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Many mark the start of the singer-songwriter genre to have begun when Carole King released her second studio album, the iconic Tapestry. As would be expected from a singer-songwriter, all of the songs on the album were either written or co-written by King.  Tapestry is considered one of the greatest albums of all time in the soft rock genre.Born Carol Joan Klein in Manhattan, King began piano lessons at four years of age.  Her upbringing included friendship with Paul Simon and dating Neil Sedaka.  In the 50's at the age of 17 she met and married Jerry Goffin with whom she would team up on songwriting through the 60's - King writing the music and Goffin writing the lyrics.  They had several successful songs during the 60's including "Pleasant Valley Sunday" (The Monkees), "I'm Into Something Good" (Herman's Hermits), and "Up On the Roof" (the Drifters).  King and Goffin divorced by 1968, and King moved to Laurel Canyon in Los Angeles to re-start her recording career.Tapestry features both new and old songs of Carole King's catalog.  Several new friends from the Laurel Canyon area appear on the album, including James Taylor and Joni Mitchell.  Fellow songwriter Toni Stern co-wrote two of the songs, including the hit "It's Too Late."The album was a hit, spending 313 weeks on the Billboard Charts (second only to "Dark Side of the Moon" in time on the chart).  It also was a critical success, taking the Grammy for Album of the Year at the 1972 Grammy awards.  King announced her retirement from music in May 2012, but has done a few things since then, including a live performance of Tapestry in Hyde Park in 2016.  Friend of the show Greg Lyon sits in for Wayne while Bruce presents this soft rock album for this week's podcast.TapestryThe title track to the album is a look back on life as a colorful combination of threads woven into a picture or pattern, but not one intended to last.  This is a deeper cut which was not released as a single.Where You LeadSeveral songs became hits for other artists while the album was still on the charts, including this one.  Barbara Streisand recorded this song for her 1971 album, and it reached number 40.  The song takes its inspiration from the book of Ruth in the Bible.  It was also the theme song for the television series "Gilmore Girls."  Toni Stern collaborated with King to write this song.  You've Got a FriendThis is another song which became a hit for another artist.  James Taylor did this on his 1971 album, "Mud Slide Slim and the Blue Horizon," making it to number 1 on the US charts.  The two albums were being produced concurrently, and Taylor, Joni Mitchell, and Danny Kortchmar perform on both King's version and on Taylor's version.  King has said the song is a response to the line in James Taylor's "Fire and Rain" which says "I've seen lonely times when I could not find a friend."  So Far AwayJames Taylor is on acoustic guitar for this piece, and King is on piano.  It went to number 14 on the Billboard Hot 100 and was on the charts in September 1971.  It starts with a focus on the physical distance between lovers, then moves on to emotional distance.  ENTERTAINMENT TRACK:Main theme from the serial Danger Island (from the television series “The Banana Splits Adventure Hour”) This live action 10-minute adventure short appeared as a part of "The Banana Splits Adventure Hour," which concluded this month. STAFF PICKS:Ain't No Sunshine by Bill WithersLynch leads off the staff picks with Withers' breakthrough single from his debut album, "Just As I Am."  The inspiration for this song was the 1962 film "Days of Wine and Roses," which portrays two characters who were alcoholics.  The idea is that someone may not be right for you, but you miss them regardless.  Signs by Five Man Electrical Band"And the sign said 'long haired freaky people need not apply!"  Rob brings us a signature song from a Canadian band.  The song originally appeared as a B-side to a less successful song called "Hello Melinda Goodbye," but became successful on its own.  Frontman Les Emerson wrote this song after seeing so many billboards in Los Angeles which obscured the natural scenery.Whatcha See Is Whatcha Get by The DramaticsGreg features the title song from the debut album of R&B group The Dramatics.  This song contrasting the fakeness of people with the authenticity of the singer went to number 9 on the Billboard Hot 100 and number 3 on the R&B chart.  It fuses a Motown feel with a Latin undertone.Thin Line Between Love and Hate by The PersuadersBruce brings us a cautionary tale about a guy who comes home late at night, finding his girl smiling and ready to cook him some dinner.  He learns his lesson when he wakes up in the hospital, beaten to within an inch of his life.  This song by a New York R&B group made it to number 15 on the US charts.  INSTRUMENTAL TRACK:The Rock by Atomic RoosterWe close out with an instrumental from a British rock band originally co-formed by prog rock organist Vincent Crane and percussionist Carl Palmer. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Happy April friends! As you'll hear I am creating quite a bit this month, all very joyful and thankfully I have given myself the time and space to do this from a full cup.Here are two things that are so new, they didn't even make the video!1. For pretty obvious reasons I called this painting Up On the Roof of the World! It's of a special place in Colorado, and I just completed it this morning. Read more about it here!2. Book Research RequestWould you like to be interviewed for my next book?They say that when you learn something, you should pass it on – so, I am writing a book called How It Feels to be a Millionaire!Fellow millionaires! I would love your input! I'm curious: if you are a millionaire and/or spend a lot of your time feeling like a million bucks, I'd love to interview you.Click here to go to my contact page, and in your message please share how it feels for you to be a millionaire. I'll follow up to schedule a chat. And thank you!I'm curious: what are you up to? What are you creating, what's lighting you up? Please share! Either in the comments, or simply by hitting reply and sharing with me if this is in your inbox.And now for the bazillion links Related to the things I am up to, that I share in the video above :)Events and WorkshopsI have been having lots of fun envisioning ways that we can play together!Seeds & Self-Discovery: Spring Tarot WorkshopVirtual four week workshop in which we will Plant the seeds of intention (Earth Element), Ignite passion in action (Fire Element), Embrace flow and emotion (Water Element), and finally Celebrate transformation and freedom (Air Element)! I've been asked for years to create an adventure/journey where we utilize tarot cards as a group – and this is the moment!$50 for the complete four-week workshop; begins Tuesday April 15, 2025Click here to learn more and register!Café & Courage: Embracing Your PathIn-person Lunch, Lecture, and Workshop at the epic restaurant Uxlocale in Uxbridge, Massachusetts, on April 19! This is going to be SO MUCH FUN and it would be awesome to see you there, if it aligns geographically and internally for you. $80 includes lunch, lecture, workshop, and unique Journal keepsake11-2, The Uxlocale, April 19, 2025Click here to learn more and register!Harmony & Hope: Transformative Coaching Opportunities– I am creating an online coaching group if you'd like some company on your journey in a warm place where you feel seen and understood. This group will have lots of ongoing online fun! There will be the companionship of like-minded people who GET it, as well as weekly community calls and a self-directed course on the essential mindset tools I've learned on my journey.It's about a month from opening, so stay tuned!– A one-to-one coaching spot has opened up in my practice.If you're feeling a little stuck AND you're open to trying something different to get out of the trap! Message me and let's explore your future together.Three Newsletters:This one – Art Creativity & WellbeingHere's the subscription link if you're new here…In LinkedInThe Heart of Leadership.. Exploring our ability to lead in a way that's profoundly human, meaningful, and effective.The Saturday Salon.. Featuring Epic Writing on Important Topics by Wonderful Leaders, Creators and OrganizationsTwo PodcastsWhat will become Art Creativity & Wellbeing, currently called Practical Intuition with Kay… Available wherever you get your podcastsThe Waking Up Podcast… Available either at its Substack page or in Spotify! With more places coming soon.Waking Up: The Tools ConversationTHIS COMING Thursday April 10 at 12 noon Eastern time – hooray! The LinkedIn live will be live on this page in LinkedIn…My Pathfinders InterviewAnd here is my Pathfinders interview!What a month! I'm wishing you a really great April. Lots of love and talk soon!KayArt Creativity & Wellbeing is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kaylockkolp.substack.com/subscribe

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.JNU - 겨울 끝에서；2.Slow Meadow - Armoire Nocturne；3.V.A. - 海の見える街；4.Snoyi - Mama；5.Andrei Machado - Tempo；6.Falcom Sound Team jdk - 陽だまりにて和む猫；7.Dustin O'Halloran,Adam Wiltzie - We Played Some Open Chords；8.Erik Satie - Gymnopedies 1；9.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)。

It's December and our last "normal" podcast for the year, so I hope, as always, you enjoy! Track List:1) Rise - P.I.L.2) Strip [Extended Version] - Adam Ant 3) Hands Up In The Air [Extended Mix] - Boom Crash Opera 4) Welcome To The Pleasuredome [Into Battle Mix] - Frankie Goes To Hollywood 5) We Close Our Eyes [Overhang Mix] - Go West 6) I Wish U Heaven [Radio Edit] - Prince 7) Little Girls - Oingo Boingo 8) Mongoloid - Devo 9) Here And Now [12" Remix] - Missing Persons 10) No Name No Slogan - Acid Horse (Cabaret Voltaire and Ministry collaboration)11) Chessboards [12" Remix] - Killing Joke 12) Love Missile F-111 [Ultraviolence Mix] - Sigue Sigue Sputnik 13) Alternative - The Exploited 14) Join In The Chant [Burn 12" Mix] - Nitzer Ebb 15) Headhunter [Ultrasound Killer Remix] - Front 242 16) Hospital Waste - Skinny Puppy 17) A Girl Doesn't Get Killed By A Make-Believer... 'Cuz It's Hot - My Life With The Thrill Kill Kult 18) Kingdom Of Rain - The The with Sinead O'Connor 19) How Soon Is Now? - The Smiths 20) Only Lonely - Divinyls 21) Up On the Catwalk [Unofficial Extended Version] - Simple Minds

