"] Those of you who know Van Dyke Parks' album of calypso covers, Discover America, will probably recognise both those songs. "Ugly Woman" was another song by Roaring Lion, and it advised men to marry ugly women rather than beautiful ones, because an ugly woman was more likely to stay with her husband: [Excerpt: Roaring Lion, "Ugly Woman"] History does not relate what Mrs. Lion thought of that advice. Jimmy Soul's version, retitled "If You Wanna Be Happy", credited three writers along with Roaring Lion -- Frank Guida, Carmella Guida, and Joseph Royster -- though the song has very little difference from the original: [Excerpt: Jimmy Soul, "If You Wanna Be Happy"] The main difference between Soul's record and the original was a brief dialogue at the end, presumably included to give the other writers some reason for their credit: [Excerpt: Jimmy Soul, "If You Wanna Be Happy"] That dialogue was largely inspired by Bo Diddley's earlier "Say Man": [Excerpt: Bo Diddley, "Say Man"] "If You Wanna Be Happy" made number one on the Billboard charts, and made the top forty in the UK, where it was also covered by an instrumental group, Peter B's Looners: [Excerpt: Peter B's Looners, "If You Wanna Be Happy"] That group, with the addition of vocalists Beryl Marsden and Rod Stewart, would later morph into Shotgun Express, before the guitarist and drummer went on to form a blues band, and we'll be hearing more about Peter Green and Mick Fleetwood in a year or so. While "If You Wanna Be Happy" made number one, the follow-up was less successful, and I'm not going to excerpt it here. I did excerpt Wynonie Harris' "Bloodshot Eyes" in the main podcast, and had to think long and hard about including a song that trivialised domestic abuse the way that song does, but Jimmy Soul's next single, "Treat 'Em Tough", goes much further. It is essentially the same tune as "If You Wanna Be Happy", but rather than the dated but arguably humorous misogyny of advocating marrying an ugly woman, which is pretty much par for the course for 1930s humour, it just flat-out advocates beating up women to keep them in line. I won't excerpt that, and I don't suggest you seek it out. It's a quite vile record. That only went to number one hundred and eight, and Soul never had another hit, and joined the army. He became a drug addict, and died in prison in 1988, aged forty-seven. Roaring Lion had a rather happier ending, dying in 1999, aged ninety-one, after sixty-five successful years in the music business.
Episode 122 of A History of Rock Music in Five Hundred Songs is a double-length (over an hour) look at “A Change is Gonna Come” by Sam Cooke, at Cooke's political and artistic growth, and at the circumstances around his death. This one has a long list of content warnings at the beginning of the episode, for good reason... 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 "My Guy" by Mary Wells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. For this episode, he also did the re-edit of the closing theme. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week due to the number of songs by one artist. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick's work, it's an essential book if you're even slightly interested in the subject. Information on Allen Klein comes from Fred Goodman's book on Klein. The Netflix documentary I mention can be found here. This is the best compilation of Sam Cooke's music for the beginner, and the only one to contain recordings from all four labels (Specialty, Keen, RCA, and Tracey) he recorded for. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, a brief acknowledgement -- Lloyd Price plays a minor role in this story, and I heard as I was in the middle of writing it that he had died on May the third, aged eighty-eight. Price was one of the great pioneers of rock and roll -- I first looked at him more than a hundred episodes ago, back in episode twelve -- and he continued performing live right up until the start of the coronavirus outbreak in March last year. He'll be missed. Today we're going to look at one of the great soul protest records of all time, a record that was the high point in the career of its singer and songwriter, and which became a great anthem of the Civil Rights movement. But we're also going to look at the dark side of its creator, and the events that led to his untimely death. More than most episodes of the podcast, this requires a content warning. Indeed, it requires more than just content warnings. Those warnings are necessary -- this episode will deal with not only a murder, but also sexual violence, racialised violence, spousal abuse, child sexual abuse, drug use and the death of a child, as well as being about a song which is in itself about the racism that pervaded American society in the 1960s as it does today. This is a story from which absolutely nobody comes out well, which features very few decent human beings, and which I find truly unpleasant to write about. But there is something else that I want to say, before getting into the episode -- more than any other episode I have done, and I think more than any other episode that I am *going* to do, this is an episode where my position as a white British man born fourteen years after Sam Cooke's death might mean that my perspective is flawed in ways that might actually make it impossible for me to tell the story properly, and in ways that might mean that my telling of the story is doing a grave, racialised, injustice. Were this song and this story not so important to the ongoing narrative, I would simply avoid telling it altogether, but there is simply no way for me to avoid it and tell the rest of the story without doing equally grave injustices. So I will say this upfront. There are two narratives about Sam Cooke's death -- the official one, and a more conspiratorial one. Everything I know about the case tells me that the official account is the one that is actually correct, and *as far as I can tell*, I have good reason for thinking that way. But here's the thing. The other narrative is one that is held by a lot of people who knew Cooke, and they claim that the reason their narrative is not the officially-accepted one is because of racism. I do not think that is the case myself. In fact, all the facts I have seen about the case lead to the conclusion that the official narrative is correct. But I am deeply, deeply, uncomfortable with saying that. Because I have an obligation to be honest, but I also have an obligation not to talk over Black people about their experiences of racism. So what I want to say now, before even starting the episode, is this. Listen to what I have to say, by all means, but then watch the Netflix documentary Remastered: The Two Killings of Sam Cooke, and *listen* to what the people saying otherwise have to say. I can only give my own perspective, and my perspective is far more likely to be flawed here than in any other episode of this podcast. I am truly uncomfortable writing and recording this episode, and were this any other record at all, I would have just skipped it. But that was not an option. Anyway, all that said, let's get on with the episode proper, which is on one of the most important records of the sixties -- "A Change is Gonna Come": [Excerpt: Sam Cooke, "A Change is Gonna Come"] It's been almost eighteen months since we last looked properly at Sam Cooke, way