Podcasts about valiants

Sintonía: "Conga Twist" - The Revels"Native" - Bob Callaway & The Chicks (nueva); "Hi Yo Camel" - The Peeple; "Dragon Walk" - The Dantes (nueva); "Tequila Twist" - The Valiants; "Caravan" - Jerry Betters (nueva); "Oasis" (versión alargada) - The Majestics; "Loco" - The Terrifies (nueva); "Wild Man Walk" - The Ebonettes (nueva); "Don´t Wanna Leave The Congo" - Norman (Arab) Sands & The Valiants (nueva); "King Kong" - Tarantula Ghoul & Her Gravediggers (nueva); "Oongawa" - Johnny Parker & The Zirkons (nueva); "Uprising" - The Cherokees; "Kana Kapila" - The Continental Cousins; "The Kookie Limbo" - Kookie Joe; "Screw Driver" - The Rhythmaires (nueva); "Baghdad Rock" - The Sheiks (nueva); "Clumsy Dragon" - The Five Sounds (nueva); "Isis" - The Megatons (nueva)Todas las músicas extraídas de la recopilación (2xLP) "Jungle Exotica Volume 1" (Strip, 2013); una reedición ampliada de una primera recopilación de 20 cortes en un solo vinilo realizada por el mismo sello y publicada 22 años antes (Strip, 1991)Escuchar audio

Almost a perfect Easter for the Blues, but despite dropping two points Accrington after a superb win over table-toppers Port Vale, they are still (just about) in the relegation battle. Can Sparky still pull off the Greatest of all Great Escapes?In this episode of the Brunton Bugle, we chat about the win over the Valiants and the draw with Stanley, before previewing the final away game of the season at Cheltenham - lots discussed including...

There are a ton of first issues this week, and we're talking about as many of em as we can! Shout out to Valiants new Beyond books, that weren't at our shop this week. We'll try to catch up on those on the Patreon next week. BUT, we did cover Absolute Green Lantern, Daredevil: Cold Day in Hell, Deadpool Kills the Marvel Universe One Last Time, Resurrection Man, I Was a Fashion School Serial Killer, and Past Time. OOO-WEE! What a treat. Such a platter. In the news we're talking about TFAWs online pre-orders stopping, new MCU Fantastic Four clips, and Skybound going public.

Jingle Bells, Jingle Bells, Jingle all the way, oh what fun it is to see Carlisle get another clean and sheet and pick up a hard-earned point away... hey!No, doesn't really scan does it? But it was a solid start to the festive period for United, getting a draw at promotion-chasing Port Vale - but can they follow that up with much needed wins against the two teams either side of them at the bottom of the table?In this episode of the Brunton Bugle, we discuss the draw with the Valiants and look ahead to two massive games against Morecambe and Accrington Stanley at Brunton Park - lots discussed including...

Último episodio de la serie dedicada a sobrevolar los singles lanzados desde Immediate Records, la disquera independiente fundada por Andrew Loog Oldham que en apenas cinco años dibujó un mapa de la evolución de la música británica en la segunda mitad de los años 60. Lanzamientos de 1967 a 1969, con especial atención a los últimos pasos de Small Faces o a ese olvidado cantante que fue Chris Farlow.Playlist;(sintonía) MORT SHUMAN IV “Monday Monday”SMALL FACES “Lazy Sunday”SMALL FACES “The Universal”SMALL FACES “Donkey rides, a penny a glass”SMALL FACES “Wham bam thank you mam”SMALL FACES “Afterglow of your love”HUMBLE PIE “Natural born bugie”AMEN CORNER “(If paradise) is half as nice”AMEN CORNER “Hello Susie”AMEN CORNER “Get back”FLEETWOOD MAC “Man of the world”EARL VINCE and THE VALIANTS “Somebody’s gonna get their head kicked in tonight”P.P. ARNOLD “Angel of the morning”CHRIS FARLOW “Everyone makes a mistake”CHRIS FARLOW “Handbags and Gladrags”CHRIS FARLOW “Paint it black”CHRIS FARLOW “Paperman fly in the sky”Escuchar audio

It's time for chat! Join Mark Griffiths, Neil Williams, Bill Long, Chay Long and Andy Parkinson for the first episode of Final Whistle Weekly, as they chat about the latest Wrexham stories. They're joined by Wrexham legend Lee Jones (00.54.08 ), who talks about his debut against Manchester United, beating Arsenal and his famous goal at West Ham. Also, Sam White from the Charlton Athletic Supporters Trust looks forward to Saturday's match, gives us the Valiants' view of Phil Parkinson, Eoghan O'Connell, George Dobson and Elliot Lee, who have all been at Charlton, and talks about the similarities between the two clubs. (00:22:34) Final Whistle Weekly is part of the Final Whistle podcast family, along with Hot Take, Y Chwiban Terfynol, the #askwxm podcast and Final Whistle. Not only is Final Whistle Wrexham AFC's official podcast, but it is also the oldest football podcast in the world, established at the 2005 LDV Vans Trophy final at the Millennium Stadium.

Vilda tjejer, plastpengar och kusliga tänder. Ulf Henningsson och Åke Eriksson fortsätter sin musikaliska resa till Norra England och nu är det dags för de ganska glesbefolkade grevskapen County Durham och Cumberland. Några av artisterna de stöter på nådde viss framgång: Susan Maughan, Whistling Jack Smith, Plastic Penny och Spooky Tooth, medan de flesta övriga bara hade förhoppningar om något liknande: Colorados, Ceasars, Janie Jones, Valerie Mitchell, Answers, Shorty & Them, Jazzboard, Earl Vince & The Valiants, Marshall Scott Etc och Art. På bilden: V.I.P.'s från Carlisle.