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Dennis Kuo - Starlight Memories；2.GReeeeN - 刹那(Piano ver)；3.David Nevue - You Are My Hiding Place；4.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；2.Sylvain Chauveau - Blanc；3.Tony O'Connor - Diana；4.Rainy Day - Destiny (Piano Ver.)。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Christopher Peacock - Tonight I Celebrate My Love；2.Haneda Ryoko - Fragile；3.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；4.Isaac Shepard - Before Dawn。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.JNU - 겨울 끝에서；2.Christopher Peacock - Tonight I Celebrate My Love；3.George Winston - Thanksgiving；4.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.John Cage - Dream (1948)；2.George Winston - Thanksgiving；3.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；4.Henry Mancini - Love Theme。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.TAMUSIC - 鸟の诗；2.Xeuphoria - We are all kind of weird, twisted and drowning；3.Snoyi - Mama；4.Haneda Ryoko - Fragile；5.Brad Jacobsen - Morning Prayer；6.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；7.Bruno Wen-li - ヨスガノソラ メインテーマ -遠い空へ-。

Intro song: Let It Snow! Let It Snow! Let It Snow! by Frank Sinatra6. Jingle Bell Rock: Bobby Helms vs. Rascal Flatts7. The Twelve Days of Christmas: Straight No Chaser vs. Relient K8. Up On the Housetop: Pentatonix vs. The Jackson 59. Jingle Bells: Lauren Daigle vs. Glee Cast10. Angels We Have Heard on High: Josh Turner vs. Josh GrobanOutro song: Mary, Did You Know? by Reba McEntire

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Arte Refact - 月に寄りそう乙女の夜の作法；2.Maroo - Heart；3.David Nevue - Under the Setting Sun；4.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)。

Cet épisode se penche sur "Stand By Me" de Ben E. King et sur la fin de carrière des Drifters. Ben E King, Stand By Me Frankie Avalon, Two Fools Ben E. King and the Drifters, This Magic Moment Ben E. King and the Drifters, Save the Last Dance For Me Ben E. King et LaVern Baker, How Often Ben E. King, Spanish Harlem Sœur Rosetta Tharpe, Stand By Me The Soul Stirrers, Stand By Me, Father Ben E. King, Don't Play That Song (You Lied) Ben E. King What Is Soul ? The Soul Clan, “Soul Meeting The Embraceables, My Foolish Pride The Drifters, Up On the Roof The Drapers, (I Know) Your Love Has Gone Away The Drifters, On Broadway Rudy Lewis, I've Loved You So Long Jay and the Americans, Only in America The Drifters, Under the Boardwalk The Drifters, Saturday Night at the Movies Ben E. King, Supernatural Thing

Title by Beata Calka Aussie actor Rachel Berry can't get Broadway famous with a name like that. Luckily, with the help of Stephen Sondheim (formerly known as Matthew Morrison) she is about to get her big break! Song List: "Something That Would Appeal to Us", "Up On the Stage", "A Happy Contract Song", "Love to Hate", "Time to Shine", "The Crucible: The Musical", "This is Us Doing Alright" Wanna show Impromptunes some financial love? Check out our Patreon here: https://www.patreon.com/impromptunes Cast: Amelia June, Izaak Lim, Jacob Kuek and David Peake on keys Teched by Simone McGinniskin Edited by Morgan Phillips

Cover art: Martha Szabo, Rooftops in Snow 11, oil on linen, 24 x 35 in., circa 1964 To learn more, please visit the sites for Martha Szabo and MSeum. Show Notes:0:00 Art historian Kathleen Hulser1:30 Journalist Julia Szabo's motivation to work on Martha Szabo's body of work4:30 MSeum to be built in the Catskills5:00 National Association of Women in Construction7:50 Justice for unknown female artists11:15 Museum's mission related to blind and low-vision visitors13:45 Sculpture Robin Antar's limestone sculpture of Szabo's “Red Sunset”15:20 Legacy to be created with MSeum includes redefining storage16:45 Visible storage space18:30 Julia Szabo's parents 19:45 ‘Mother Artist' field of scholarship20:00 Author Hettie Judah 21:20 Reception for Martha Szabo's exhibition Up On the Roof22:10 Artist Christina Massey 23:20 Museum's director Kathleen Hulser24:30 “Up On the Roof” exhibition curated by Hulser26:00 “Incorrigibles” trans media project27:45 MSeum's creation and mission34:15 Hulser's scope a MuSeum 36:45 Martha Szabo's background and how it impacted her work  43:15 Feedback about Martha Szabo's solo exhibition Up On The Roof: Liberation, Transformation, Celebration49:35 MSeum and exhibitions like “Up On The Roof” role in bringing some historical justice for female creatives 52:10 David Richard Gallery Please share your comments and/or questions at stephanie@warfareofartandlaw.comTo hear more episodes, please visit Warfare of Art and Law podcast's website.To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Thanks so much for listening!© Stephanie Drawdy [2023]

WEEEEEE'RRREE BACK! This Time, Breaking Down UFC Noche: Grasso vs Shevchenko! Will Grasso Shock The World Going 2 Up On "The Bullet"? Or Will Grasso Remain Mexico's Queen Of The UFC And Put Shevchenko's Championship Aspirations To Sleep? Without Any Further A Do, Let's Get This Started And STEP INTO THE RING!!!! Link To YouTube Channel: https://www.youtube.com/channel/UCGFFUdQf9XF3fBj8TICfe2Q ufc, wwe, ufc noche, noche ufc, mma, mma predictions, mma breakdowns, full card breakdown, grasso vs shevchenko, alexa grasso, valentina shevchenko, sean strickland, israel adesanya, ufc 293, ufc 294, ufc podcast, ufc picks, mma picks --- Support this podcast: https://podcasters.spotify.com/pod/show/marc-m/support

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Snoyi - Mama；2.Svanur - The World Is Asleep；3.The O'Neill Brothers - Take Me Home, Country Roads；4.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Snoyi - Mama；2.Svanur - The World Is Asleep；3.The O'Neill Brothers - Take Me Home, Country Roads；4.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)。

Enjoy 4.5 hours of cozy, crackling fire with this Christmas fireplace. Includes 40 different Christmas piano songs with natural fire sounds and another 2+ hours of just the fireplace alone. Perfect in the background for unwrapping gifts, baking cookies, Christmas dinner, or just reading or sleeping. Christmas Fireplace Cozy Ambience | Best Instrumental Christmas Music | Best Piano Christmas Music | Crackling Fire Sounds | Holiday Yule Log | 4.5 Hours (2022) Features Classic Christmas songs: 00:00:00:00 Carol of the Bells 00:03:41:09 Ding Dong Merrily on Hig 00:06:46:15 O Christmas Tree 00:09:54:04 The Holly & the Ivy 00:12:56:10 Here We Come A-Caroling 00:15:54:19 O Little Town of Bethlehem 00:18:58:16 The Nutcracker - Waltz of the Flowers 00:26:29:02 Up On the House-top 00:29:28:22 The Twelve Days of Christmas 00:33:35:18 We Wish You a Merry Christmas 00:36:27:07 What Child Is This 00:39:29:12 Joy to the World 00:42:39:11 Deck the Halls 00:45:13:11 Jingle Bells 00:48:25:05 The Nutcracker - The Sugar Plum Fairy & Her Prince 00:50:31:18 Angels We Have Heard on High 00:53:35:11 The First Noël 00:56:22:06 God Rest Ye Merry Gentlemen 00:59:24:19 It Came Upon a Midnight Clear 01:02:29:03 Christmas Canon 01:09:21:16 I Wander As I Wonder 01:12:28:17 The Nutcracker - Waltz of the Snowflakes 01:20:33:15 Adeste Fideles 01:23:48:18 In the Bleak Midwinter 01:26:49:06 In Dulci Jublio 01:29:48:10 Jesu, Man's Desiring 01:32:57:23 O Come, O Come Emmanuel 01:36:10:21 We Three Kings 01:39:20:14 The Nutcracker - March 01:41:53:11 I Heard the Bells on Christmas Day 01:45:13:18 I Saw Three Ships 01:48:00:19 Good King Wenceslas 01:51:22:21 Away in a Manger 01:54:07:16 Coventry Carol 01:56:53:08 Toyland Fireplace sounds for your home. ASMR Fireplace Ambience. Fireplace with burning logs and crackling fire sounds for stress relief & sleeping. Enjoy a beautiful burning fireplace in high quality. Your virtual fireplace on TV – can practically feel the warmth of the burning wood. Fireplace Sounds for Insomnia Symptoms, Sleeping Problems, Sleeping Disorders, Reduce Stress, Fall Asleep, Insomnia Relief, try listening for a few minutes, and you will fall asleep. Beautiful fires burn for a long time, and the pleasant crackling sound is excellent for sound sleep, studying and relaxation. ©2022 Nature Sound Retreat. All Rights Reserved. All videos and music are the sole copyright of Nature Sound Retreat. Licensing inquiries can be sent via Private Message. #ChristmasAmbience #ChirstmasFireplaceAmbience #CozyFireplaceChristmas #Fireplace #powernapmusiclive #firesounds #fire #kamin #fireplaceambience #fireplacesound #relaxing #campfire #kominek #deepsleep #relaxingmusic #cozyfireplace #relaxing #cracklingfire #asmr #sleepsounds #live #NatureSoundRetreat #soothingrelaxation #relaxationfilms #CozyAmbience

Season 25 Episode 9 "Lift me Up" - On this Episode we breakdown all the news in TV and Movies from 11/8/22-11/14/22, We have Non-Spoiler Movie Reviews of "Black Panther: Wakanda Forever" and "Weird: The Al Yankovic Story" PLUS we have a TV Review of "Tulsa King" #BlackPanther #WakandaForever #WeirdAlYankovic #AIOTA #PCP #PCPUniverse --- Send in a voice message: https://anchor.fm/popculturepros/message Support this podcast: https://anchor.fm/popculturepros/support

*We Do Not Own the Rights to Any music place on Up & On the Move with the GIG for God Squad*. The Wait is Over is letting our listeners know that the storms in life doesn't last always. To trust and believe God and those things that hold to you captive God will cause to loosen you from. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/gig-for-god/message

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；2.MANYO - Thin purple；3.天門 - Two, Only Two；4.Andre Gagnon - Comme Au Premier Jour。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；2.MANYO - Thin purple；3.天門 - Two, Only Two；4.Andre Gagnon - Comme Au Premier Jour。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；2.MANYO - Thin purple；3.天門 - Two, Only Two；4.Andre Gagnon - Comme Au Premier Jour。

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；2.MANYO - Thin purple；3.天門 - Two, Only Two；4.Andre Gagnon - Comme Au Premier Jour。

(Poditics, Fo's Up) On this episode Jurn is Missing In Action. The guys address the new dress code policies set in place by popular venues in the city of Buffalo. Providing our personal experiences with going to these establishments as well as trying to figure out who they are trying to target specifically and why. Then the guys discuss if the publics opinion would be similar if a black-owned venue had set a dress code policy in place also. Gears are then switched to Red Flags, everyone has their own set of red flags that they look out for when it comes to relationships of all kind, more specifically we discuss red flags when it comes to money, communication and family and much more.