back in episode sixty, and a lot has happened in the story since then, so a brief recap -- Sam Cooke started out as a gospel singer, first with a group called the Highway QCs, and then joining the Soul Stirrers, the most popular gospel group on the circuit, replacing their lead singer. The Soul Stirrers had signed to Specialty Records, and released records like "Touch the Hem of His Garment", written by Cooke in the studio: [Excerpt: The Soul Stirrers, "Touch the Hem of His Garment"] Cooke had eventually moved away from gospel music to secular, starting with a rewrite of a gospel song he'd written, changing "My God is so wonderful" to "My girl is so lovable", but he'd released that under the name Dale Cook, rather than his own name, in case of a backlash from gospel fans: [Excerpt: Dale Cook, "Lovable"] No-one was fooled, and he started recording under his own name. Shortly after this, Cooke had written his big breakthrough hit, "You Send Me", and when Art Rupe at Specialty Records was unimpressed with it, Cooke and his producer Bumps Blackwell had both moved from Specialty to a new label, Keen Records. Cooke's first appearance on the Ed Sullivan Show was a disaster -- cutting him off half way through the song -- but his second was a triumph, and "You Send Me" went to number one on both the pop and R&B charts, and sold over a million copies, while Specialty put out unreleased earlier recordings and sold over half a million copies of some of those. Sam Cooke was now one of the biggest things in the music business. And he had the potential to become even bigger. He had the looks of a teen idol, and was easily among the two or three best-looking male singing stars of the period. He had a huge amount of personal charm, he was fiercely intelligent, and had an arrogant selfishness that came over as self-confidence -- he believed he deserved everything the world could offer to him, and he was charming enough that everyone he met believed it too. He had an astonishing singing voice, and he was also prodigiously talented as a songwriter -- he'd written "Touch the Hem of His Garment" on the spot in the studio after coming in with no material prepared for the session. Not everything was going entirely smoothly for him, though -- he was in the middle of getting divorced from his first wife, and he was arrested backstage after a gig for non-payment of child support for a child he'd fathered with another woman he'd abandoned. This was a regular occurrence – he was as self-centred in his relationships with women as in other aspects of his life -- though as in those other aspects, the women in question were generally so smitten with him that they forgave him everything. Cooke wanted more than to be a pop star. He had his sights set on being another Harry Belafonte. At this point Belafonte was probably the most popular Black all-round entertainer in the world, with his performances of pop arrangements of calypso and folk songs: [Excerpt: Harry Belafonte, "Jamaica Farewell"] Belafonte had nothing like Cooke's chart success, but he was playing prestigious dates in Las Vegas and at high-class clubs, and Cooke wanted to follow his example. Most notably, at a time when almost all notable Black performers straightened their hair, Belafonte left his hair natural and cut it short. Cooke thought that this was very, very shrewd on Belafonte's part, copying him and saying to his brother L.C. that this would make him less threatening to the white public -- he believed that if a Black man slicked his hair back and processed it, he would come across as slick and dishonest, white people wouldn't trust him around their daughters. But if he just kept his natural hair but cut it short, then he'd come across as more honest and trustworthy, just an all-American boy. Oddly, the biggest effect of this decision wasn't on white audiences, but on Black people watching his appearances on TV. People like Smokey Robinson have often talked about how seeing Cooke perform on TV with his natural hair made a huge impression on them -- showing them that it was possible to be a Black man and not be ashamed of it. It was a move to appeal to the white audience that also had the effect of encouraging Black pride. But Cooke's first attempt at appealing to the mainstream white audience that loved Belafonte didn't go down well. He was booked in for a three-week appearance at the Copacabana, one of the most prestigious nightclubs in the country, and right from the start it was a failure. Bumps Blackwell had written the arrangements for the show on the basis that there would be a small band, and when they discovered Cooke would be backed by a sixteen-piece orchestra he and his assistant Lou Adler had to frantically spend a couple of days copying out sheet music for a bigger group. And Cooke's repertoire for those shows stuck mostly to old standards like "Begin the Beguine", "Ol' Man River", and "I Love You For Sentimental Reasons", with the only new song being "Mary, Mary Lou", a song written by a Catholic priest which had recently been a flop single for Bill Haley: [Excerpt: Bill Haley and the Comets, "Mary, Mary Lou"] Cooke didn't put over those old standards with anything like the passion he had dedicated to his gospel and rock and roll recordings, and audiences were largely unimpressed. Cooke gave up for the moment on trying to win over the supper-club audiences and returned to touring on rock and roll package tours, becoming so close with Clyde McPhatter and LaVern Baker on one tour that they seriously considered trying to get their record labels to agree to allow them to record an album of gospel songs together as a trio, although that never worked out. Cooke looked up immensely to McPhatter in particular, and listened attentively as McPhatter explained his views of the world -- ones that were very different to the ones Cooke had grown up with. McPhatter was an outspoken atheist who saw religion as a con, and who also had been a lifelong member of the NAACP and was a vocal supporter of civil rights. Cooke listened closely to what McPhatter had to say, and thought long and hard about it. Cooke was also dealing with lawsuits from Art Rupe at Specialty Records. When Cooke had left Specialty, he'd agreed that Rupe would own the publishing on any future songs he'd written, but he had got round this by crediting "You Send Me" to his brother, L.C. Rupe was incensed, and obviously sued, but he had no hard evidence that Cooke had himself written the song. Indeed, Rupe at one point even tried to turn the tables on Cooke, by getting Lloyd Price's brother Leo, a songwriter himself who had written "Send Me Some Lovin'", to claim that *he* had written "You Send Me", but Leo Price quickly backed down from the claim, and Rupe was left unable to prove anything. It didn't hurt Cooke's case that L.C., while not a talent of his brother's stature, was at least a professional singer and songwriter himself, who was releasing records on Checker Records that sounded very like Sam's work: [Excerpt: L.C. Cooke, "Do You Remember?"] For much of the late 1950s, Sam Cooke seemed to be trying to fit into two worlds simultaneously. He was insistent that he wanted to move into the type of showbusiness that was represented by the Rat Pack -- he cut an album of Billie Holiday songs, and he got rid of Bumps Blackwell as his manager, replacing him with a