"From Steel Pulse to Wu-Tang: A Festival of Musical Diversity"Larry Mishkin discusses a review of various experiences and performances, starting with a cannabis event called "Miracle in Mundelein," which took place over the past weekend. The main focus of the review is a discussion of a Grateful Dead show from September 9, 1987, at the Providence Civic Center in Rhode Island. The show was notable for being the second night of a three-show run, marking the opening of the Grateful Dead's 1987 East Coast fall tour.Key highlights include:"Hey Pocky Way" Performance: This was the first time the Grateful Dead performed the song "Hey Pocky Way," which is originally by the Meters, a New Orleans funk band. The song became a fan favorite, primarily due to the influence of Brent Mydland, the band's keyboardist. However, the song fell out of rotation after Brent's death in 1990."Jack Straw" Performance: Another song featured was "Jack Straw," a Grateful Dead classic written by Bob Weir and Robert Hunter. It was originally performed in 1971 and became a staple in the band's setlists. The song was performed in the second spot of the setlist during the 1987 show, indicating the band's tendency to feature it early in their concerts.Music News Segment: The transcript also includes a segment on music news, which starts with a brief history of the band Cheap Trick, particularly their song "I Want You to Want Me."Review of the Miracle in Mundelein Festival: The review shifts to discussing the recent "Miracle in Mundelein" festival, where several acts performed:Steel Pulse: A roots reggae band from Birmingham, England, who delivered a lively and energetic performance.The Soul Rebels: A New Orleans brass band known for their energetic live shows and collaborations with major artists. Their set featured Raekwon and GZA from the Wu-Tang Clan, adding a strong hip-hop element to the performance.Wiz Khalifa: The headliner of the event, Wiz Khalifa, is praised for his stage presence and connection with the audience. The review notes his strong advocacy for cannabis and how his music resonated well with the crowd.Overall, the review captures the blend of nostalgia with the Grateful Dead's classic performances and the fresh, dynamic energy of the Miracle in Mundelein festival, highlighting both the music and the culture of cannabis.https://www.cheaptrick.com/ Grateful DeadSeptember 9, 1987 (37 years ago)Providence Civic CenterProvidence, Rhode IslandGrateful Dead Live at Providence Civic Center on 1987-09-09 : Free Borrow & Streaming : Internet Archive Second night of a three show run, the opening shows of 1987 East Cost fall tour.  INTRO:                                 Hey Pocky Way                                                Track #1                                                :35 – 2:03 First time ever played Hey Pocky Way was written by George Porter Jr., Leo Nocentelli, Art Neville & Joseph Modeliste, founding members of The Meters, an American funk band formed in 1965 in New Orleans by Modeliste (drums), Porter Jr. (bass), Nocentelli (guitar) and Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Song was released on Rejuvenation the band's fifth studio album in 1974. In 2003, the album was ranked number 138 on Rolling Stone magazine's list of the 500 greatest albums of all time,[6] and 139 in a 2012 revised list. Beginning with this show, the Dead began to feature Hey Pocky Way, usually as a show opener.  Sung by Brent who really got into it with both his keyboard playing and strong singing, it  became a fan favorite.  But as a Brent influenced tune, it died when he did. Played:  25 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (Brent's second to last show)  SHOW No. 1:                    Jack Straw                                                Track #2                                                4:00 – 5:50 "Jack Straw"  written by Bob Weir and Robert Hunter. The track first appeared on the album Europe '72. The song was first performed in concert on October 19, 1971, in Minneapolis, Minnesota at new keyboardist Keith Godchaux's first appearance with the band. In the song's earliest performances (c. 1971–72), Weir sang all of the vocals. By the time the 'Europe 72' version was recorded, (at the Olympia Theater in Paris on 5-03-72), Weir and Jerry Garcia were switching up the vocals - as they had on April 26th when 'Hundred Year Hall' was recorded. The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.[1] Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.[3] Always a great song to hear in concert, the fans loved it and it was always an omen of good things to come in the show. Played:  477 timesFirst:  October 19, 1971 at Northrop Auditorium, Minneapolis, MN, USALast:  July 8, 1995 at Soldier Field in Chicago MUSIC NEWS Miracle In Mundelein – second year of the festival in Mundelein a suburb northwest of Chicago.  Missed last year with JRAD but made it this year on Saturday with my sons Jonathan and Daniel, Jonathan's fiancé, Bella and Daniel's buddy AJ.  Different theme to this year's music focusing on hip hop and rap, not part of my regular music, but certainly a key genre for Daniel and AJ who filled me on details during the show. Acts:Steel Pulse - Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil's brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album. They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970's, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976.[1] Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement,[1] including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Fun set that was in progress when we arrived, great sound and lots of energy that kept the crowd moving. The Soul Rebels - The Soul Rebels (also Soul Rebels Brass Band, Soul Rebels or The Rebels) are an eight-piece New Orleans based brass ensemble that incorporate elements of soul, jazz, funk, hip-hop, rock and pop music within a contemporary brass band framework.  Starting out as a local New Orleans favorite, The Soul Rebels have evolved into collaborating live with major artists in all worlds of music including:Katy PerryNasMetallicaGreen DayTrombone ShortyProdigyString Cheese IncidentUmphrey's McGeeGalacticSuzanne VegaEurythmicsLettuceGov't Mule                                               And many more The band has built its career around an eclectic live show that harnesses the power of horns and percussion in a funky party-like atmosphere. The band routinely plays over 250 shows a year. They have been described by the Village Voice as "the missing link between Public Enemy and Louis Armstrong.  The Soul Rebels consist of percussionists and founding members Lumar LeBlanc and Derrick Moss, trumpet players Julian Gosin and Marcus Hubbard, trombonists Corey Peyton and Paul Robertson, saxophonist Erion Williams, and sousaphonist Manuel Perkins Jr.                                                 On Saturday, they featured Raekwon and GZA from Wu Tang Clan.                                      RAEKWON - Corey Woods[2] (born January 12, 1970),[3][4] better known by his stage name Raekwon (/reɪˈkwɒn/, ray-KWON), is an American rapper. He rose to prominence as a founding member of the hip-hop group Wu-Tang Clan, which achieved mainstream success following the release of their debut album, Enter the Wu-Tang (36 Chambers), in 1993. Raekwon would subsequently pursue a solo career, releasing his first solo album, entitled Only Built 4 Cuban Linx..., in 1995. The album received critical acclaim, and is regarded by many critics as one of the greatest hip-hop albums of all time, as well as a staple of 1990s rap.                                     Raekwon attributes the name Raekwon to the Five-Percent Nation, an offshoot of the Nation of Islam, when he was a "young kid."