We're going to discuss some of the top stories all coming from new Smacks with their permission of course, with some of their Top Line of news for Friday and today concerning the current crisis and situation about our country under Joe Biden and Kamala Harris's administration of lack of ministration oversight or their of. I'll let you decide on that folks. About the horrible situation Up On the Border crisis that's going on in our nation how much crime is going up exponentially in a lot of cities plus, a whole lot more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mikel-desilvis/support

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Find My Way (feat. Beck) by Paul McCartney; Beck on Find My Way (feat. Beck) (Capitol) 0′16″ I'm Doing Fine (feat. Amp Dog Knight) by Moodymann on Black Mahogani (Moodyman) 9′26″ Lamb's Wool (With Poolside) by Foster The People, Poolside on Single (Self Release) 9′36″ Bambi by Hippo Campus on Bambi (Grand Jury) 14′24″ Wendy by The Drums on Mommy Don't Spank Me (Universal) 20′45″ The Melting of the Sun by St. Vincent on Daddy's Home (Loma Vista) 34′33″ Don't Do It by Sharon Van Etten (Ba Da Bing) 40′12″ Garden by Dinosaur Jr. (JagJaguwar) 43′58″ Johnny Appleseed by Joe Strummer and the Mescaleros on Global A Go-Go (Hellcat) 47′17″ Sinking Feeling by Wavves (Fat Possum Records) 52′10″ Up On the Sun by Meat Puppets on Up On The Sun (SST) 53′57″ It's Every Season (whole new mess) by Angel Olsen (Jagjaguwar) 58′55″ October by Broken Bells on Broken Bells (Sony Music) 63′31″ Idiot by Jenny Lewis, Serengeti (Love Way) 67′15″ Peace Of Mind by Rema (Mavin Records) 68′48″ African in New York by Shirazee on Lost (Juss Different) 72′08″ Come Over by VanJess (Keep Cool) 75′21″ Baby Got Work by Potatohead People (Bastard Jazz Recordings) 80′31″ Cool Me Down by DJ Tunez (Star Boy Entertainment) 84′03″ Silver Tongue Devil (feat. Shenseea by Massego (UMG) 85′21″ Bir Sana Bir De Bana by Baba Zula on Baba Zula Box Set (Pozitif Muzik) 91′41″ Heavy Voodoo by Lee "Scratch" Perry on Scratch Came, Scratch Saw (Megawave Recordings) 94′19″ Lose My Cool by Amber Mark on Lose My Cool (jasmine music ltd) 98′49″ Confessions by Sudan Archives on Athena (Stones Throw) 102′01″ Do Not Disturb by Mahalia on Single (Asylum Records) 104′31″ Moonman by Nick Hakim (NYKO) 107′13″ Can't Let You Go by Terrance Martin (Sounds of Crenshaw) 110′35″ Coming Outta The Rain by Salaam Remi (Louder Than Life Records) 113′44″ Acid Raindrops by People Under The Stairs on Acid Raindrops (Om Records) Check out the full archives on the website.

QUICK HITS caleb and rafe have a grand time bullshitting and laughing at their own jokes. caleb talks about his favorite food youtube channels where he gets inspiration, like j. kenji lopez-alt (who caleb tags on insta like a fanboy), babish, food wishes, and josh weissman. rafe is super stoked that patoogins (https://patoogins.com) started a The post Up On the Mic appeared first on rafe hates caleb.

Chris and Adam reflect on their Christmases and make New Years resolutions. The Padres made a giant splash adding two aces in one day. Chris lets us know whether those acquisitions make the Padres the top team in the NL. The guys then submit their Mount Rushmore of Christmas movies, identify the losers of two NBSP bets and paying up on those bets, and finally, the guys review Sam Morril's newest special, Up On the Roof.

Christmas Fireplace 🔥| Best Instrumental Christmas Music | Best Piano Christmas Music | Crackling Fire Sounds 🔥 | Holiday Yule Log | 4.5 Hours (2020) Enjoy 4.5 hours of a relaxing, crackling fire with this Christmas fireplace. Includes 40 different Christmas piano songs with natural fire sounds and another additional 2+ hours of just the fireplace alone. Perfect in the background for unwrapping gifts, baking cookies, Christmas dinner or just reading. Features Classic Christmas songs: 00:00:00:00 Carol of the Bells 00:03:41:09 Ding Dong Merrily on High 00:06:46:15 O Christmas Tree 00:09:54:04 The Holly & the Ivy 00:12:56:10 Here We Come A-Caroling 00:15:54:19 O Little Town of Bethlehem 00:18:58:16 The Nutcracker - Waltz of the Flowers 00:26:29:02 Up On the House-top 00:29:28:22 The Twelve Days of Christmas 00:33:35:18 We Wish You a Merry Christmas 00:36:27:07 What Child Is This 00:39:29:12 Joy to the World 00:42:39:11 Deck the Halls 00:45:13:11 Jingle Bells 00:48:25:05 The Nutcracker - The Sugar Plum Fairy & Her Prince 00:50:31:18 Angels We Have Heard on High 00:53:35:11 The First Noël 00:56:22:06 God Rest Ye Merry Gentlemen 00:59:24:19 It Came Upon a Midnight Clear 01:02:29:03 Christmas Canon 01:09:21:16 I Wander As I Wonder 01:12:28:17 The Nutcracker - Waltz of the Snowflakes 01:20:33:15 Adeste Fideles 01:23:48:18 In the Bleak Midwinter 01:26:49:06 In Dulci Jublio 01:29:48:10 Jesu, Man's Desiring 01:32:57:23 O Come, O Come Emmanuel 01:36:10:21 We Three Kings 01:39:20:14 The Nutcracker - March 01:41:53:11 I Heard the Bells on Christmas Day 01:45:13:18 I Saw Three Ships 01:48:00:19 Good King Wenceslas 01:51:22:21 Away in a Manger 01:54:07:16 Coventry Carol 01:56:53:08 Toyland ©2020 Nature Sound Retreat - All Rights Reserved.