white man who had previously been Sammy Davis Jr.'s publicist. But on the other hand, he was hanging out with the Central Avenue music scene in LA, with Johnny "Guitar" Watson, Eugene Church, Jesse Belvin, and Alex and Gaynel Hodge. While his aspirations towards Rat Packdom faltered, he carried on having hits -- his own "Only Sixteen" and "Everybody Loves to Cha-Cha-Cha", and he recorded, but didn't release yet, a song that Lou Adler had written with his friend Herb Alpert, and whose lyrics Sam revised, "Wonderful World". Cooke was also starting a relationship with the woman who would become his second wife, Barbara. He'd actually had an affair with her some years earlier, and they'd had a daughter, Linda, who Cooke had initially not acknowledged as his own -- he had many children with other women -- but they got together in 1958, around the time of Cooke's divorce from his first wife. Tragically, that first wife then died in a car crash in 1959 -- Cooke paid her funeral expenses. He was also getting dissatisfied with Keen Records, which had been growing too fast to keep up with its expenses -- Bumps Blackwell, Lou Adler, and Herb Alpert, who had all started at the label with him, all started to move away from it to do other things, and Cooke was sure that Keen weren't paying him the money they owed as fast as they should. He also wanted to help some of his old friends out -- while Cooke was an incredibly selfish man, he was also someone who believed in not leaving anyone behind, so long as they paid him what he thought was the proper respect, and so he started his own record label, with his friends J.W. Alexander and Roy Crain, called SAR Records (standing for Sam, Alex, and Roy), to put out records by his old group The Soul Stirrers, for whom he wrote "Stand By Me, Father", a song inspired by an old gospel song by Charles Tindley, and with a lead sung by Johnnie Taylor, the Sam Cooke soundalike who had replaced Cooke as the group's lead singer: [Excerpt: The Soul Stirrers, "Stand By Me, Father"] Of course, that became, as we heard a few months back, the basis for Ben E. King's big hit "Stand By Me". Cooke and Alexander had already started up their own publishing company, and were collaborating on songs for other artists, too. They wrote "I Know I'll Always Be In Love With You", which was recorded first by the Hollywood Flames and then by Jackie Wilson: [Excerpt: Jackie Wilson, "I Know I'll Always Be in Love With You"] And "I'm Alright", which Little Anthony and the Imperials released as a single: [Excerpt: Little Anthony and the Imperials, "I'm Alright"] But while he was working on rock and roll and gospel records, he was also learning to tap-dance for his performances at the exclusive white nightclubs he wanted to play -- though when he played Black venues he didn't include those bits in the act. He did, though, perform seated on a stool in imitation of Perry Como, having decided that if he couldn't match the energetic performances of people like Jackie Wilson (who had been his support act at a run of shows where Wilson had gone down better than Cooke) he would go in a more casual direction. He was also looking to move into the pop market when it came to his records, and he eventually signed up with RCA Records, and specifically with Hugo and Luigi. We've talked about Hugo and Luigi before, a couple of times -- they were the people who had produced Georgia Gibbs' soundalike records that had ripped off Black performers, and we talked about their production of "The Lion Sleeps Tonight", though at this point they hadn't yet made that record. They had occasionally produced records that were more R&B flavoured -- they produced "Shout!" for the Isley Brothers, for example -- but they were in general about as bland and middle-of-the-road a duo as one could imagine working in the music industry. The first record that Hugo and Luigi produced for Cooke was a song that the then-unknown Jeff Barry had written, "Teenage Sonata". That record did nothing, and the label were especially annoyed when a recording Cooke had done while he was still at Keen, "Wonderful World", was released on his old label and made the top twenty: [Excerpt: Sam Cooke, "Wonderful World"] Cooke's collaboration with Hugo and Luigi would soon turn into one that bore a strong resemblance to their collaboration with the Isley Brothers -- they would release great singles, but albums that fundamentally misunderstood Cooke's artistry; though some of that misunderstanding may have come from Cooke himself, who never seemed to be sure which direction to go in. Many of the album tracks they released have Cooke sounding unsure of himself, and hesitant, but that's not something that you can say about the first real success that Cooke came out with on RCA, a song he wrote after driving past a group of prisoners working on a chain gang. He'd originally intended that song to be performed by his brother Charles, but he'd half-heartedly played it for Hugo and Luigi when they'd not seen much potential in any of his other recent originals, and they'd decided that that was the hit: [Excerpt: Sam Cooke, "Chain Gang"] That made number two on the charts, becoming his biggest hit since "You Send Me". Meanwhile Cooke was also still recording other artists for SAR -- though by this point Roy Crain had been eased out and SAR now stood for Sam and Alex Records. He got a group of Central Avenue singers including Alex and Gaynel Hodge to sing backing vocals on a song he gave to a friend of his named Johnny Morisette, who was known professionally as "Johnny Two-Voice" because of the way he could sound totally different in his different ranges, but who was known to his acquaintances as "the singing pimp", because of his other occupation: [Excerpt: Johnny Morisette, "I'll Never Come Running Back to You"] They also thought seriously about signing up a young gospel singer they knew called Aretha Franklin, who was such an admirer of Sam's that she would try to copy him -- she changed her brand of cigarettes to match the ones he smoked, and when she saw him on tour reading William Shirer's The Rise and Fall of the Third Reich -- Cooke was an obsessive reader, especially of history -- she bought her own copy. She never read it, but she thought she should have a copy if Cooke had one. But they decided that Franklin's father, the civil rights leader Rev. C.L. Franklin, was too intimidating, and so it would probably not be a good idea to get involved. The tour on which Franklin saw Cooke read Shirer's book was also the one on which Cooke made his first public stance in favour of civil rights -- that tour, which was one of the big package tours of the time, was meant to play a segregated venue, but the artists hadn't been informed just how segregated it was. While obviously none of them supported segregation, they would mostly accept playing to segregated crowds, because there was no alternative, if at least Black people were allowed in in roughly equal numbers. But in this case, Black people were confined to a tiny proportion of the seats, in areas with extremely restricted views, and both Cooke and Clyde McPhatter refused to go on stage, though the rest of the acts didn't join in their boycott. Cooke's collaboration with Hugo and Luigi remained hit and miss, and produced a few more flop singles, but then Cooke persuaded them to allow him to work in