[11] He converted to Islam in 2009.                                     Growing up, he witnessed his mother being hit and abused by different men, an experience which he said "affected [him] a lot."[10] As a young man, his mother kicked him out of their Park Hill home when Raekwon got into an argument with her boyfriend and his mother sided with the boyfriend. During this time, he spiraled into a pattern of hopelessness and violent behavior.[8] He became addicted to cocaine and crack cocaine until he became aware of how the crack epidemic was affecting those around him, at which point "it was an automatic stop."[10]Raekwon and rap partner Ghostface Killah attended junior high school together on Staten Island.[14] Raekwon attended New Dorp High School, where he befriended rappers Remedy, Method Man and Inspectah Deck.[15]             Woods first rapped as Sha Raider. In 1992, he joined the Wu-Tang Clan, an originally nine-member rap group drawing mainly from the Staten Island but also from the Brooklyn boroughs of New York City. He rapped as Raekwon The Chef, and also used the aliases Lex Diamonds, Shallah Raekwon, and Louis Rich. After being caught in a crossfire and accidentally shot four times, Raekwon began rapping in earnest. He later described being shot as an "important eye opener." In September 2009, MTV ranked Raekwon tenth among "hottest" rappers. In December, HipHopDx's 2009 awards named Only Built For Cuban Linx... Pt. II album of the year, calling it "the Hip Hop equivalent to The Godfather 2, with Rae as revitalized as Marlon was". Raekwon won Emcee of the Year—the prior year, Nas won—while HipHopDX staff explained, Raekwon brought it back to lyrical, dope rap. He released an album that spoke to teens, twenty-somethings, thirty-somethings, and beyond. Without compromising, the Chef made an edgy Hip Hop record that refused to bastardize the catalog he laid down 15 years ago. On top of that, Rae (along with Ghostface) was a go-to for numerous rappers making albums, ranging from the Playaz Circle to Jadakiss to BK One. That's beyond real, as was a year filled with performing in arenas, clubs and even churches. When it came to mastering the ceremony, Rae had 'em all following the leader.[28]— HipHopDX GZA - Gary Eldridge Grice[2] (born August 22, 1966), better known by his stage names GZA (/ˈdʒɪzə/JIZ-ə) and The Genius,[3] is an American rapper. A founding member of the hip hop group Wu-Tang Clan, GZA is the group's "spiritual head", being both the first member in the group to receive a record deal and being the oldest member.[4] He has appeared on his fellow Wu-Tang members' solo projects, and has maintained a successful solo career starting with his second album Liquid Swords (1995). His lyrical style often dismisses typical rap story lines in favor of science and wide-ranging philosophies and has been characterized as "armed with sharp metaphors and a smooth flow".[5][6][7][8] An analysis of GZA's lyrics found that he has the second largest vocabulary in popular hip hop music.[9][10] He teamed up with an education group to promote science education in New York City through hip hop. In 1992, GZA joined the Wu-Tang Clan, a group of nine, formed by his cousin RZA. GZA had some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers) (1993), including a solo track, "Clan in da Front".[22] This, combined with appearances on other Clan members' albums such as Return to the 36 Chambers: The Dirty Version (1995) and Only Built 4 Cuban Linx... (1995) brought him much recognition. According to Method Man, "we form like Voltron and GZA happens to be the head".                         The combination of the Soul Rebels beat and Raekwon's and GZA's rapping made for an exceptional set of music that caught me off guard but was worth the price of admission.  With lots of cannabis references scattered throughout their lyrics and stage talk, they were a perfect match for this festival. Wiz Khalifa - Cameron Jibril Thomaz (born September 8, 1987),[2] better known by his stage name Wiz Khalifa, is an American rapper from Pittsburgh, Pennsylvania. He signed with the local independent label Rostrum Records to release his debut studio album, Show and Prove (2006). His contract entered a short-lived joint venture with Warner Bros. Records the following year. His Eurodance-influenced 2008 single, "Say Yeah" received urban radio airplay and entered both the Rhythmic Top 40 and Hot Rap Songs charts, becoming his first minor hit.[3] Outside of music, Thomaz has delved into acting with television roles in Dickinson and The Eric Andre Show, the lead role alongside Snoop Dogg in the 2012 stoner comedy film Mac & Devin Go to High School, and voice roles in the animated series American Dad!, Duncanville, and Big City Greens. Thomaz founded the record label Taylor Gang Entertainment in 2008, through which he has signed artists including Juicy J, Ty Dolla Sign, and Berner. Known for his abundant usage of cannabis, Thomaz launched his own cannabis brand, Khalifa Kush, in 2016, which expanded for release in nationwide dispensaries in 2022. His stage name is derived from Khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was a young boy.[10] Khalifa stated to Spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got a tattoo of his stage name on his 17th birthday.[11][12] By the age of 15, he was regularly recording his music at a local studio called I.D. Labs.[13] Impressed by the young teen's talent, E. Dan, the owner of the studio offered Khalifa an intern job at the studio in exchange for free recording time. Dan, being a veteran of the Pittsburgh hip-hop scene, would help develop and mentor the young artist early on in his career. He was the headliner and lived up to the billing.  Great tunes, great stage presence, great spokesperson for cannabis.  My first experience with his music and it was very positive. A great musical education for me with my tutors, Daniel and AJ. More in MJ News  Herbie Flowers  RIPJerry Miller  RIPGoose this week at the Salt Shed, Thursday and Friday   SHOW No. 2:                    Greatest Story Ever Told                                                Track #9                                                3:25 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #10                                                0:00 – 1:33 Greatest Story – written by Hunter/Bobby/Mickey, originally called “The Pump Song” on Mickey Hart's 1972 album Rolling Thunder.  As the opening tune of Ace, it is called Greatest Story Ever Told.  But this isn't about that song.  Here, it is the lead-in to a first set couple of “extras” thrown in for some fun. "Devil with a Blue Dress On" (also known as "Devil with the Blue Dress") is a song written by Shorty Long and William "Mickey" Stevenson, first performed by Long and released as a single in 1964. A later version recorded by Mitch Ryder and The Detroit Wheels in 1966 peaked at No. 4 on the U.S. Billboard Hot 100.  "Devil with the Blue Dress" was originally released as Shorty Long's debut single on Motown in 1964, but the single failed to chart. The song describes a femme fatale in a blue dress and not an actual devil.[2] Two years later, Mitch Ryder and The Detroit Wheels recorded the song at Bell Sound Studios in New York City[3] as a medley with an original arrangement of Little Richard's "Good Golly, Miss Molly". Their version, released on their album, “Breakout . . . . !”,  was notably more up-tempo than Long's more blues-influenced rendition.[2] Reaching No. 4 on the Hot 100, their version of the track would end up becoming their most well-known and highest charting hit in the United States. Rolling Stone Magazine ranked it No. 428 on their list of Top 500 Songs of All Time. Basically, another great cover to showcase Brent's singing and keyboard skills.  