Episode ninety-four of A History of Rock Music in Five Hundred Songs looks at “Stand By Me” by Ben E. King, and at the later career of the Drifters. 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 “If I Had a Hammer” by Trini López. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  This 3-CD set has all Ben E. King’s recordings, both solo and with the Drifters, the Crowns, and LaVern Baker, up to 1962. This episode follows on from episode seventy-five, on “There Goes My Baby”. I’m not going to recommend a Drifters compilation, because I know of none that actually have only the original hit recordings without any remakes or remixes. The disclaimer in episode seventy-five also applies here — I may have used an incorrect version of a song here, because of the sloppy way the Drifters’ music is packaged. My main resource in putting this episode together was Marv Goldberg’s website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney’s later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. And Bill Millar’s book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we’re going to look at a song that ties together several of the threads we’ve looked at in previous episodes. We’re going to look at a song that had its roots in a gospel song that had been performed by Sister Rosetta Tharpe, that involves the Drifters, Leiber and Stoller, and Phil Spector, and which marks the highpoint of the crossover from gospel to pop audiences that had been started by Ray Charles. We’re going to look at “Stand By Me”, by Ben E King. [Excerpt: Ben E King, “Stand By Me”] When we left the Drifters, they’d hit a legal problem. When the contracts for the individual members had been sold to George Treadwell, the owner of the Drifters’ name, Ben E King’s contract had not been sold with the rest. This had meant that while King continued to sing lead on the records, including the first few big hits of this new lineup of Drifters, he wasn’t allowed to tour with them, and so they’d had to bring in a soundalike singer, Johnnie Lee Williams, to sing his parts on stage. So there were now five Drifters in the studio, but only four of them in the touring group. That might seem like an unworkable arrangement for any length of time, and so it turned out, but at first this was very successful. Leiber and Stoller continued producing records for this new Drifters lineup, but didn’t tend to write for them. They were increasingly tiring of writing to a teenage audience that didn’t really share their tastes, and were starting to move into writing for adult stars like Peggy Lee. And so Leiber and Stoller increasingly relied on songs by other writers, and one team they particularly relied on was Pomus and Shuman. You’ll remember we’ve talked about them in association with both the Drifters and Leiber and Stoller previously, and that they’d been the ones who’d discovered the Ben E. King lineup of the Drifters. Doc Pomus was one of the great R&B songwriters of the fifties, but by 1960 he and Mort Shuman, who was thirteen years younger than him, had written a whole string of hits for white performers like Fabian, Bobby Rydell, Frankie Avalon, and Bobby Darin. A typical example of the stuff they were writing was “Two Fools” for Frankie Avalon: [Excerpt: Frankie Avalon, “Two Fools”] They were one of the hottest teams in the Brill Building, but they still had a sensibility for the R&B music that the Drifters had their roots in, and so they were the perfect writers to provide crossover hits for the group, and that’s what they did. They’d already written “If You Cry True Love, True Love” for the group, which had gone to number thirty-three and which had been the only Drifters single on which Williams had taken a lead vocal, and now they wrote a song for King to sing, “This Magic Moment”: [Excerpt: Ben E. King and the Drifters, “This Magic Moment”] That made number sixteen on the pop charts. But the next song they wrote for the group was a much bigger success, and a far more personal song. Pomus was paraplegic after having had polio as a child, and either used crutches or a wheelchair to get around. His wife, though, was younger, and was an actor and dancer. On their wedding day, Pomus was unable to dance with her himself, and watched as she danced with a succession of other people. The feeling stayed with him, and a few years later, he turned those thoughts into a set of lyrics, which Shuman then put to music with a vaguely Latin feel, like many of the Drifters’ recent hits. The result was a number one record, and one of the all-time classic songs of the rock and roll era: [Excerpt: Ben E. King and the Drifters, “Save the Last Dance For Me”] That song has gone on to be one of the most covered songs of all time, with recordings by Tina Turner, Leonard Cohen, Buck Owens, Jerry Lee Lewis, The Swinging Blue Jeans, Harry Nilsson, and Bruce Willis, among many others. It would be the Drifters’ only number one on the pop charts, and it was also Ben E King’s last single with the Drifters, after King’s manager Lover Patterson came to an agreement with the Drifters’ manager George Treadwell that would let King move smoothly into a solo career. There might have been more to it than that, as there seems to have been a lot of negotiation going on around the group’s future at this time. There were reports, for example, that King Records were negotiating to buy the Drifters’ contract from Atlantic, which would have been interesting — it’s hard to see the group continuing to have success at King, which didn’t have Leiber and Stoller, and which put out very different records from Atlantic. But either way, the result was that Ben E. King started performing solo, and indeed by the time “Save the Last Dance” came out, he had already released a couple of solo records. The first of these was not a success, and nor was the second, a duet with LaVern Baker: [Excerpt: Ben E. King and LaVern Baker, “How Often”] But the third was something else. At this point, as a favour to their old friend Lester Sill, Leiber and Stoller were mentoring a kid that Sill thought had promise, named Phil Spector, who we’ve talked about before in the episode on The Gamblers, but who had now moved over to New York for a time. Spector was staying with Leiber, and would follow him around literally everywhere, claiming that he was so traumatised by his father’s death that he couldn’t be left alone at any time. Leiber found Spector annoying, but owed Sill a favour, and so kept working with him. And Spector kept pestering Leiber to collaborate with him on some songs. Leiber told Spector, “No, I write with Mike Stoller”, to which Spector would reply, “Well, he can write with us too.” Leiber explained to him that that wasn’t how things worked, and that if there was any collaboration, it would be Leiber and Stoller letting Spector write with them, not Spector graciously allowing Stoller to write with him and Leiber. Spector said that that was what he had meant, of course. Leiber and Stoller reluctantly agreed that Spector could write with them, but then Stoller was unable to turn up to the writing session. Spector persuaded Leiber to go ahead and just write a song with him since Stoller wasn’t around. He agreed, and they came up with a song called “Spanish Harlem”, to which Stoller later added a prominent instrumental line, for which he didn’t claim credit, because he thought that Spector would only whine, and he didn’t need the hassle. Or at least, that’s the story that normally gets told — there are people who knew Ritchie Valens who say that the marimba riff on the record, which became the most defining feature of the song, was actually something that Valens had been regularly playing in the months before he died. According to them, Spector, who moved in the same circles as Valens, must have stolen the riff from him. I tend to believe Stoller’s version of the story myself, but either way, Leiber, Stoller, and Spector played the song to Jerry Wexler and Ahmet Ertegun as a trio, with Stoller on piano, Spector on guitar, and Leiber singing. They agreed it should be on the B-side of the next single by King, though the song was popular enough that the record was soon flipped, and “Spanish Harlem” made the top ten: [Excerpt: Ben E. King, “Spanish Harlem”] But that wasn’t even the most important record they made at that session, because after recording it, they decided to record a song that King had written for the Drifters, but which they had turned down. King had brought in the basic idea for the song, and Leiber had helped him finish off the lyric, while Stoller had helped with the music — the resulting songwriting credit gave fifty percent of the royalties to King, and twenty-five percent each to Leiber and Stoller, as a result. King’s song had a long prehistory before he wrote it, and like many early soul songs it had its basis in gospel music. The original source for the song is a spiritual from 1905 by Rev. Charles Albert Tindley, which had been recorded by various people, including Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe, “Stand By Me”] But the proximate influence for the song was a song that Sam Cooke had written for his old group, the Soul Stirrers, the year before, which had in turn been inspired by Tindley’s song. The lead vocal on the Soul Stirrers’ record was by Johnnie Taylor, a friend of Cooke’s who had replaced Cooke in his first group, the Highway QCs, and then replaced him in his second one, because he sounded exactly like Cooke: [Excerpt: The Soul Stirrers, “Stand By Me, Father”] King idolised Cooke, and was inspired by that record to come up with his own variant on the song. Working with Leiber and Stoller, he carefully crafted his secular adaptation of it, writing a lyric that worked equally well as a gospel song or as a song to a lover, other than the words “darling, darling” in the chorus. The chord sequence they used was a simple adaptation of the standard doo-wop chord changes. On a normal doo-wop song, the chords would go I, minor vi, IV, V, with each chord taking up the same amount of time, like this: [demonstrates on guitar] Stoller took those changes, and made the I and minor vi last two bars each, [demonstrates] then had the IV and V chords both last a bar, then go to two more bars of the I chord. [demonstrates] That bar of IV, bar of V, two bars of I thing is almost what you get at the end of a twelve-bar blues, except there you go V, IV, I, I, rather than IV, V, I, I. So to compare, here’s the end of a twelve-bar blues: [demonstrates] And here’s what Stoller did again: [demonstrates] So effectively Stoller has taken the two most hackneyed chord sequences in rock and roll music, and hybridised them to turn them into a single new sequence that’s instantly recognisable: [demonstrates on guitar] In later years, Leiber always gave Stoller the credit for the song’s success, saying that while the lyrics and melody were good, and King’s performance exceptional, it was the bass line that Stoller came up with which made the song the success it was. I agree, to a large extent — but that bassline is largely just following the root notes of the chord sequence that Stoller had written. But it’s one of the most immediately recognisable pieces of music of the early sixties: [Excerpt: Ben E. King, “Stand By Me”] The record sounded remarkably original, for something that was made up almost entirely out of repurposed elements from other songs, and it shows more clearly than perhaps any other song that originality doesn’t mean creating something entirely ab initio, but can mean taking a fresh look at things that are familiar, and putting just a slight twist on them. In particular, one thing that doesn’t get noted enough is just how much of a departure the song was lyrically. People had been reworking gospel ideas into secular ones for years — we’ve already looked at Ray Charles doing this, and at Sam Cooke, and there were many other examples, like Little Walter turning “This Train” into “My Babe”. But in most cases those songs required wholesale lyrical reworking. “Stand By Me” is different, it brings the lyrical concerns and style of gospel firmly into the secular realm. “If the sky that we look upon should tumble and fall, and the mountains should crumble to the sea” is an apocalyptic vision, not “Candy’s sweet/And honey too/There’s not another quite, quite as sweet as you”, which were the lyrics Sam Cooke wrote when he turned a song about how God is wonderful into one about how his girl is loveable. This new type of more gospel-inflected lyric would become very common in the next few years, especially among Black performers. Another building block in the music that would become known as soul had been put in place. The record went to number four on the charts, and it looked like he was headed for a huge career. But the next few singles he released didn’t do so well — he recorded a version of the old standard “Amor” which made number nineteen, and then his next two records topped out at sixty-six and fifty-six. He did get back in the pop top twenty with a song co-written by his wife and Ahmet Ertegun, “Don’t Play That Song (You Lied)”, which reached number eleven and became an R&B standard: [Excerpt: Ben E. King, “Don’t Play That Song (You Lied)”] But as many people did at the time, he tried to move into the more lucrative world of adult supper-club singers, rather than singing R&B. While his version of “I Who Have Nothing” — a French song that has since become a standard, and whose English lyrics were written for King by Leiber and Stoller — managed to reach number twenty-nine, everything else did terribly. He sang “I Could Have Danced All Night” and “What Now My Love?” perfectly well, but that wasn’t what the audience wanted from him. He made some great records in the later 60s, like “What Is Soul”: [Excerpt: Ben E. King “What Is Soul?”] But even teaming up with Solomon Burke, Don Covay, Joe Tex, and Arthur Conley as The Soul Clan didn’t help him kickstart his recording career: [Excerpt: The Soul Clan, “Soul Meeting”] He asked to be let go from his contract with Atlantic in 1969, and spent a few years in the early seventies recording for small labels. Meanwhile, the Drifters were continuing without King. After King left, Atlantic started releasing whatever material they had in their vaults, both songs with King’s leads and older records from the earlier line-up of Drifters. But they were about to have even more personnel shifts. When they were on tour and got to Mobile, Alabama, Johnny Lee Williams said that he was just going to stay there and not continue on the tour — he was sick of not getting to sing lead vocals, and he came from Mobile anyway. Williams went on to join a group called the Embraceables, who released this with him singing lead: [Excerpt: The Embraceables, “My Foolish Pride”] That was later rereleased as by The Implaceables, for reasons I’ve not been able to discover. The Drifters got in a replacement for Williams, James Poindexter, but he turned out to have stage fright, and the group spent several months as a trio, before being joined by new lead singer Rudy Lewis. And then Elsbeary Hobbs, the group’s bass singer, was drafted, and the group got in a couple of different singers before settling on Tommy Evans, who had sung with the old versions of the Drifters in the fifties. The new lineup, Rudy Lewis, Charlie Thomas, Dock Green, and Tommy Evans, would be one of the group’s longest-lasting lineups, lasting more than a year, and would record hits like “Up On the Roof”, by Goffin and King: [Excerpt: The Drifters, “Up On the Roof”] But then Dock Green left the group. He and Tommy Evans joined another group — even though Evans was also still in the Drifters. The Drapers, the group they joined, was managed by Lover Patterson, Ben E. King’s manager, and had been given a name that sounded as much like “The Drifters” as possible. As well as Green and Evans, it also had Johnny Moore and Carnation Charlie Hughes, who had been in the same 1956 lineup of the Drifters that Tommy Evans had been in. That lineup of the Drapers released one single that didn’t do particularly well: [Excerpt: The Drapers, “(I Know) Your Love Has Gone Away”] The new Drifters lineup, without Dock Green, recorded “On Broadway”, a song that Leiber and Stoller had co-written with the Brill Building team of Mann and Weill. The guitar on the record was by Phil Spector — he was by that point a successful producer, but Leiber and Stoller had bumped into him on the way to the session and invited him to sit in: [Excerpt: The Drifters, “On Broadway”] Tommy Evans then also left the Drifters, and was replaced by Johnny Terry, leaving a lineup of Rudy Lewis, Charlie Thomas, Gene Pearson, and Johnny Terry. But Rudy Lewis, the lead singer of the group since just after King had left, was thinking of going solo, and even released one solo single: [Excerpt: Rudy Lewis, “I’ve Loved You So Long”] That wasn’t a success, but George Treadwell wanted some insurance in case Lewis left, so he got Johnny Moore — who had been in the group in the fifties and had just left the Drapers — to join, and for a few months Lewis and Moore traded off leads in the studio. One song that they recorded during 1963, but didn’t release, was “Only in America”, written for them by Leiber and Stoller. Leiber and Stoller had intended the song to be a sly satire, with Black people singing about the American dream, but Atlantic worried that in the racial climate of 1963, the satire would seem tasteless, so they took the Drifters’ backing track and got Jay and the Americans, a white group, to record new vocals, turning it into a straightforward bit of boosterism: [Excerpt: Jay and the Americans, “Only in America”] Tragedy struck on the day the Drifters recorded what would be their last US top ten hit, the twenty-first of May 1964. Johnny Moore bumped into Sylvia Vanterpool, of Mickey and Sylvia, and she said “thank God it wasn’t you”. He didn’t know what she was talking about, and she told him that Rudy Lewis had died suddenly earlier that day. The group went into the studio anyway, and recorded the songs that had been scheduled, including one called “I Don’t Want To Go On Without You” which took on a new meaning in the circumstances. But the hit from the session was “Under the Boardwalk”, with lead vocals from Moore: [Excerpt: The Drifters, “Under the Boardwalk”] This version of the group — Johnny Moore, Charlie Thomas, Gene Pearson, and Johnny Terry, would be the longest-lasting of all the versions of the group managed by George Treadwell, staying together a full two years. But after “Under the Boardwalk”, which went to number four, they had no more top ten hits in the US. The best they could do was scrape the top twenty with “Saturday Night at the Movies”: [Excerpt: The Drifters, “Saturday Night at the Movies”] There were several more lineup changes, but the big change came in 1967 when George Treadwell died. His wife, Faye, took over the management of the group, and shortly after that, Charlie Thomas — the person who had been in the group for the longest continuous time, nine years at that point, decided to leave. There were a lot more squabbles and splinter groups, and by 1970 the Drifters’ career on Atlantic was over. By this point, there were three different versions of The Drifters. There was a group called The Original Drifters, which had formed in 1958 after the first set of Drifters had been fired, and was originally made up entirely of members of the early-fifties lineups, but which was now a revolving-door group based around Bill Pinkney, the bass singer of the Clyde McPhatter lineup, and stayed that way until Pinkney’s death in 2007. Then there was a version of the Drifters that consisted of Dock Green, Charlie Thomas, and Elsbeary Hobbs, the people who had been in Ben E. King’s version of the group. Charlie Thomas won the right to use the name in the USA in 1972, and continues touring with his own group there to this day, though no more of that lineup of the Drifters are with him. And then there was a UK-based group, managed by Faye Treadwell, with Johnny Moore as lead singer. That group scored big UK hits when the group moved to the UK in 72, with re-releases of mid-sixties records that had been comparative flops at the time — “Saturday Night at the Movies”, “At the Club”, and “Come On Over to My Place” all made the UK top ten in 1972, and Moore’s Drifters would have nine more top ten hits with new material in the UK between 1973 and 76. And Ben E. King, meanwhile, had signed again to Atlantic, and had a one-off top ten hit with “Supernatural Thing” in 1975: [Excerpt: Ben E. King, “Supernatural Thing”] But other than that he’d continued to have far less chart success than his vocal talents deserved, and in the eighties he moved to the UK and joined the UK version of the Drifters, singing his old hits on the nostalgia circuit with them, and adding more authenticity to the Johnny Moore lineup of the group. He spent several years like that, until in 1986 his career had a sudden resurgence, when the film Stand By Me came out and his single was used as the theme. On the back of the film’s success, the song reentered the top ten, twenty-five years after its initial success, and made number one in the UK. As a result, King became the first person to have hit the top ten in the US in the fifties, sixties, seventies, and eighties — a remarkable record for someone who had had relatively few hits. A greatest hits collection of King’s records made the top twenty in the UK, as well, and King left the Drifters to once again become a solo artist. But this is where we say goodbye to King, and to the Drifters, and to Leiber and Stoller as songwriters. The UK version of the Drifters carried on with Johnny Moore as lead singer until he died in 1998, and up to that point it was reasonable to think of that group as a real version of the Drifters, because Moore had sung with the group on hits in the fifties and sixties, and in the UK in the seventies – roughly eighty percent of records released as by The Drifters had had Moore singing on them. But after Moore’s death, it gets very confusing, with the Treadwell family apparently abandoning the trademark and moving back to the US, and then changing their mind, resulting in a series of lawsuits. The current UK version of the Drifters has nobody who was in the group before 2010, and is managed by George and Faye Treadwell’s daughter. They still fill medium-sized theatres on large national tours, because their audiences don’t seem to care, so long as they can hear people singing “Up On the Roof” and “On Broadway”, “There Goes My Baby” and “Save the Last Dance For Me”. In total thirty-four different people were members of the Drifters during their time with Atlantic Records. It’s the only case I know where a group identity was genuinely bigger than the members, where whoever was involved, somehow they carried on making exceptional records. Leiber and Stoller, meanwhile, will turn up again, once more, next year, as record executives, collaborating with another figure we’ve seen several times before to run a record label. But this is the last record we’ll look at with them as a songwriting team. We’ve been following their remarkable career since episode fifteen, and they would continue writing great songs for a huge variety of artists, but “Stand By Me” would be the last time they would come up with something that would change the music industry. It was the end of a truly remarkable run, and one which stands as one of the great achievements in twentieth century popular music. And Ben E. King, who was, other than Clyde McPhatter, the only member of the Drifters to ever break away and become a solo success, spent the last twenty-nine years of his life touring as a solo artist off the renewed success of his greatest contribution to music. He died in 2015, but as long as people listen to rock, pop, soul, or R&B, there’ll be people listening to “Stand By Me”.