California, with the musicians he'd worked with at Keen, and with René Hall arranging rather than the arrangers they'd employed previously. While the production on Cooke's California sessions was still credited to Hugo and Luigi, Luigi was the only one actually attending those sessions -- Hugo was afraid of flying and wouldn't come out to the West Coast. The first record that came out under this new arrangement was another big hit, "Cupid", which had vocal sound effects supplied by a gospel act Cooke knew, the Sims twins -- Kenneth Sims made the sound of an arrow flying through the air, and Bobbie Sims made the thwacking noise of it hitting a target: [Excerpt: Sam Cooke, "Cupid"] Cooke became RCA's second-biggest artist, at least in terms of singles sales, and had a string of hits like "Twistin' the Night Away", "Another Saturday Night", and "Bring it On Home to Me", though he was finding it difficult to break the album market. He was frustrated that he wasn't having number one records, but Luigi reassured him that that was actually the best position to be in: “We're getting number four, number six on the Billboard charts, and as long as we get that, nobody's gonna bother you. But if you get two or three number ones in a row, then you got no place to go but down. Then you're competition, and they're just going to do everything they can to knock you off.” But Cooke's personal life had started to unravel. After having two daughters, his wife gave birth to a son. Cooke had desperately wanted a male heir, but he didn't bond with his son, Vincent, who he insisted didn't look like him. He became emotionally and physically abusive towards his wife, beating her up on more than one occasion, and while she had been a regular drug user already, her use increased to try to dull the pain of being married to someone who she loved but who was abusing her so appallingly. Things became much, much worse, when the most tragic thing imaginable happened. Cooke had a swim in his private pool and then went out, leaving the cover off. His wife, Barbara, then let the children play outside, thinking that their three-year-old daughter Tracey would be able to look after the baby for a few minutes. Baby Vincent fell into the pool and drowned. Both parents blamed the other, and Sam was devastated at the death of the child he only truly accepted as his son once the child was dead. You can hear some of that devastation in a recording he made a few months later of an old Appalachian folk song: [Excerpt: Sam Cooke, "The Riddle Song"] Friends worried that Cooke was suicidal, but Cooke held it together, in part because of the intervention of his new manager, Allen Klein. Klein had had a hard life growing up -- his mother had died when he was young, and his father had sent him to an orphanage for a while. Eventually, his father remarried, and young Allen came back to the family home, but his father was still always distant. He grew close to his stepmother, but then she died as well. Klein turned up at Cooke's house two days after the baby's funeral with his own daughter, and insisted on taking Cooke and his surviving children to Disneyland, telling him "You always had your mother and father, but I lost my mother when I was nine months old. You've got two other children. Those two girls need you even more now. You're their only father, and you've got to take care of them." Klein was very similar to Cooke in many ways. He had decided from a very early age that he couldn't trust anyone but himself, and that he had to make his own way in the world. He became hugely ambitious, and wanted to reach the very top. Klein had become an accountant, and gone to work for Joe Fenton, an accountant who specialised in the entertainment industry. One of the first jobs Klein did in his role with Fenton was to assist him with an audit of Dot Records in 1957, called for by the Harry Fox Agency. We've not talked about Harry Fox before, but they're one of the most important organisations in the American music industry -- they're a collection agency like ASCAP or BMI, who collect songwriting royalties for publishing companies and songwriters. But while ASCAP and BMI collect performance royalties -- they collect payments for music played on the radio or TV, or in live performance -- Harry Fox collect the money for mechanical reproduction, the use of songs on records. It's a gigantic organisation, and it has the backing of all the major music publishers. To do this audit, Klein and Fenton had to travel from New York to LA, and as they were being paid by a major entertainment industry organisation, they were put up in the Roosevelt Hotel, where at the time the other guests included Elvis, Claude Rains, and Sidney Poitier. Klein, who had grown up in comparative poverty, couldn't help but be impressed at the money that you could make by working in entertainment. The audit of Dot Records found some serious discrepancies -- they were severely underpaying publishers and songwriters. While they were in LA, Klein and Fenton also audited several other labels, like Liberty, and they found the same thing at all of them. The record labels were systematically conning publishing companies out of money they were owed. Klein immediately realised that if they were doing this to the major publishing companies that Harry Fox represented, they must be doing the same kind of thing to small songwriters and artists, the kind of people who didn't have a huge organisation to back them up. Unfortunately for Klein, soon after he started working for Fenton, he was fired -- he was someone who was chronically unable to get to work on time in the morning, and while he didn't mind working ridiculously long hours, he could not, no matter how hard he tried, get himself into the office for nine in the morning. He was fired after only four months, and Fenton even recommended to the State of New Jersey that they not allow Klein to become a Certified Public Accountant -- a qualification which, as a result, Klein never ended up getting. He set up his own company to perform audits of record companies for performers, and he got lucky by bumping in to someone he'd been at school with -- Don Kirshner. Kirshner agreed to start passing clients Klein's way, and his first client was Ersel Hickey (no relation), the rockabilly singer we briefly discussed in the episode on "Twist and Shout", who had a hit with "Bluebirds Over the Mountain": [Excerpt: Ersel Hickey, "Bluebirds Over the Mountain"] Klein audited Hickey's record label, but was rather surprised to find out that they didn't actually owe Hickey a penny. It turned out that record contracts were written so much in the company's favour that they didn't have to use any dodgy accounting to get out of paying the artists anything. But sometimes, the companies would rip the artists off anyway, if they were particularly unscrupulous. Kirshner had also referred the rockabilly singer/songwriter duo Buddy Knox and Jimmy Bowen to Klein. Their big hit, "Party Doll", had come out on Roulette Records: [Excerpt: Buddy Knox, "Party Doll"] Klein found out that in the case of Roulette, the label *were* actually not paying the artists what they were contractually owed, largely because Morris Levy didn't like paying people money. After the audit, Levy did actually agree to pay Knox and Bowen what they were owed, but he insisted that he would only