This was the first of 3 times the Dead covered the song.  Another fun diversion by the band that kept the Deadheads guessing and not wanting to ever miss a show. The transition out of Greatest Story is seamless and makes it so you can't hear the end of Greatest Story without hearing the signature beat of Devil making it a “natural” fit. Played – 3 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  SHOW No. 3:                    Good Golly Miss Molly                                                Track #11                                                0:00 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #12                                                0:00 – 0:51"Good Golly, Miss Molly" is a rock 'n' roll song first recorded in 1956 by American musician Little Richard and released in January 1958 as single on the Specialty label, and later on the album, Little Richard in July 1958.[1] The song, a jump blues, was written by John Marascalco and producer Robert "Bumps" Blackwell. Although it was first recorded by Little Richard, Blackwell produced another version by the Valiants, who imitated the fast first version recorded by Little Richard, not released at that time. Although the Valiants' version was released first (in 1957), Little Richard had the hit, reaching No. 4.[2] Like all his early hits, it quickly became a rock 'n' roll standard and has subsequently been recorded by hundreds of artists. The song is ranked No. 92 on the Rolling Stone magazine's list of the 500 Greatest Songs of All Time. Little Richard first heard the phrase "Good golly, Miss Molly" from a Southern DJ named Jimmy Pennick.[4] He modified the lyrics into the more suggestive "Good golly, Miss Molly/You sure like to ball." Little Richard himself later claimed that he took Ike Turner's piano intro from his influential 1951 rock and roll song "Rocket 88", and used it for "Good Golly, Miss Molly".[5] "I always liked that record," Richard recalled, "and I used to use the riff in my act, so when we were looking for a lead-in to 'Good Golly, Miss Molly', I did that and it fit." In 1966, Mitch Ryder and the Detroit Wheels incorporated "Good Golly Miss Molly" into their version of "Devil with a Blue Dress On". Their version scored a major hit, not only in Ryder's native Detroit, but nationwide, placing at No. 4 on the Billboard Top 100. As with Devil, a Brent thing.  Unfortunately, it was only around for a month.  Then vanished from the Dead's playlist thereafter.  Played:  3 times, makes senseFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  MJ NEWS:             Miracle in Mudelein – a great event sponsored by Rise Dispensaries and Rhythm cultivators.  Second year, featuring great music, excellent food and drink and too many booths for dabbing from various types of rigs including a Studenglass Gravity Bong – my first time using one and it is not your father's four foot Graffix bong!  Daniel and AJ were all over it and as it turned out, the wait in line was well worth the experience.  Rather than try to explain it to you, just Google Gravity Bong and see for yourself!  Great high.             Miracle is that Lake County, a more conservative leaning county, and Mundelein permitted the event.  Attendees can bring in their own flower or extracts (supposedly only if purchased at an Illinois dispensary), smoking accessories, etc.  Rise also was selling products at the show.             A wonderful thing to attend an event and not have to hide and smuggle in your cannabis.  People lighting up everywhere, offering to share, talking strains, etc.  Police were there to keep order and otherwise let it all go on.  Very professional.             Excellent mellow crowd (what else would you expect?).  Well run.  Shot joints out of a canon.  A wonderful day and experience for those who enjoy cannabis, especially not having to hide it or pretend you don't have any when everyone knows attendees are smuggling it in anyway.             A great way to promote cannabis and help normalize it within the community.  And a fun event to be able to share with my boys, Bella and AJ.  Fun had by all.  SHOW No. 4:                    Not Fade Away                                                Track #24 (NOTE – this song is listed as Track #23 AND #24, be sure to use #24)                                                0:00 – end "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets. Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, "Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" on 10.27.1957 and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The song is closely associated with the Grateful Dead as one of their signature tunes—one which the band transformed from Holly's 1950s boy/girl romanticism to one reflecting the 1960s' more spiritual universal love. Their 1971 recording of the song is included on their second live album, Skull and Roses, paired with Going Down The Road Feeling Bad, a regular happening in the early ‘70's. Primarily a second set tune that used to show up in the second half of the second set after Drums-Space.  Beginning in 1983, the Dead began to play it as the second set closer, trailing off with “Love is real will not fade away” as they exited the stage.  A few years later, the Deadheads starting chanting the line as the Dead left the stage and in some cases, kept it up until the band reappeared for their encore, when the band would pick back up on the beat and play it for another minute or so before their encore tune, such as with this show.    Great example of the Deadheads making their mark on the show and the band being tuned in enough to play along with it.  Although sometimes if the Dead took too long to come out for the encore, the chanting would start to fade off.  And sometimes even when the chant made it all the way to the band's return on stage, the band would ignore it and just dive straight into their encore.  Fun when it all came together like this show. Played:  561 timesFirst:  February 19, 1969 at Fillmore West, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis) OUTRO:                               The Mighty Quinn                                                Track #25                                                2:11 – 3:48 Bob Dylan wrote and first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years.  The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, from their album Mighty Garvey, and became a great success. A demo of 14 of the 1967 Basement Tapes recordings, including the first of two takes of "Quinn the Eskimo (The Mighty Quinn)", was produced in 1968, but was not intended for release. Recordings taken from the demos began appearing on bootlegs, starting with Great White Wonder,[7] a double-album bootleg that came out in July 1969. The first official release of the song was in 1970 on Dylan's Self Portrait album,[14] a live recording from 1969's Isle of Wight Festival. The live version (titled "The Mighty Quinn (Quinn the Eskimo)") was also selected in 1971 for the second compilation of Dylan's career, Bob Dylan's Greatest Hits Vol. II. Covered by:  the Hollies, Leon Russell and Phish, among others. Although they never played the song with Bob Dylan, the Grateful Dead started playing "The Mighty Quinn" in concert in 1985. It became a favorite encore among the Grateful Dead's fans, and remained so to the end of their career. Last verses, end with, “when Quinn the Eskimo gets here, everybody's gonna want to doze” but the Deadheads heard it as “dose” and always gave it a big cheer. Played:  59 timesFirst:  December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  Shoutouts: Lary Vinocur – birthdayElena Mishkin – birthday .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