Episode ninety-four of A History of Rock Music in Five Hundred Songs looks at "Stand By Me" by Ben E. King, and at the later career of the Drifters. 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 "If I Had a Hammer" by Trini López. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  This 3-CD set has all Ben E. King's recordings, both solo and with the Drifters, the Crowns, and LaVern Baker, up to 1962. This episode follows on from episode seventy-five, on "There Goes My Baby". I'm not going to recommend a Drifters compilation, because I know of none that actually have only the original hit recordings without any remakes or remixes. The disclaimer in episode seventy-five also applies here -- I may have used an incorrect version of a song here, because of the sloppy way the Drifters' music is packaged. My main resource in putting this episode together was Marv Goldberg's website, and his excellent articles on both the early- and late-period Drifters, Bill Pinkney's later Original Drifters, the Five Crowns, and Ben E. King.  Lonely Avenue, a biography of Doc Pomus by Alex Halberstadt, helped me with the information on Pomus. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. And Bill Millar's book on the Drifters, while it is more a history of 50s vocal group music generally using them as a focus than a biography of the group, contains some interesting material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at a song that ties together several of the threads we've looked at in previous episodes. We're going to look at a song that had its roots in a gospel song that had been performed by Sister Rosetta Tharpe, that involves the Drifters, Leiber and Stoller, and Phil Spector, and which marks the highpoint of the crossover from gospel to pop audiences that had been started by Ray Charles. We're going to look at "Stand By Me", by Ben E King. [Excerpt: Ben E King, "Stand By Me"] When we left the Drifters, they'd hit a legal problem. When the contracts for the individual members had been sold to George Treadwell, the owner of the Drifters' name, Ben E King's contract had not been sold with the rest. This had meant that while King continued to sing lead on the records, including the first few big hits of this new lineup of Drifters, he wasn't allowed to tour with them, and so they'd had to bring in a soundalike singer, Johnnie Lee Williams, to sing his parts on stage. So there were now five Drifters in the studio, but only four of them in the touring group. That might seem like an unworkable arrangement for any length of time, and so it turned out, but at first this was very successful. Leiber and Stoller continued producing records for this new Drifters lineup, but didn't tend to write for them. They were increasingly tiring of writing to a teenage audience that didn't really share their tastes, and were starting to move into writing for adult stars like Peggy Lee. And so Leiber and Stoller increasingly relied on songs by other writers, and one team they particularly relied on was Pomus and Shuman. You'll remember we've talked about them in association with both the Drifters and Leiber and Stoller previously, and that they'd been the ones who'd discovered the Ben E. King lineup of the Drifters. Doc Pomus was one of the great R&B songwriters of the fifties, but by 1960 he and Mort Shuman, who was thirteen years younger than him, had written a whole string of hits for white performers like Fabian, Bobby Rydell, Frankie Avalon, and Bobby Darin. A typical example of the stuff they were writing was "Two Fools" for Frankie Avalon: [Excerpt: Frankie Avalon, "Two Fools"] They were one of the hottest teams in the Brill Building, but they still had a sensibility for the R&B music that the Drifters had their roots in, and so they were the perfect writers to provide crossover hits for the group, and that's what they did. They'd already written "If You Cry True Love, True Love" for the group, which had gone to number thirty-three and which had been the only Drifters single on which Williams had taken a lead vocal, and now they wrote a song for King to sing, "This Magic Moment": [Excerpt: Ben E. King and the Drifters, "This Magic Moment"] That made number sixteen on the pop charts. But the next song they wrote for the group was a much bigger success, and a far more personal song. Pomus was paraplegic after having had polio as a child, and either used crutches or a wheelchair to get around. His wife, though, was younger, and was an actor and dancer. On their wedding day, Pomus was unable to dance with her himself, and watched as she danced with a succession of other people. The feeling stayed with him, and a few years later, he turned those thoughts into a set of lyrics, which Shuman then put to music with a vaguely Latin feel, like many of the Drifters' recent hits. The result was a number one record, and one of the all-time classic songs of the rock and roll era: [Excerpt: Ben E. King and the Drifters, "Save the Last Dance For Me"] That song has gone on to be one of the most covered songs of all time, with recordings by Tina Turner, Leonard Cohen, Buck Owens, Jerry Lee Lewis, The Swinging Blue Jeans, Harry Nilsson, and Bruce Willis, among many others. It would be the Drifters' only number one on the pop charts, and it was also Ben E King's last single with the Drifters, after King's manager Lover Patterson came to an agreement with the Drifters' manager George Treadwell that would let King move smoothly into a solo career. There might have been more to it than that, as there seems to have been a lot of negotiation going on around the group's future at this time. There were reports, for example, that King Records were negotiating to buy the Drifters' contract from Atlantic, which would have been interesting -- it's hard to see the group continuing to have success at King, which didn't have Leiber and Stoller, and which put out very different records from Atlantic. But either way, the result was that Ben E. King started performing solo, and indeed by the time "Save the Last Dance" came out, he had already released a couple of solo records. The first of these was not a success, and nor was the second, a duet with LaVern Baker: [Excerpt: Ben E. King and LaVern Baker, "How Often"] But the third was something else. At this point, as a favour to their old friend Lester Sill, Leiber and Stoller were mentoring a kid that Sill thought had promise, named Phil Spector, who we've talked about before in the episode on The Gamblers, but who had now moved over to New York for a time. Spector was staying with Leiber, and would follow him around literally everywhere, claiming that he was so traumatised by his father's death that he couldn't be left alone at any time. Leiber found Spector annoying, but owed Sill a favour, and so kept working with him. And Spector kept pestering Leiber to collaborate with him on some songs. Leiber told Spector, "No, I write with Mike Stoller", to which Spector would reply, "Well, he can write with us too." Leiber explained to him that that wasn't how things worked, and that if there was any collaboration, it would be Leiber and Stoller letting Spector write with them, not Spector graciously allowing Stoller to write with him and Leiber. Spector said that that was what he had meant, of course. Leiber and Stoller reluctantly agreed that Spector could write with them, but then Stoller was unable to turn up to the writing session. Spector persuaded Leiber to go ahead and just write a song with him since Stoller wasn't around. He agreed, and they came up with a song called "Spanish Harlem", to which Stoller later added a prominent instrumental line, for which he didn't claim credit, because he thought that Spector would only whine, and he didn't need the hassle. Or at least, that's the story that normally gets told -- there are people who knew Ritchie Valens who say that the marimba riff on the record, which became the most defining feature of the song, was actually something that Valens had been regularly playing in the months before he died. According to them, Spector, who moved in the same circles as Valens, must have stolen the riff from him. I tend to believe Stoller's version of the story myself, but either way, Leiber, Stoller, and Spector played the song to Jerry Wexler and Ahmet Ertegun as a trio, with Stoller on piano, Spector on guitar, and Leiber singing. They agreed it should be on the B-side of the next single by King, though the song was popular enough that the record was soon flipped, and "Spanish Harlem" made the top ten: [Excerpt: Ben E. King, "Spanish Harlem"] But that wasn't even the most important record they made at that session, because after recording it, they decided to record a song that King had written for the Drifters, but which they had turned down. King had brought in the basic idea for the song, and Leiber had helped him finish off the lyric, while Stoller had helped with the music -- the resulting songwriting credit gave fifty percent of the royalties to King, and twenty-five percent each to Leiber and Stoller, as a result. King's song had a long prehistory before he wrote it, and like many early soul songs it had its basis in gospel music. The original source for the song is a spiritual from 1905 by Rev. Charles Albert Tindley, which had been recorded by various people, including Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe, "Stand By Me"] But the proximate influence for the song was a song that Sam Cooke had written for his old group, the Soul Stirrers, the year before, which had in turn been inspired by Tindley's song. The lead vocal on the Soul Stirrers' record was by Johnnie Taylor, a friend of Cooke's who had replaced Cooke in his first group, the Highway QCs, and then replaced him in his second one, because he sounded exactly like Cooke: [Excerpt: The Soul Stirrers, "Stand By Me, Father"] King idolised Cooke, and was inspired by that record to come up with his own variant on the song. Working with Leiber and Stoller, he carefully crafted his secular adaptation of it, writing a lyric that worked equally well as a gospel song or as a song to a lover, other than the words "darling, darling" in the chorus. The chord sequence they used was a simple adaptation of the standard doo-wop chord changes. On a normal doo-wop song, the chords would go I, minor vi, IV, V, with each chord taking up the same amount of time, like this: [demonstrates on guitar] Stoller took those changes, and made the I and minor vi last two bars each, [demonstrates] then had the IV and V chords both last a bar, then go to two more bars of the I chord. [demonstrates] That bar of IV, bar of V, two bars of I thing is almost what you get at the end of a twelve-bar blues, except there you go V, IV, I, I, rather than IV, V, I, I. So to compare, here's the end of a twelve-bar blues: [demonstrates] And here's what Stoller did again: [demonstrates] So effectively Stoller has taken the two most hackneyed chord sequences in rock and roll music, and hybridised them to turn them into a single new sequence that's instantly recognisable: [demonstrates on guitar] In later years, Leiber always gave Stoller the credit for the song's success, saying that while the lyrics and melody were good, and King's performance exceptional, it was the bass line that Stoller came up with which made the song the success it was. I agree, to a large extent -- but that bassline is largely just following the root notes of the chord sequence that Stoller had written. But it's one of the most immediately recognisable pieces of music of the early sixties: [Excerpt: Ben E. King, "Stand By Me"] The record sounded remarkably original, for something that was made up almost entirely out of repurposed elements from other songs, and it shows more clearly than perhaps any other song that originality doesn't mean creating something entirely ab initio, but can mean taking a fresh look at things that are familiar, and putting just a slight twist on them. In particular, one thing that doesn't get noted enough is just how much of a departure the song was lyrically. People had been reworking gospel ideas into secular ones for years -- we've already looked at Ray Charles doing this, and at Sam Cooke, and there were many other examples, like Little Walter turning "This Train" into "My Babe". But in most cases those songs required wholesale lyrical reworking. "Stand By Me" is different, it brings the lyrical concerns and style of gospel firmly into the secular realm. "If the sky that we look upon should tumble and fall, and the mountains should crumble to the sea" is an apocalyptic vision, not "Candy's sweet/And honey too/There's not another quite, quite as sweet as you", which were the lyrics Sam Cooke wrote when he turned a song about how God is wonderful into one about how his girl is loveable. This new type of more gospel-inflected lyric would become very common in the next few years, especially among Black performers. Another building block in the music that would become known as soul had been put in place. The record went to number four on the charts, and it looked like he was headed for a huge career. But the next few singles he released didn't do so well -- he recorded a version of the old standard "Amor" which made number nineteen, and then his next two records topped out at sixty-six and fifty-six. He did get back in the pop top twenty with a song co-written by his wife and Ahmet Ertegun, "Don't Play That Song (You Lied)", which reached number eleven and became an R&B standard: [Excerpt: Ben E. King, "Don't Play That Song (You Lied)"] But as many people did at the time, he tried to move into the more lucrative world of adult supper-club singers, rather than singing R&B. While his version of "I Who Have Nothing" -- a French song that has since become a standard, and whose English lyrics were written for King by Leiber and Stoller -- managed to reach number twenty-nine, everything else did terribly. He sang "I Could Have Danced All Night" and "What Now My Love?" perfectly well, but that wasn't what the audience wanted from him. He made some great records in the later 60s, like "What Is Soul": [Excerpt: Ben E. King "What Is Soul?"] But even teaming up with Solomon Burke, Don Covay, Joe Tex, and Arthur Conley as The Soul Clan didn't help him kickstart his recording career: [Excerpt: The Soul Clan, "Soul Meeting"] He asked to be let go from his contract with Atlantic in 1969, and spent a few years in the early seventies recording for small labels. Meanwhile, the Drifters were continuing without King. After King left, Atlantic started releasing whatever material they had in their vaults, both songs with King's leads and older records from the earlier line-up of Drifters. But they were about to have even more personnel shifts. When they were on tour and got to Mobile, Alabama, Johnny Lee Williams said that he was just going to stay there and not continue on the tour -- he was sick of not getting to sing lead vocals, and he came from Mobile anyway. Williams went on to join a group called the Embraceables, who released this with him singing lead: [Excerpt: The Embraceables, "My Foolish Pride"] That was later rereleased as by The Implaceables, for reasons I've not been able to discover. The Drifters got in a replacement for Williams, James Poindexter, but he turned out to have stage fright, and the group spent several months as a trio, before being joined by new lead singer Rudy Lewis. And then Elsbeary Hobbs, the group's bass singer, was drafted, and the group got in a couple of different singers before settling on Tommy Evans, who had sung with the old versions of the Drifters in the fifties. The new lineup, Rudy Lewis, Charlie Thomas, Dock Green, and Tommy Evans, would be one of the group's longest-lasting lineups, lasting more than a year, and would record hits like "Up On the Roof", by Goffin and King: [Excerpt: The Drifters, "Up On the Roof"] But then Dock Green left the group. He and Tommy Evans joined another group -- even though Evans was also still in the Drifters. The Drapers, the group they joined, was managed by Lover Patterson, Ben E. King's manager, and had been given a name that sounded as much like "The Drifters" as possible. As well as Green and Evans, it also had Johnny Moore and Carnation Charlie Hughes, who had been in the same 1956 lineup of the Drifters that Tommy Evans had been in. That lineup of the Drapers released one single that didn't do particularly well: [Excerpt: The Drapers, "(I Know) Your Love Has Gone Away"] The new Drifters lineup, without Dock Green, recorded "On Broadway", a song that Leiber and Stoller had co-written with the Brill Building team of Mann and Weill. The guitar on the record was by Phil Spector -- he was by that point a successful producer, but Leiber and Stoller had bumped into him on the way to the session and invited him to sit in: [Excerpt: The Drifters, "On Broadway"] Tommy Evans then also left the Drifters, and was replaced by Johnny Terry, leaving a lineup of Rudy Lewis, Charlie Thomas, Gene Pearson, and Johnny Terry. But Rudy Lewis, the lead singer of the group since just after King had left, was thinking of going solo, and even released one solo single: [Excerpt: Rudy Lewis, "I've Loved You So Long"] That wasn't a success, but George Treadwell wanted some insurance in case Lewis left, so he got Johnny Moore -- who had been in the group in the fifties and had just left the Drapers -- to join, and for a few months Lewis and Moore traded off leads in the studio. One song that they recorded during 1963, but didn't release, was "Only in America", written for them by Leiber and Stoller. Leiber and Stoller had intended the song to be a sly satire, with Black people singing about the American dream, but Atlantic worried that in the racial climate of 1963, the satire would seem tasteless, so they took the Drifters' backing track and got Jay and the Americans, a white group, to record new vocals, turning it into a straightforward bit of boosterism: [Excerpt: Jay and the Americans, "Only in America"] Tragedy struck on the day the Drifters recorded what would be their last US top ten hit, the twenty-first of May 1964. Johnny Moore bumped into Sylvia Vanterpool, of Mickey and Sylvia, and she said "thank God it wasn't you". He didn't know what she was talking about, and she told him that Rudy Lewis had died suddenly earlier that day. The group went into the studio anyway, and recorded the songs that had been scheduled, including one called "I Don't Want To Go On Without You" which took on a new meaning in the circumstances. But the hit from the session was "Under the Boardwalk", with lead vocals from Moore: [Excerpt: The Drifters, "Under the Boardwalk"] This version of the group -- Johnny Moore, Charlie Thomas, Gene Pearson, and Johnny Terry, would be the longest-lasting of all the versions of the group managed by George Treadwell, staying together a full two years. But after "Under the Boardwalk", which went to number four, they had no more top ten hits in the US. The best they could do was scrape the top twenty with "Saturday Night at the Movies": [Excerpt: The Drifters, "Saturday Night at the Movies"] There were several more lineup changes, but the big change came in 1967 when George Treadwell died. His wife, Faye, took over the management of the group, and shortly after that, Charlie Thomas -- the person who had been in the group for the longest continuous time, nine years at that point, decided to leave. There were a lot more squabbles and splinter groups, and by 1970 the Drifters' career on Atlantic was over. By this point, there were three different versions of The Drifters. There was a group called The Original Drifters, which had formed in 1958 after the first set of Drifters had been fired, and was originally made up entirely of members of the early-fifties lineups, but which was now a revolving-door group based around Bill Pinkney, the bass singer of the Clyde McPhatter lineup, and stayed that way until Pinkney's death in 2007. Then there was a version of the Drifters that consisted of Dock Green, Charlie Thomas, and Elsbeary Hobbs, the people who had been in Ben E. King's version of the group. Charlie Thomas won the right to use the name in the USA in 1972, and continues touring with his own group there to this day, though no more of that lineup of the Drifters are with him. And then there was a UK-based group, managed by Faye Treadwell, with Johnny Moore as lead singer. That group scored big UK hits when the group moved to the UK in 72, with re-releases of mid-sixties records that had been comparative flops at the time -- "Saturday Night at the Movies", "At the Club", and "Come On Over to My Place" all made the UK top ten in 1972, and Moore's Drifters would have nine more top ten hits with new material in the UK between 1973 and 76. And Ben E. King, meanwhile, had signed again to Atlantic, and had a one-off top ten hit with "Supernatural Thing" in 1975: [Excerpt: Ben E. King, "Supernatural Thing"] But other than that he'd continued to have far less chart success than his vocal talents deserved, and in the eighties he moved to the UK and joined the UK version of the Drifters, singing his old hits on the nostalgia circuit with them, and adding more authenticity to the Johnny Moore lineup of the group. He spent several years like that, until in 1986 his career had a sudden resurgence, when the film Stand By Me came out and his single was used as the theme. On the back of the film's success, the song reentered the top ten, twenty-five years after its initial success, and made number one in the UK. As a result, King became the first person to have hit the top ten in the US in the fifties, sixties, seventies, and eighties -- a remarkable record for someone who had had relatively few hits. A greatest hits collection of King's records made the top twenty in the UK, as well, and King left the Drifters to once again become a solo artist. But this is where we say goodbye to King, and to the Drifters, and to Leiber and Stoller as songwriters. The UK version of the Drifters carried on with Johnny Moore as lead singer until he died in 1998, and up to that point it was reasonable to think of that group as a real version of the Drifters, because Moore had sung with the group on hits in the fifties and sixties, and in the UK in the seventies – roughly eighty percent of records released as by The Drifters had had Moore singing on them. But after Moore's death, it gets very confusing, with the Treadwell family apparently abandoning the trademark and moving back to the US, and then changing their mind, resulting in a series of lawsuits. The current UK version of the Drifters has nobody who was in the group before 2010, and is managed by George and Faye Treadwell's daughter. They still fill medium-sized theatres on large national tours, because their audiences don't seem to care, so long as they can hear people singing "Up On the Roof" and "On Broadway", "There Goes My Baby" and "Save the Last Dance For Me". In total thirty-four different people were members of the Drifters during their time with Atlantic Records. It's the only case I know where a group identity was genuinely bigger than the members, where whoever was involved, somehow they carried on making exceptional records. Leiber and Stoller, meanwhile, will turn up again, once more, next year, as record executives, collaborating with another figure we've seen several times before to run a record label. But this is the last record we'll look at with them as a songwriting team. We've been following their remarkable career since episode fifteen, and they would continue writing great songs for a huge variety of artists, but "Stand By Me" would be the last time they would come up with something that would change the music industry. It was the end of a truly remarkable run, and one which stands as one of the great achievements in twentieth century popular music. And Ben E. King, who was, other than Clyde McPhatter, the only member of the Drifters to ever break away and become a solo success, spent the last twenty-nine years of his life touring as a solo artist off the renewed success of his greatest contribution to music. He died in 2015, but as long as people listen to rock, pop, soul, or R&B, there'll be people listening to "Stand By Me".