pay it over four years, at a rate of seventy dollars a week -- if Klein wanted it any sooner, he'd have to sue, and the money would all be eaten up in lawyers' fees. That was still better than nothing, and Klein made enough from his cut that he was able to buy himself a car. Klein and Levy actually became friends -- the two men were very similar in many ways -- and Klein learned a big lesson from negotiating with him. That lesson was that you take what you can get, because something is better than nothing. If you discover a company owes your client a hundred thousand dollars that your client didn't know about, and they offer you fifty thousand to settle, you take the fifty thousand. Your client still ends up much better off than they would have been, you've not burned any bridges with the company, and you get your cut. And Klein's cut was substantial -- his standard was to take fifty percent of any extra money he got for the artist. And he prided himself on always finding something -- though rarely as much as he would suggest to his clients before getting together with them. One particularly telling anecdote about Klein's attitude is that when he was at Don Kirshner's wedding he went up to Kirshner's friend Bobby Darin and told him he could get him a hundred thousand dollars. Darin signed, but according to Darin's manager, Klein only actually found one underpayment, for ten thousand copies of Darin's hit "Splish Splash" which Atlantic hadn't paid for: [Excerpt: Bobby Darin, "Splish Splash"] However, at the time singles sold for a dollar, Darin was on a five percent royalty, and he only got paid for ninety percent of the records sold (because of a standard clause in contracts at that time to allow for breakages). The result was that Klein found an underpayment of just four hundred and fifty dollars, a little less than the hundred thousand he'd promised the unimpressed Darin. But Klein used the connection to Darin to get a lot more clients, and he did significantly better for some of them. For Lloyd Price, for example, he managed to get an extra sixty thousand dollars from ABC/Paramount, and Price and Klein became lifelong friends. And Price sang Klein's praises to Sam Cooke, who became eager to meet him. He got the chance when Klein started up a new business with a DJ named Jocko Henderson. Henderson was one of the most prominent DJs in Philadelphia, and was very involved in all aspects of the music industry. He had much the same kind of relationship with Scepter Records that Alan Freed had with Chess, and was cut in on most of the label's publishing on its big hits -- rights he would later sell to Klein in order to avoid the kind of investigation that destroyed Freed's career. Henderson had also been the DJ who had first promoted "You Send Me" on the radio, and Cooke owed him a favour. Cooke was also at the time being courted by Scepter Records, who had offered him a job as the Shirelles' writer and producer once Florence Greenberg had split up with Luther Dixon. He'd written them one song, which referenced many of their earlier hits: [Excerpt: The Shirelles, "Only Time Will Tell"] However, Cooke didn't stick with Scepter -- he figured out that Greenberg wasn't interested in him as a writer/producer, but as a singer, and he wasn't going to record for an indie like them when he could work with RCA. But when Henderson and Klein started running a theatre together, putting on R&B shows, those shows obviously featured a lot of Scepter acts like the Shirelles and Dionne Warwick, but they also featured Sam Cooke on the top of the bill, and towards the bottom of the bill were the Valentinos, a band featuring Cooke's touring guitarist, Bobby Womack, who were signed to SAR Records: [Excerpt: The Valentinos, "It's All Over Now"] Klein was absolutely overawed with Cooke's talent when he first saw him on stage, realising straight away that this was one of the major artists of his generation. Whereas most of the time, Klein would push himself forward straight away and try to dominate artists, here he didn't even approach Cooke at all, just chatted to Cooke's road manager and found out what Cooke was like as a person. This is something one sees time and again when it comes to Cooke -- otherwise unflappable people just being absolutely blown away by his charisma, talent, and personality, and behaving towards him in ways that they behaved to nobody else. At the end of the residency, Cooke had approached Klein, having heard good things about him from Price, Henderson, and his road manager. The two had several meetings over the next few months, so Klein could get an idea of what it was that was bothering Cooke about his business arrangements. Eventually, after a few months, Cooke asked Klein for his honest opinion. Klein was blunt. "I think they're treating you like a " -- and here he used the single most offensive anti-Black slur there is -- "and you shouldn't let them." Cooke agreed, and said he wanted Klein to take control of his business arrangements. The first thing Klein did was to get Cooke a big advance from BMI against his future royalties as a songwriter and publisher, giving him seventy-nine thousand dollars up front to ease his immediate cash problems. He then started working on getting Cooke a better recording contract. The first thing he did was go to Columbia records, who he thought would be a better fit for Cooke than RCA were, and with whom Cooke already had a relationship, as he was at that time working with his friend, the boxer Muhammad Ali, on an album that Ali was recording for Columbia: [Excerpt: Muhammad Ali, "The Gang's All Here"] Cooke was very friendly with Ali, and also with Ali's spiritual mentor, the activist Malcolm X, and both men tried to get him to convert to the Nation of Islam. Cooke declined -- while he respected both men, he had less respect for Elijah Mohammed, who he saw as a con artist, and he was becoming increasingly suspicious of religion in general. He did, though, share the Nation of Islam's commitment to Black people pulling themselves up by their bootstraps and presenting themselves in a clean-cut way, having the same vision of Black capitalism that many of his contemporaries like James Brown shared. Unfortunately, negotiations with Columbia quickly failed. Klein believed, probably correctly, that record labels didn't have to do anything to sell Sam Cooke's records, and that Cooke was in a unique position as one of the very few artists at that time who could write, perform, and produce hit records without any outside assistance. Klein therefore thought that Cooke deserved a higher royalty rate than the five percent industry standard, and said that Cooke wouldn't sign with anyone for that rate. The problem was that Columbia had most-favoured-nations clauses written into many other artists' contracts. These clauses meant that if any artist signed with Columbia for a higher royalty rate, those other artists would also have to get that royalty rate, so if Cooke got the ten percent that Klein was demanding, a bunch of other performers like Tony Bennett would also have to get the ten percent, and Columbia were simply not willing to do that. So Klein decided that Cooke was going to stay with RCA, but he found a way to make sure that Cooke would get a much better deal from RCA, and in a way which didn't affect any of RCA's own favoured-nations