How important is the relationship between a writer and an artist? When an artists chooses to do everything themselves, how challenging is that? Those questions and more are answered this week as the ACP is joined by Rory Donald (Spaceboy and the Future King, Griff Gristle) to talk about creating comics. Plus we talk about controversial topics such as boxes of soup, eating burgers on the tube, great books to check out and also announce details for episode 500!!! Great stuff to check out this week - Rory Donald, Spaceboy and the Future King, Faster Than Light, Sycamore, Kay Briggs, Third Bear Press, Comix1, Bridlington Comic Con, You Have Ten Years, The Valiants #4, Hate #3, Peter Bagg, No Brainer #6, The Church of Hell, A Fall From Grace, Norm Konyu

Tuesday night hosts Josh, Lou, and Hannah had the pleasure of hosting The Valiants on the show, where they chatted all about their newly released single 'Last Time I Tried.' Tune in for an exclusive and insightful chat about their creative process, and a glimpse into what's next for the band!See omnystudio.com/listener for privacy information.

Roy L Hales/ Cortes Currents - Dave Blinzinger has toured Canada, the United States and Europe but, by choice, primarily plays his saxophone at local venues. 
“I'm from St. Louis, Missouri. My father had moved up to Cortes Island in the 70s. I lived there from 88 to 1990. At that time, well, there wasn't very much happening on Cortes. You could go up to the Cortes Cafe on Monday, Wednesday, or Friday, hang out with the fishermen and that was about it. So I moved to Quadra in 1990, basically to get a job,” he explained. 
 He has lived on Quadra ever since.  
 “I love both islands, but Cortes is special for me because it's the place I went to as an eight year old boy. I lived across from what's now Linnaea Farm in 1976. It was my first visit and it was magic. I just fell in love with the place! I think this place has its grip on me.”  
 “The summer of '76 was my first summer on Cortes, when I was a kid, so I did a composition called '76.'”    Cortes Currents: How and why did you become a musician? 
 Dave Blinzinger: “I started when I was a teenager, because my father was a saxophone player and so was my uncle. I really admired them. That's what got me into playing the saxophone and into music, really.”  
 “My father was a Choir Director and I spent many years in choir. I did vocal jazz. I play a few other instruments. I play hand drums. I play the flute. I play a bit of piano and then I have several different saxophones to choose from, depending  on the situation.” 
 Cortes Currents: When did you turn professional?  
“I really started in about 1991, with a band called ‘the Valiants.' They were a large 11 piece rhythm and blues band based out of the Comox Valley.  I stuck with them for about 9 years and played probably two to three times a month, sometimes once a week.”  
 “My unspoken goal is to be a working musician. I didn't want to be a pro to try to ‘one up' anybody. I really just wanted to  play music professionally, eight days a week.” 
 “My father came from that breed of people. He played in dance bands in the 60s in the United States. In those times, the 40s, 50s, and 60s, you could work as a musician, get picked up by big bands and you could gig for a living, almost like a job. That's what I wanted, to be involved in my music full time.” 
 Cortes Currents: What will your second song be?  
 Dave Blinzinger: “One that had airplay on Cortes Radio and is on the Quadra Compilation CD. ‘Smoke From A Distant Fire' is one of my original compositions.”  
 “The idea of this song is that you're laying out at night on Cortes Island under the stars, looking up at the stars, looking up at the universe, contemplating the cosmos, which we've all done a lot of. The distant fire is not the forest fires that we have. It's the fire in the sky, meaning the fire from distant galaxies, the light that we see.”

En este Crossover hablamos del Free Comic Book Day, el primer vistazo al nuevo suit de Superman, la nueva era de X-men y titulos como Absolute Power, Nightwing, Blood Hunt Bear Pirate Viking Queen, The White Trees, Flash Gordon, The Valiants y mas! --- Support this podcast: https://podcasters.spotify.com/pod/show/culturageekpr/support

If a film director wanted to flag up incoming violence in the late ‘50s, the camera would fall upon a couple of Teds lurking in the street outside. The teenage Keith Richards remembers razors, bike chains and bloodshed at dance halls and there was an infamous Teddy Boy murder on Clapham Common that plunged the nation into frantic, media-led moral panic. Max Décharné sets out to reclaim the Teds from their “Cro-Magnon, knuckle-dragging cliché” in his new book Teddy Boys and relives this dangerously thrilling rock and roll revolution – the music, clothes, films, press stories, the birth of Ted, Peak Ted, its eventual demise and what's kept the flame alive since. Things of note include …   … the full effect of Blackboard Jungle on a packed 4,000-seater cinema. ... that poignant sight of an old Ted pushing a pram with a woman with a beehive. … Joan Collins in ‘Cosh Boy'.   … the first UK rock and roll gig, Bill Haley & the Comets at the New Theatre Royal in Portsmouth in 1956.  … the crepe-soled, velvet-collared Duke of Edinburgh, unlikely '50s fashion icon. … Little Richard, Chuck Berry and Jerry Lee Lewis at the London Rock and Roll Show at Wembley in 1972, a key point in the Ted revival. … Malcolm McLaren, Johnny Rotten, Wizzard and assorted Ted torch-carriers. … Viv Stanshall and ‘Teddy Boys Don't Knit'. … fingertip drapes from Savile Row and how Teds subverted top-end fashion.   … Fleetwood Mac as Earl Vince & the Valiants doing ‘Somebody's Gonna Get Their Head Kicked In Tonite'. … and how the Beatles and James Bond helped kick the Teds into touch. Order Max's book here …https://www.amazon.co.uk/Teddy-Boys-Post-War-Britain-Revolution-ebook/dp/B0C3SFMTFHSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

If a film director wanted to flag up incoming violence in the late ‘50s, the camera would fall upon a couple of Teds lurking in the street outside. The teenage Keith Richards remembers razors, bike chains and bloodshed at dance halls and there was an infamous Teddy Boy murder on Clapham Common that plunged the nation into frantic, media-led moral panic. Max Décharné sets out to reclaim the Teds from their “Cro-Magnon, knuckle-dragging cliché” in his new book Teddy Boys and relives this dangerously thrilling rock and roll revolution – the music, clothes, films, press stories, the birth of Ted, Peak Ted, its eventual demise and what's kept the flame alive since. Things of note include …   … the full effect of Blackboard Jungle on a packed 4,000-seater cinema. ... that poignant sight of an old Ted pushing a pram with a woman with a beehive. … Joan Collins in ‘Cosh Boy'.   … the first UK rock and roll gig, Bill Haley & the Comets at the New Theatre Royal in Portsmouth in 1956.  … the crepe-soled, velvet-collared Duke of Edinburgh, unlikely '50s fashion icon. … Little Richard, Chuck Berry and Jerry Lee Lewis at the London Rock and Roll Show at Wembley in 1972, a key point in the Ted revival. … Malcolm McLaren, Johnny Rotten, Wizzard and assorted Ted torch-carriers. … Viv Stanshall and ‘Teddy Boys Don't Knit'. … fingertip drapes from Savile Row and how Teds subverted top-end fashion.   … Fleetwood Mac as Earl Vince & the Valiants doing ‘Somebody's Gonna Get Their Head Kicked In Tonite'. … and how the Beatles and James Bond helped kick the Teds into touch. Order Max's book here …https://www.amazon.co.uk/Teddy-Boys-Post-War-Britain-Revolution-ebook/dp/B0C3SFMTFHSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