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2019 w # 49: Part 1: - Luke Combs & Brooks & Dunn, 1, 2 Many - What You See Is What You Get - The Mavericks, Christmas Time is (Coming 'Round Again) – Hey! It's Christmas! - Brad Paisley, Silver Bells - A Brad Paisley Christmas - Gord Bamford, Storybook Christmas - S Part 2: - David Lewis, Date with a Jukebox - Country Music Therapy - George Strait, Santa's on His Way - Merry Christmas Wherever You Are - Curtis Grimes, I Saw the Light - S - Runaway June, Sleigh Ride - S - Britany Brodie, Lighthouse - S Part 3: - Chris Young, Christmas (Baby Please Come Home) - It Must Be Christmas - Lonestar Phil Vassar, Not Not Silent Night - Lady Antebellum, Let it Snow - On This Winter's Night - Rhonda Vincent, Tennessee Christmas - Christmas Grass - The Collection Part 4: - Brett Kissell, Rockin' Around The Christmas Tree - Rodney Atkins, Up On the Rooftop – Merry and Bright A Country Holiday Collection - Luke Bryan, Run Run Rudolph - Madeline Merlo, Jolly Ol' Redneck – S - Trisha Yearwood, The Christmas Song (Chestnuts Roasting On An Open Fire) – Christmas