contracts. Klein had had some involvement in filmmaking, and knew that independent production companies were making films without the studios, and just letting the studios distribute them. He also knew that in the music business plenty of songwriters and producers like Leiber and Stoller and Phil Spector owned their own record labels. But up to that point, no performers did, that Klein was aware of, because it was the producers who generally made the records, and the contracts were set up with the assumption that the performer would just do what the producer said. That didn't apply to Sam Cooke, and so Klein didn't see why Cooke couldn't have his own label. Klein set up a new company, called Tracey Records, which was named after Cooke's daughter, and whose president was Cooke's old friend J.W. Alexander. Tracey Records would, supposedly to reduce Cooke's tax burden, be totally owned by Klein, but it would be Cooke's company, and Cooke would be paid in preferred stock in the company, though Cooke would get the bulk of the money -- it would be a mere formality that the company was owned by Klein. While this did indeed have the effect of limiting the amount of tax Cooke had to pay, it also fulfilled a rule that Klein would later state -- "never take twenty percent of an artist's earnings. Instead give them eighty percent of yours". What mattered wasn't the short-term income, but the long-term ownership. And that's what Klein worked out with RCA. Tracey Records would record and manufacture all Cooke's records from that point on, but RCA would have exclusive distribution rights for thirty years, and would pay Tracey a dollar per album. After thirty years, Tracey records would get all the rights to Cooke's recordings back, and in the meantime, Cooke would effectively be on a much higher royalty rate than he'd received before, in return for taking a much larger share of the risk. There were also changes at SAR. Zelda Sands, who basically ran the company for Sam and J.W., was shocked to receive a phone call from Sam and Barbara, telling her to immediately come to Chicago, where Sam was staying while he was on tour. She went up to their hotel room, where Barbara angrily confronted her, saying that she knew that Sam had always been attracted to Zelda -- despite Zelda apparently being one of the few women Cooke met who he never slept with -- and heavily implied that the best way to sort this would be for them to have a threesome. Zelda left and immediately flew back to LA. A few days later, Barbara turned up at the SAR records offices and marched Zelda out at gunpoint. Through all of this turmoil, though, Cooke managed to somehow keep creating music. And indeed he soon came up with the song that would be his most important legacy. J.W. Alexander had given Cooke a copy of The Freewheelin' Bob Dylan, and Cooke had been amazed at "Blowin' in the Wind": [Excerpt: Bob Dylan, "Blowin' in the Wind"] But more than being amazed at the song, Cooke was feeling challenged. This was a song that should have been written by a Black man. More than that, it was a song that should have been written by *him*. Black performers needed to be making music about their own situation. He added "Blowin' in the Wind" to his own live set, but he also started thinking about how he could write a song like that himself. As is often the case with Cooke's writing, he took inspiration from another song, this time "Ol' Man River", the song from the musical Showboat that had been made famous by the actor, singer, and most importantly civil rights activist Paul Robeson: [Excerpt: Paul Robeson, "Ol' Man River"] Cooke had recorded his own version of that in 1958, but now in early 1964 he took the general pace, some melodic touches, the mention of the river, and particularly the lines "I'm tired of livin' and scared of dyin'", and used them to create something new. Oddly for a song that would inspire a civil rights anthem -- or possibly just appropriately, in the circumstances, "Ol' Man River" in its original form featured several racial slurs included by the white lyricist, Oscar Hammerstein, and indeed Robeson himself in later live performances changed the very lines that Cooke would later appropriate, changing them as he thought they were too defeatist for a Black activist to sing: [Excerpt: Paul Robeson, "Ol' Man River (alternative lyrics)"] Cooke's song would keep the original sense, in his lines "It's been too hard livin' but I'm afraid to die", but the most important thing was the message -- "a change is gonna come". The session at which he recorded it was to be his last with Luigi, whose contract with RCA was coming to an end, and Cooke knew it had to be something special. Rene Hall came up with an arrangement for a full orchestra, which so overawed Cooke's regular musicians that his drummer found himself too nervous to play on the session. Luckily, Earl Palmer was recording next door, and was persuaded to come and fill in for him. Hall's arrangement starts with an overture played by the whole orchestra: [Excerpt: Sam Cooke, "A Change is Gonna Come"] And then each verse features different instrumentation, with the instruments changing at the last line of each verse -- "a change is gonna come". The first verse is dominated by the rhythm section: [Excerpt: Sam Cooke, "A Change is Gonna Come"] Then for the second verse, the strings come in, for the third the strings back down and are replaced by horns, and then at the end the whole orchestra swells up behind Cooke: [Excerpt: Sam Cooke, "A Change is Gonna Come"] Cooke was surprised when Luigi, at the end of the session, told him how much he liked the song, which Cooke thought wouldn't have been to Luigi's taste, as Luigi made simple pop confections, not protest songs. But as Luigi later explained, "But I did like it. It was a serious piece, but still it was him. Some of the other stuff was throwaway, but this was very deep. He was really digging into himself for this one." Cooke was proud of his new record, but also had something of a bad feeling about it, something that was confirmed when he played the record for Bobby Womack, who told him "it sounds like death". Cooke agreed, there was something premonitory about the record, something ominous. Allen Klein, on the other hand, was absolutely ecstatic. The track was intended to be used only as an album track -- they were going in a more R&B direction with Cooke's singles at this point. His previous single was a cover version of Howlin' Wolf's "Little Red Rooster”: [Excerpt: Sam Cooke, "Little Red Rooster"] And his next two singles were already recorded -- a secularised version of the old spiritual "Ain't That Good News", and a rewrite of an old Louis Jordan song. Cooke was booked on to the Johnny Carson show, where he was meant to perform both sides of his new single, but Allen Klein was so overwhelmed by "A Change is Gonna Come" that he insisted that Cooke drop "Ain't That Good News" and perform his new song instead. Cooke said that he was meant to be on there to promote his new record. Klein insisted that he was meant to be promoting *himself*, and that the best promotion for himself would be this great song. Cooke then said that the Tonight Show band didn't have all the instruments needed to reproduce the orchestration. Klein said that if RCA wouldn't pay for the additional eighteen musicians, he would pay for them out of