If a film director wanted to flag up incoming violence in the late ‘50s, the camera would fall upon a couple of Teds lurking in the street outside. The teenage Keith Richards remembers razors, bike chains and bloodshed at dance halls and there was an infamous Teddy Boy murder on Clapham Common that plunged the nation into frantic, media-led moral panic. Max Décharné sets out to reclaim the Teds from their “Cro-Magnon, knuckle-dragging cliché” in his new book Teddy Boys and relives this dangerously thrilling rock and roll revolution – the music, clothes, films, press stories, the birth of Ted, Peak Ted, its eventual demise and what's kept the flame alive since. Things of note include …   … the full effect of Blackboard Jungle on a packed 4,000-seater cinema. ... that poignant sight of an old Ted pushing a pram with a woman with a beehive. … Joan Collins in ‘Cosh Boy'.   … the first UK rock and roll gig, Bill Haley & the Comets at the New Theatre Royal in Portsmouth in 1956.  … the crepe-soled, velvet-collared Duke of Edinburgh, unlikely '50s fashion icon. … Little Richard, Chuck Berry and Jerry Lee Lewis at the London Rock and Roll Show at Wembley in 1972, a key point in the Ted revival. … Malcolm McLaren, Johnny Rotten, Wizzard and assorted Ted torch-carriers. … Viv Stanshall and ‘Teddy Boys Don't Knit'. … fingertip drapes from Savile Row and how Teds subverted top-end fashion.   … Fleetwood Mac as Earl Vince & the Valiants doing ‘Somebody's Gonna Get Their Head Kicked In Tonite'. … and how the Beatles and James Bond helped kick the Teds into touch. Order Max's book here …https://www.amazon.co.uk/Teddy-Boys-Post-War-Britain-Revolution-ebook/dp/B0C3SFMTFHSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The singers of the now Christmas classic "All I Want For Christmas Is You" performed it at a fair, and Scotty was watching as people realized who they were and started getting into the spirit.

最後登機廣播，2023長榮航空線上旅展將於11/26結束，尚未購買機票的旅客請盡速前往長榮航空官網購買。除享有全航線最低72折起優惠外，還可再抽一年全球飛到飽機票！https://go.fstry.me/3uom1k9 —— 以上為 Firstory DAI 動態廣告 —— 小額贊助支持本節目： https://open.firstory.me/user/ck2ymcbpa2cpi0869qq23bkji 留言告訴我你對這一集的想法： https://open.firstory.me/user/ck2ymcbpa2cpi0869qq23bkji/comments 《拿破崙》電影包場+映後座談，報名表單： https://forms.gle/zwNXsQNWEGzkfFYy5 (00:00:00) 開場引言 (00:05:49) 【台北票房】2023年10月27日至10月29日，台北週末票房TOP 10 (00:08:56) 01 傳漫威正考慮將取消「征服者康」主劇情，元老復仇者聯盟將被召回拯救MCU？ (00:23:04) 02 新版《刀鋒戰士》被爆性轉+刪戲份，編劇破除謠言：我劇本沒這樣寫 (00:39:53) 03 漫威特效人員再爆《女浩克》《汪達幻視》上線後還在趕特效，《蟻人3》硬被提前上映「縮短工時」釀禍！ (00:50:15) 04 漫威推出全新影集品牌Spotlight，這些故事講求寫實，無須惡補其它 MCU 作品也能看懂 (01:00:31) 05 《復仇者聯盟》導演喬羅素吐槽史柯西斯「票房沒他高」，引圈內人集體痛批：有錢就耍跩的混蛋 (01:04:52) 06 《不可能的任務：致命清算》讓拜登總統大為震撼，白宮透露：他看完之後更加害怕AI (01:06:11) 07 演員工會談判仍有分歧「兩週內有望結束」，拜登下令監管AI對好萊塢暫無影響 (01:14:41) 08 《曼達洛人》女星吉娜卡拉諾控星戰製片用媒體搞抹黑、羞辱死忠影迷、逼演員退追粉絲 (01:19:55) 09 《芭比》導演葛莉塔潔薇透露：原打算吐槽《銀翼殺手》沒旁白「很難懂」，還想找雷利史考特客串 (01:22:47) 10 《六人行》馬修派瑞生前正在籌拍自傳片，原本計劃找柴克艾佛隆主演 (01:24:34) 11 查克史奈德為《反叛之月》打造龐大宇宙：播客節目、外傳動畫、長達800年時間軸 (01:29:23) 12 2014年恐怖傑作《靈病》宣佈籌拍續集，導演、女主角雙雙回歸 (01:31:16) 補充新聞 (01:48:42) CALL IN 時間 ▶ 收看本篇YouTube影像版本（直播存檔）：https://youtube.com/live/p1fxOaNKgTA ▶ 收聽本篇PODCAST聲音版本：https://open.firstory.me/story/clolqnml6007001rtgt2sbakb/platforms #新聞 #電影 #娛樂 【2023-NOV. W1 國內外影劇新聞總整】

The Champions League returns and so does the trio of Tom Carnduff, Jake Osgathorpe and Joe Townsend to pick out their selections for Tuesday's football action.This Week's Acca is brought to you by Sporting Life Football.18+ | Please Gamble Responsibly | BeGambleAware.org

Northampton Town FC travel to Port Vale for their next League One fixture on Saturday. Port Vale are riding high in League One, defying the pundits who had them as definite strugglers. Currently sitting in 4th with 4 wins from their opening 6 games, Valiants fans are full of joy and excitement for their team at the moment. Danny is joined by Port Vale fan Tom Amos from the Ale and the Vale podcast to preview Saturday's game at Vale Park. Tom talks about Vale's start to the season under Andy Crosby, their summer transfer window dealings and what the Cobblers will need to do to come away from the game with a win.    Vote for us at The Football Content Awards. Either Tweet: I am voting in @The_FCAs for @cobblerstome in Best Club Content Creator Football League & I am voting in @The_FCAs for @cobblerstome in Best Podcast Football League or go to https://footballcontentawards.com/voting/ and add It's All Cobblers To Me in the Football League box for both Best Podcast and Best Club Content Creator. Thank you xx Follow us on Twitter, Facebook, YouTube, Instagram and Threads and email us here: podcast@cobblerstome.com  Visit our website for match previews, blog posts and our shop: cobblerstome.com Sign up to our Patreon for ad free episodes, regular bonus content, access to our community Slack channel and loads more: patreon.com/cobblerstome It's All Cobblers To Me is a Vibrant Sound Media original production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us as we discuss a 0-0 draw at Exeter City this weekend and we look forward to Tuesday's clash with Port Vale. Euan joins us from the Manchester Seasiders, and Jonny joins us from the Vale and Ale podcast as we discuss Port Vale's season so far, where they could potentially win the game, and where Blackpool can exploit the Valiants. All this and more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tom-mayne/message