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1. 天門 - Two, Only Two；2. Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；3. 柏大輔 - april.#20；4. Dave Greening – Midnight。

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1. 天門 - Two, Only Two；2. Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；3. 柏大輔 - april.#20；4. Dave Greening – Midnight。

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1. 天門 - Two, Only Two；2. Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；3. 柏大輔 - april.#20；4. Dave Greening – Midnight。

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1. 7pm - 꽃과 햇살 한 줌；2. Bosques de mi Mente - Copos de nieve；3. Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；4. Chad Lawson - Nocturne in a Minor。

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1. 7pm - 꽃과 햇살 한 줌；2. Bosques de mi Mente - Copos de nieve；3. Brad Jacobsen - Child's Christmas Medley (Jolly Old St. Nicholas, Up On the Housetop, Toyland)；4. Chad Lawson - Nocturne in a Minor。

1) O Come All Ye Faithful - The Bee Gees 2) Christmas Is Coming - Vince Guaraldi Trio 3) Just Like Christmas - Low 4) Please Come Home for Christmas - My Morning Jacket 5) Christmas Vacation - Mavis Staples 6) Father Christmas - The Kinks 7) Jingle Bell Rock - Rogue Wave 8) Up On the Housetop - Jackson 5 9) White Christmas - Sharon Jones & the Dap Kings 10) God Rest Ye Merry Gentleman - Bright Eyes 11) O Holy Night - Al Green 12) Christmas in Prison - John Prine 13) I'm Going to Lasso Santa Claus - Brenda Lee 14) Jolly Old St Nicholas - Chet Atkins 15) Little Saint Nick - The Beach Boys 16) I Wish It Could Be Christmas Everyday - Wizzard 17) Christmas All Over Again - Tom Petty & the Heartbreakers 18) Christmas Bop - T Rex 19) Super Funk Christmas - T Rex