his own pocket. Cooke eventually agreed. Unfortunately, there seems to exist no recording of that performance, the only time Cooke would ever perform "A Change is Gonna Come" live, but reports from people who watched it at the time suggest that it made as much of an impact on Black people watching as the Beatles' appearance on the Ed Sullivan Show two days later made on white America. "A Change is Gonna Come" became a standard of the soul repertoire, recorded by Aretha Franklin: [Excerpt: Aretha Franklin, "A Change is Gonna Come"] Otis Redding: [Excerpt: Otis Redding, "A Change is Gonna Come"] The Supremes and more. Cooke licensed it to a compilation album released as a fundraiser for Martin Luther King's campaigning, and when King was shot in 1968, Rosa Parks spent the night crying in her mother's arms, and they listened to "A Change is Gonna Come". She said ”Sam's smooth voice was like medicine to the soul. It was as if Dr. King was speaking directly to me.” After his Tonight Show appearance, Cooke was in the perfect position to move into the real big time. Allen Klein had visited Brian Epstein on RCA's behalf to see if Epstein would sign the Beatles to RCA for a million-dollar advance. Epstein wasn't interested, but he did suggest to Klein that possibly Cooke could open for the Beatles when they toured the US in 1965. And Cooke was genuinely excited about the British Invasion and the possibilities it offered for the younger musicians he was mentoring. When Bobby Womack complained that the Rolling Stones had covered his song "It's All Over Now" and deprived his band of a hit, Cooke explained to Womack first that he'd be making a ton of money from the songwriting royalties, but also that Womack and his brothers were in a perfect position -- they were young men with long hair who played guitars and drums. If the Valentinos jumped on the bandwagon they could make a lot of money from this new style. But Cooke was going to make a lot of money from older styles. He'd been booked into the Copacabana again, and this time he was going to be a smash hit, not the failure he had been the first time. His residency at the club was advertised with a billboard in Times Square, and he came on stage every night to a taped introduction from Sammy Davis Jr.: [Excerpt: Sammy Davis Jr. introducing Sam Cooke] Listening to the live album from that residency and comparing it to the live recordings in front of a Black audience from a year earlier is astonishing proof of Cooke's flexibility as a performer. The live album from the Harlem Square Club in Florida is gritty and gospel-fuelled, while the Copacabana show has Cooke as a smooth crooner in the style of Nat "King" Cole -- still with a soulful edge to his vocals, but completely controlled and relaxed. The repertoire is almost entirely different as well -- other than "Twistin' the Night Away" and a ballad medley that included "You Send Me", the material was a mixture of old standards like "Bill Bailey" and "When I Fall In Love" and new folk protest songs like "If I Had a Hammer" and "Blowin' in the Wind", the song that had inspired "A Change is Gonna Come": [Excerpt: Sam Cooke, "Blowin' in the Wind"] What's astonishing is that both live albums, as different as they are, are equally good performances. Cooke by this point was an artist who could perform in any style, and for any audience, and do it well. In November 1964, Cooke recorded a dance song, “Shake”, and he prepared a shortened edit of “A Change is Gonna Come” to release as its B-side. The single was scheduled for release on December 22nd. Both sides charted, but by the time the single came out, Sam Cooke was dead. And from this point on, the story gets even more depressing and upsetting than it has been. On December the eleventh, 1964, Sam Cooke drove a woman he'd picked up to an out-of the-way motel. According to the woman, he tore off most of her clothes against her will, as well as getting undressed himself, and she was afraid he was going to rape her. When he went to the toilet, she gathered up all of her clothes and ran out, and in her hurry she gathered up his clothes as well. Some of Cooke's friends have suggested that she was in fact known for doing this and stealing men's money, and that Cooke had been carrying a large sum of money which disappeared, but this seems unlikely on the face of it, given that she ran to a phone box and called the police, telling them that she had been kidnapped and didn't know where she was, and could they please help her? Someone else was on the phone at the same time. Bertha Lee Franklin, the motel's manager, was on the phone to the owner of the motel when Sam Cooke found out that his clothes were gone, and the owner heard everything that followed. Cooke turned up at the manager's office naked except for a sports jacket and shoes, drunk, and furious. He demanded to know where the girl was. Franklin told him she didn't know anything about any girl. Cooke broke down the door to the manager's office, believing that she must be hiding in there with his clothes. Franklin grabbed the gun she had to protect herself. Cooke struggled with her, trying to get the gun off her. The gun went off three times. The first bullet went into the ceiling, the next two into Cooke. Cooke's last words were a shocked "Lady, you shot me". Cooke's death shocked everyone, and immediately many of his family and friends started questioning the accepted version of the story. And it has to be said that they had good reason to question it. Several people stood to benefit from Cooke's death -- he was talking about getting a divorce from his wife, who would inherit his money; he was apparently questioning his relationship with Klein, who gained complete ownership of his catalogue after his death, and Klein after all had mob connections in the person of Morris Levy; he had remained friendly with Malcolm X after X's split from the Nation of Islam and it was conceivable that Elijah Muhammad saw Cooke as a threat; while both Elvis and James Brown thought that Cooke setting up his own label had been seen as a threat by RCA, and that *they* had had something to do with it. And you have to understand that while false rape accusations basically never happen -- and I have to emphasise that here, women just *do not* make false rape accusations in any real numbers -- false rape accusations *had* historically been weaponised against Black men in large numbers in the early and mid twentieth century. Almost all lynchings followed a pattern -- a Black man owned a bit of land a white man wanted, a white woman connected to the white man accused the Black man of rape, the Black man was lynched, and his property was sold off at far less than cost to the white man who wanted it. The few lynchings that didn't follow that precise pattern still usually involved an element of sexualising the murdered Black men, as when only a few years earlier Emmett Till, a teenager, had been beaten to death, supposedly for whistling at a white woman. So Cooke's death very much followed the pattern of a lynching. Not exactly -- for a start, the woman he attacked was Black, and so was the woman who shot him -- but it was close enough that it rang alarm bells, completely understandably. But I think we have to set against that Cooke's history of arrogant entitlement to women's bodies, and his history of violence, both