Joaquin's life experiences and professional practices are vast! Born in the barrio of San Felipe in Del Rio, Joaquin Muerte has strong roots in activism, community organizing, and music from several formative experiences during childhood. He started his professional music career 20 years ago in San Antonio as a street performer playing percussion and guitar and is a founding member of many local bands that compose original music: Los Nahuatlatos, Eddie and the Valiants, the San Antunes, and his own original project titled "Joaquin." Joaquin is a traditional Danzante conchero, whose roots go back to pre-Hispanic America. Hear about these projects along with his career as a community health worker in poor communities of color. He'll guide us through a mindfulness practice around impulse control that teaches us how to think twice and act once. Joaquin is also a creator of his own podcast titled "Xicanx Versus Aliens" where he interviews people who have had extraterrestrial or paranormal occurrences. His additional titles include chef, gardener, photographer, vinyl DJ, father, and husband. Connect with Joaquin: https://www.instagram.com/joaquinsoul... https://podcasts.apple.com/us/podcast...

Joaquin's life experiences and professional practices are vast! Born in the barrio of San Felipe in Del Rio, Joaquin Muerte has strong roots in activism, community organizing, and music from several formative experiences during childhood. He started his professional music career 20 years ago in San Antonio as a street performer playing percussion and guitar and is a founding member of many local bands that compose original music: Los Nahuatlatos, Eddie and the Valiants, the San Antunes, and his own original project titled "Joaquin." Joaquin is a traditional Danzante conchero, whose roots go back to pre-Hispanic America. Hear about these projects along with his career as a community health worker in poor communities of color. He'll guide us through a mindfulness practice around impulse control that teaches us how to think twice and act once. Joaquin is also a creator of his own podcast titled "Xicanx Versus Aliens" where he interviews people who have had extraterrestrial or paranormal occurrences. His additional titles include chef, gardener, photographer, vinyl DJ, father, and husband. Connect with Joaquin: https://www.instagram.com/joaquinsoul... https://podcasts.apple.com/us/podcast...

On part 1 of this two part episode we meet with Craig Marsland, famous for motor racing in WA. He campaigned a number of Chrysler Chargers and various Valiants over the years. He talks us through Sports Sedan and the infancy of racing at Wanneroo Raceway. Craig once owned the Southside Rebel Charger, the Ian Diffen Charger and John McCormicks Charger. It really is a great story.

On this week's episode we sit down with Vale's number 6, Nathan Smith. Smudge has been with us since he was 12-years-old and has experienced the highs, lows and everything in between with the Valiants. We talk to him about his career so far and being seen as one of the more experienced players despite only being 26! Thank you for downloading the Official Port Vale podcast. You can keep up to date with the club across our social media channels. Twitter - @OfficialPVFCFacebook - /OfficialPVFC www.port-vale.co.ukThank you to our podcast sponsor - The Turmeric Co. You can find out more about The Turmeric Co. by going to theturmeric.co Use the link below for a special offer/discount on your first box of turmeric shotstheturmeric.co/pages/mixed-box-intro-2023-3#PVFCPod

Joaquin's life experiences and professional practices are vast! Born in the barrio of San Felipe in Del Rio, Joaquin Muerte has strong roots in activism, community organizing, and music from several formative experiences during childhood. He started his professional music career 20 years ago in San Antonio as a street performer playing percussion and guitar and is a founding member of many local bands that compose original music: Los Nahuatlatos, Eddie and the Valiants, the San Antunes, and his own original project titled "Joaquin." Joaquin is a traditional Danzante conchero, whose roots go back to pre-Hispanic America. Hear about these projects along with his career as a community health worker in poor communities of color. He'll guide us through a mindfulness practice around impulse control that teaches us how to think twice and act once. Joaquin is also a creator of his own podcast titled "Xicanx Versus Aliens" where he interviews people who have had extraterrestrial or paranormal occurrences. His additional titles include chef, gardener, photographer, vinyl DJ, father, and husband. Connect with Joaquin: https://www.instagram.com/joaquinsoulmusic/ https://podcasts.apple.com/us/podcast/xicanx-versus-aliens/id1448033948 --- Support this podcast: https://podcasters.spotify.com/pod/show/artsforthehealthofit/support

Invitée : Wendy Ramadan-Alban, chercheuse associée au CETOBaC, chercheuse et déléguée aux relations internationales et aux de l'IRSEM 2:30 L'état actuel du programme nucléaire iranien 12:15 La longue histoire de l'Iran avec le nucléaire 22:00 La crise du nucléaire iranien 30:00 L'époque Ahmadinejad 39:30 L'Accord de Vienne de 2015 48:00 Le paysage politique iranien et la question nucléaire 59:00 La vision stratégique de l'Iran 1:09:00 L'Iran et la Russie Générique par @yotta_music Extraits audio : Boris Vian, « La java des bombes atomiques », 1955 Vince Vance & The Valiants, « Bomb Iran » sur l'album « I Know What It Means to Miss New Orleans » (1980)

Did you know there's 2 Christmas carols titled "All I Want for Christmas Is You"? The infamous one is 1994's by Mariah Carey, but there's another one overlooked from 1989. Andy Stone sued infringement because of that June-November 2022, wishing more recognition for his band Vince Vance & The Valiants. Both of these songs were influenced by 1960s music, yet are musically different from each other. I analyze both in this episode. Theme Song: "Dance Track", composed by Jessica Ann CatenaI have a Christmas article in Twisted Pulp Magazine Issue #23: https://www.amazon.com/dp/B0BQ9RGTX9/ref=redir_mobile_desktop?_encoding=UTF8&qid=1671328907&ref_=tmm_pap_swatch_0&sr=1-2Songs That Influenced - playlist: https://open.spotify.com/playlist/6LmeYj2a7NWrtX3zwmHgIT?si=4d5156be6b2a4d40&pt=bbc81d350aaf97994b35ecaf56503e8cVince Vance & The Valiants: http://www.vincevance.com/Articles:https://www.centraltrack.com/how-mariah-carey-stole-christmas/Controversial Opinion: This Southern Singer Has the Superior "All I Want for Christmas Is You" – Garden & Gun (gardenandgun.com)Kelly Clarkson's cover:Kelly Clarkson Covers 'All I Want for Christmas Is You' (No, Not That One) – Billboard2020 Rockefeller Center Christmas Tree Lighting: https://www.youtube.com/watch?v=LZv0ctZ3H9w Kelly Clarkson Show - Kellyoke performance: https://www.youtube.com/watch?v=iEEhTYXkKDAMusic Videos: Vince Vance & The Valiants' (1989): https://www.youtube.com/watch?v=w8HWHd0EYJAMariah Carey (1994): https://www.youtube.com/watch?v=yXQViqx6GMY,https://www.youtube.com/watch?v=rNp4aBz9Jww(2019): https://www.youtube.com/watch?v=aAkMkVFwAooThanksgiving Day Parade 2022: https://www.youtube.com/watch?v=rNp4aBz9Jww12/13 Madison Square Garden Concert: https://www.youtube.com/watch?v=9dihmckCpAQhttps://www.paramountplus.com/shows/mariah-carey-merry-christmas-to-all/