What's happing, y'all? It's ya main man Mr. Chris in full effect and doing what I love best and that's rock these turntables and a mic! I got some hot-off-the-press brand new funk and I'm serving a heapin' helpin' of musical goodness just in time for the holidays. We got new cuts from the Suffers, Tightn' Up, Vintage Babies, Lalah Hathaway, Eric Roberson, and Omar to name a few. Sit back, relax, and enjoy!Tracklist:Vintage Babies - Shine Your LightTightn' Up - On the LineTightn' Up - Stank N' StickyThe Suffers - I Think I Love YouSix Minutes til Sunrise - MoreChantae Cann - U Gotta Love YaLalah Hathaway - HonestlyDemertria McKinney - EasyEmile Sande - DeepEric Roberson - ClaireAyo - I'm a FoolCourtney Pine w/Omar - RulesElla Mai - NakedKennedy Administration - Nothing Else Will Do

2017 Alabama vs. LSU Alabama Football Podcast Breaks down Alabama’s 2017 victory over the LSU Tigers   In this episode Tom and Dave from the Alabama Football Podcast breakdown the Tide’s win over the LSU Tigers.   Turn it Up In many regards, Alabama played like Alabama has been playing this season. However, the results were a little muted or turned down due to the caliber of the opponent. We predicted early on that LSU might be the best defense the Tide would face all season and, to this point, that proves to be correct. The Tide still blended run and pass – with a stronger lean towards pass – and continued to distribute the ball well, with 7 players catching passes including a TE and RB. Loosen it Up On the other hand, Alabama played a little tight and certainly shortened the bench. Senior receivers previously seeing their roles shrink were cast into leading roles, and a running attack manned primarily by only a pair of backs – excluding a more active Jalen Hurts. Tune into the show to see our treatment on the running game and perhaps our single largest surprise when it comes to how the backs were deployed. Depth Watch Yet again Alabama fans had to watch as three significant defensive contributors were forced out of the game due to injury. This is in addition to at least 3 players already lost for the season. Check out our breakdown as to how the Tide can overcome the loss of 4 linebackers down the stretch. Underrated Ever wonder who might qualify as the most underrated 1st round draft pick is on this year’s Tide roster? Then you’ll want to catch this discussion. Mini Game balls Anyone can read a headline, but which players contributed in more subtle ways to the Tide’s fortune?   Alabama’s Next Opponent Next up for Alabama is a visit to Starkville for the always tough Mississippi State Bulldogs.   Kick After – a ‘lil nugget that didn’t make the show I’ll spare everyone the elaboration, but suffice it to say that LSU fans really don’t like the whole corndog shtick, which personally makes it all the more fun.   We hope you’ll check out the Podcast and in the meantime, Roll Tide!

2017 Alabama vs. LSU Alabama Football Podcast Breaks down Alabama’s 2017 victory over the LSU Tigers   In this episode Tom and Dave from the Alabama Football Podcast breakdown the Tide’s win over the LSU Tigers.   Turn it Up In many regards, Alabama played like Alabama has been playing this season. However, the results were a little muted or turned down due to the caliber of the opponent. We predicted early on that LSU might be the best defense the Tide would face all season and, to this point, that proves to be correct. The Tide still blended run and pass – with a stronger lean towards pass – and continued to distribute the ball well, with 7 players catching passes including a TE and RB. Loosen it Up On the other hand, Alabama played a little tight and certainly shortened the bench. Senior receivers previously seeing their roles shrink were cast into leading roles, and a running attack manned primarily by only a pair of backs – excluding a more active Jalen Hurts. Tune into the show to see our treatment on the running game and perhaps our single largest surprise when it comes to how the backs were deployed. Depth Watch Yet again Alabama fans had to watch as three significant defensive contributors were forced out of the game due to injury. This is in addition to at least 3 players already lost for the season. Check out our breakdown as to how the Tide can overcome the loss of 4 linebackers down the stretch. Underrated Ever wonder who might qualify as the most underrated 1st round draft pick is on this year’s Tide roster? Then you’ll want to catch this discussion. Mini Game balls Anyone can read a headline, but which players contributed in more subtle ways to the Tide’s fortune?   Alabama’s Next Opponent Next up for Alabama is a visit to Starkville for the always tough Mississippi State Bulldogs.   Kick After – a ‘lil nugget that didn’t make the show I’ll spare everyone the elaboration, but suffice it to say that LSU fans really don’t like the whole corndog shtick, which personally makes it all the more fun.   We hope you’ll check out the Podcast and in the meantime, Roll Tide!

Our guest started making movies when he was just ten years old using his brothers borrowed video camera. Armed with a film degree from the University of Iowa, he started making movies. Not in New York or LA, but right here in Iowa’s Creative Corridor. His latest movie “Up On the Woof Top” is in wide distribution all around the world. Please welcome Iowa independent film maker Joe Clarke.

This week, we’ve got some amazing new tracks from the likes of Waxahatchee, Toro y Moi, and The Mynabirds!  Plus we’re talking about the main number one most important thing about the summer: the beach.  That’s right, we’re playing some beach songs to celebrate the height of the summer season.  Stay tuned for all that and more on Garbage Garage! 00:00 - DJ Madalyn 01:00 - King of the Beach - Wavves 03:38 - Venice Beach - Desolation Wilderness 06:11 - Archer on the Beach - Destroyer 11:04 - Oval Beach - Fred Thomas 14:00 - DJ Madalyn 14:15 - At the Beach - Humans 20:08 - Young Einstein on the Beach - Man Man 21:05 - Let’s Rock the Beach - Real Estate 25:47 - Eagle Beach - White Reaper 29:27 - DJ Madalyn 29:55 - Recite Remorse - Waxahatchee 34:30 - Favorite Show - Great Grandpa 39:03 - Ashes in the Rain - The Mynabirds 44:19 - Favor - Office Culture 50:07 - DJ Madalyn 50:37 - Reticence (BTR Live Studio, 2017) - Oak House 55:22 - How the West Was Won - Peter Perrett 59:54 - Every Valley - Public Service Broadcasting 64:34 - Mirage - Toro y Moi 69:43 - DJ Madalyn 70:00 - Change of Heart - Tim File 73:28 - Another Man’s Woman - TEEN 78:14 - You Gotta Feel It - Kevin Drew 82:12 - Arrow Drawn - Orcas 87:17 - Hero Whales - Ms. John Soda 90:42 - DJ Madalyn 90:58 - Up On the Mend - Lucinda Black Bear 96:32 - It’s Time to Come Home - The Rentals 100:27 - Ringleader - Shigeto 106:26 - Yangye, The Evil Leopard - Kasai Allstars 113:28 - DJ Madalyn 114:07 - Dare-gale - Jacaszek 119:55 - Finish

4. Up On the Housetop B.R. Hanby Duet with Susie & Juliet; Background Vocals –Juliet, Keely & Julianna Up on the housetop reindeer pause, Out jumps good old Santa Claus; Down thro’ the chimney with lots of toys, All for the little ones, Christmas joys Ho, Ho, Ho! Who wouldn't go! Ho, Ho, Ho! Who wouldn't go! Up on the housetop, click, click, click Down thro’ the chimney with good Saint Nick First comes the stocking of little Nell; Oh, dear Santa, fill it well; Give her a dollie that laughs and crys One that will open and shut her eyes Ho, Ho, Ho! Who wouldn't go! Ho, Ho, Ho! Who wouldn't go! Up on the housetop, click, click, click Down through the chimney with good Saint Nick Next comes the stocking of little Will; Oh, just see what a glorious fill! Here is a hammer and lots of tacks, Also a ball and a whip that cracks. Ho, Ho, Ho! Who wouldn't go! Ho, Ho, Ho! Who wouldn't go! Up...

1. AC/DC vs. Jules Field & Hovany – Highway to Hell vs. Safari (HEFF Mashup)2. Eminem & Dr. Dre - Forgot About Dre (Drezo Remix)3. Endor – Get With Me4. Bepain & TRIPLE NOiZE – Bat Back5. Don Diablo vs. Alex Mind & Repow – Smash to Life (HEFF Mashup)6. Porter Robinson - Hear the Bells (feat. Imaginary Cities)7. Chris Brown - Loyal (Hoodboi Remix)8. Britney Spears - Toxic (Singularity Remix)9. Michael Franti & Spearhead – Alive (Life Sounds Like)10. Mr. Carmack - Roller (Lindsay Lowend Remix)11. Sweater Beats – Anxious12. Branchez – Truth13. Chase & Status – Machine Gun (feat. Pusha T)14. Fossa – Bae15. Party Thieves & ATLiens – Chîef16. Space Jam – Mutrix Tune Squad Remix17. Luka Caro & Parquez & Alex Del Amo – People Everywhere (feat. Theory) (Vocal Mix)18. Pep & Rash - Fatality (Quintino Edit)19. Garmiani - Zaza20. The Jackson 5 - I Want You Back (Dre Skull Remix)21. Lil Wayne - A Milli (Haterade X Kill System Rework)22. Ya Boy - Don't Wake Me Up (feat. Knoc the Hometown Hero)Clinton Sparks Guest Mix1. Clinton Sparks - The Bomba Noshare2. Watermät - Bullit3. Oliver $ & Jimi Jules - Pushing On (Tchami Remix)4. Galantis - Runaway (U & I)5. Apashe - No Twerk (feat. Panther & Odalisk)6. Answer Yo Phone! - Let Me Go!7. Jack Ü - Take Ü There (feat. Kiesza)8. Answer Yo Phone! - Mass Appeal9. Crizzly - Certified Gz (feat. Slim Thug)10. Cathode - Set You Free11. Wiz Khalifa - Ass Drop12. Clinton Sparks - Geronimo (feat: T-Pain, Ty Dolla $ign & Sage the Gemini)13. YG - Who Do You Love (Whiiite Future1Hundred Remix)14. Big Sean - IDFWU (CRVFTSMEN Remix)15. Party Favor - Bap U16. Clinton Sparks - UV Love (Play-N-Skillz Remix17. Doco - Crunch18. Riff Raff x Sebastian Benett - Bomb19. ILoveMakonnen - Club Goin' Up On a Tuesday (DJ Snake Remix)