against his wife and, more rarely, against strangers who caught him in the wrong mood. Fundamentally, if you read enough about his life and behaviour, the official story just rings absolutely true. He seems like someone who would behave exactly in the way described. Or at least, he seems that way to me. But of course, I didn't know him, and I have never had to live with the threat of murder because of my race. And many people who did know him and have had to live with that threat have a different opinion, and that needs to be respected. The story of Cooke's family after his death is not one from which anyone comes out looking very good. His brother, L.C., pretty much immediately recorded a memorial album and went out on a tribute tour, performing his brother's hits: [Excerpt: L.C. Cooke, "Wonderful World"] Cooke's best friend, J.W. Alexander, also recorded a tribute album. Bertha Franklin sued the family of the man she had killed, because her own life had been ruined and she'd had to go into hiding, thanks to threats from his fans. Cooke's widow, Barbara, married Bobby Womack less than three months after Cooke's death -- and the only reason it wasn't sooner was that Womack had not yet turned twenty-one, and so they were not able to get married without Womack's parents' permission. They married the day after Womack's twenty-first birthday, and Womack was wearing one of Sam's suits at the ceremony. Womack was heard regularly talking about how much he looked like Sam. Two of Cooke's brothers were so incensed at the way that they thought Womack was stepping into their brother's life that they broke Womack's jaw -- and Barbara Cooke pulled a gun on them and tried to shoot them. Luckily for them, Womack had guessed that a confrontation was coming, and had removed the bullets from Barbara's gun, so there would be no more deaths in his mentor's family. Within a few months, Barbara was pregnant, and the baby, when he was born, was named Vincent, the same name as Sam and Barbara's dead son. Five years later, Barbara discovered that Womack had for some time been sexually abusing Linda, her and Sam's oldest child, who was seventeen at the time Barbara discovered this. She kicked Womack out, but Linda sided with Womack and never spoke to her mother again. Linda carried on a consensual relationship with Bobby Womack for some time, and then married Bobby's brother Cecil (or maybe it's pronounced Cee-cil in his case? I've never heard him spoken about), who also became her performing and songwriting partner. They wrote many songs for other artists, as well as having hits themselves as Womack and Womack: [Excerpt: Womack and Womack, "Teardrops"] The duo later changed their names to Zek and Zeriiya Zekkariyas, in recognition of their African heritage. Sam Cooke left behind a complicated legacy. He hurt almost everyone who was ever involved in his life, and yet all of them seem not only to have forgiven him but to have loved him in part because of the things he did that hurt them the most. What effect that has on one's view of his art must in the end be a matter for individual judgement, and I never, ever, want to suggest that great art in any way mitigates appalling personal behaviour. But at the same time, "A Change is Gonna Come" stands as perhaps the most important single record we'll look at in this history, one that marked the entry into the pop mainstream of Black artists making political statements on their own behalf, rather than being spoken for and spoken over by well-meaning white liberals like me. There's no neat conclusion I can come to here, no great lesson that can be learned and no pat answer that will make everything make sense. There's just some transcendent, inspiring, music, a bunch of horribly hurt people, and a young man dying, almost naked, in the most squalid circumstances imaginable.
In the third episode of season 13 of the 5 Minute Biographies podcast, we take a brief look at the life of a man who became known as the King of Soul and produced such timeless classics as You Send Me, Chain Gang and Twistin' the Night Away. We will never know how many hits he may have had as he was shot and killed in 1964 at the age of only 33. He was Sam Cooke. Please consider supporting the show by visiting the YouTube channel at www.5minutebiographies.com/youtube or by perhaps buying me a coffee at www.5minutebiographies.com/coffee - Thanks!
This week: the Tatzelwurms! How do you like your dragons? Cat-shaped? Relatively portable? Twistin' around like pretzels? Well, good news! We've found you a couple funny little dudes that are all three! Hang onto your hearts and your lungs, because the Tatzelwurms are coming into town, and they might have something contagious! Today's topics: Portable dragons; Mythical tales of epic duels; Making fun of dead relatives; Languages of the Alps (we don't speak them); Pretzels of the world; Bones?; Original sin; Anthrax.
One of the biggest scams of life is having to eat food in order to survive. Often times, this translates into having to cook your own food. Unfortunately, cooking is not a skillset widely taught to people as they are growing up. As a result, there's plenty of adults who are just fakin' it till they make it. This week, we brought on food-blogger and classically trained chef Kyia Faison, also known as Chef K! Chef K will provide knowledge and advice to help people increase their cooking skills and become more confident with cooking. Chef K can be reached on the following platforms. Facebook : https://www.facebook.com/KitchenThis Instagram: https://www.instagram.com/chickisthechef/ Personal Website: https://kitchenthis.live/. All music was provided by @WilliamGold. Checkout his debut album "Asleep With The TV On" on all streaming platforms!
The Album Effect podcast episode 6 discusses Coming Home by Leon Bridges, Twistin' the Night Away by Sam Cooke, Axis: Bold as Love by Jimi Hendrix, The Traveling Wilburys Vol. 1 by The Traveling Wilburys, and more. The post #6 – Leon Bridges, Sam Cooke, Jimi Hendrix, The Traveling Wilburys appeared first on AudioGearz.
#263 'Rockin' Roll Twistin Xmas Party' 1.The Fontane Sisters-Nuttin' for Christmas-19552.Mabel Scott-Boogie Woogie Santa Claus-19543.Ike and Tina Turner-Merry Christmas Baby-19644.Eddie C. Campbell -Santa's Messin' With The Kid-19775.Oscar McLollie & The Honeyjumpers -Dig That Crazy Santa Claus -19546.The Marcels-Merry Twistmas-19617.Reverend Lofton And His Holy Travellers-Look To Jesus-19658.The Sonics-Santa Claus-19669.Gene And Wendell-Party Time-196210.JP McPherson-Twinkle (Little Christmas Lights)-201211.Detroit Junior-Christmas Day-196012.Twistin' Kings-xmas twist-196113.Charlie Stewart-Santa Claus won't come this year-196414.The Sonics-Don't believe in christmas-196615.Brendan Hanlon & The Batmen-Christmas Party16.Eartha Kitt -Santa Baby -195317.Patti Page-Boogie Woogie Santa Claus-195018.Darlene Love-Christmas (Baby Please Come Home)-196319.The Bonnie Sisters -I Saw Mommy Cha Cha Cha-195620.Brenda Lee-I'm Gonna Lasso Santa Claus-195621.The 5.6.7.8's-Rock And Roll Santa-200322.Hasil Adkins-Santa Claus Boogie-199323.Black Lips-Christmas in Baghdad-200724.C.W. Stoneking-On a Christmas Day-200525.The Younsters-Christmas in-jail-1956DOWNLOAD | SUBSCRIBE TO RAMPAGE | SUBSCRIBE TO RADIOMUTATION | FACEBOOK | ITUNES | TWITTER| INSTAGRAM|
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