On this week's podcast we sit down with PVFC's Head of Recruitment, Tommy Johnson. Tommy talks to us about what goes into signing a player for the Valiants, his route to the role and the work that went into rebuilding the squad at the beginning of the 2021/22 season. Thank you for downloading the Official Port Vale podcast. You can keep up to date with the club across our social media channels. Twitter - @OfficialPVFCFacebook - /OfficialPVFC www.port-vale.co.ukThank you to our podcast sponsor - The Turmeric Co. You can find out more about The Turmeric Co. by going to theturmeric.co Use the link below for a special offer/discount on your first box of turmeric shotstheturmeric.co/pages/mixed-box-intro-2023-3#PVFCPod

Whatever happened to Beau and Blake? They were, very famously, the first tag team to ever win the Pro Wrestling Illustrated Rookie of the Year award. They were the most promising thing the AWA had to offer in its dying days (with the exception of, perhaps Del Wilkes) and Vince McMahon wanted them as the new era version of the Valiants... so what happened? This is the story of The Destruction Crew AKA: The Beverly Brothers, a DragonKingKarl Biography Podcast Special!

We sit down with Vale's Assistant Manager, Andy Crosby. He talks to us about being labelled 'Penalty Taking Specialist', his playing and coaching career and leading the Valiants out at Wembley. Thank you for downloading the Official Port Vale podcast. You can keep up to date with the club across our social media channels. Twitter - @OfficialPVFCFacebook - /OfficialPVFC www.port-vale.co.ukThank you to our podcast sponsor - The Turmeric Co. You can find out more about The Turmeric Co. by going to theturmeric.co Use the link below for a special offer/discount on your first box of turmeric shotstheturmeric.co/pages/mixed-box-intro-2023-3#PVFCPod

This week we sit down with Vale's number 9, James Wilson! He talks to us about his career so far, promotion with the Valiants, what he does in his spare time and answers questions that were put to him on social media. Thank you for downloading the Official Port Vale podcast. You can keep up to date with the club across our social media channels. Twitter - @OfficialPVFCFacebook - /OfficialPVFC www.port-vale.co.ukThank you to our podcast sponsor - The Turmeric Co. You can find out more about The Turmeric Co. by going to theturmeric.co Use the link below for a special offer/discount on your first box of turmeric shotstheturmeric.co/pages/mixed-box-intro-2023-3#PVFCPod

To round off our coverage for Tactical Masters, the newest Build-a-deck set releasing on August 26th, 2022, we're covering Valiants. Valiants are a pendulum, column-based archetype focused on having both players engage in a strategic duel utilizing positioning of their cards. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

| With You (Gedi Edit)  | 04:19  | Somalia  | 2022 | Only You  | 04:36  | Steven "T.Y Snoop" Adeyemi  | 2014 | I Believe In You (You Believe In Me)  | 05:07  | Johnnie Taylor  | 1973 | Sailing  | 03:32  | Soul Generation  | 1972 | Don't Be Afraid  | 02:47  | Bobby Taylor  | 1969 | I'll Make It Up To You  | 02:25  | Magictones  | 1969 | I've Done All I Can Do  | 04:49  | Sheba Potts-Wright  | 2011 | You Can Be With The One You Don't Love  | 04:24  | Barbara Mason  | 1972 | Be Careful (How You Treat My Love)  | 04:19  | Phyllis Hyman  | 1978 | If You Think That You Love Me  | 05:20  | Charles Fowler & The Episodes  | 2012 | One Hurt Deserves Another  | 02:46  | The Fabulous Fiestas  | 1970 | Only The Lonely Know  | 03:40  | Pamoja  | 1975 | The Makings Of You  | 03:43  | Curtis Mayfield  | 1970 | Blind Over You  | 03:41  | Black Ice  | 1976 | I Just Want To Hold You  | 04:11  | Black Ice  | 1976 | Back To You (Gedi Clean Edit)  | 03:18  | Jessica Childress  | 2022 | High Hopes (Gedi Clean Edit)  | 03:39  | Jessica Childress  | 2022 | I Want To Make Love To You  | 04:34  | Donnie Ray  | 2022 | Everything You Are  | 03:49  | The ARC Singers  | 2010 | Let Me Love You Again  | 03:28  | The Summits  | 1973 | In§omnia  | 03:31  | Ida Divine  | 2021 | Please Come Home  | 04:53  | Eddie and the Valiants  | 2022 | Communicate (Gedi Edit)  | 04:24  | Royalty Duo  | 2022 | Can't Let This Moment Go  | 03:57  | Tony Chambers  | 1981 | Rebound  | 05:42  | Tyson  | 2022 | Love Is A Heartbreaker  | 05:28  | Rick Strong  | 2022 | Let's Be Together  | 07:11  | Rick Strong  | 2022 | Somebody's Gotta Win  | 08:02  | The Controllers  | 1977 | Throw A Little Bit Of Love My Way  | 03:46  | The Waters  | 1980 | You're The Best Thing  | 05:02  | Timeless Legend  | 1976 | Mine  | 03:17  | Nia Soul  | 2022 | Please Don't Walk Away (Remix)  | 04:00  | PJ Morton, Kaleb J, Passion Vibe  | 2022 | One Thing About  | 03:42  | Siméo  | 2011 | You Must Believe (feat. Rev. Mark Allen)  | 04:45  | Ted Wizard Mills  | 2011 | That Was The Day  | 03:21  | The Differences  | 1971 | Let Me Be Your Friend  | 03:49  | The Dynamics  | 1973 | New Again (Miggedy's Stepper's Choice Remix)  | 06:19  | Julie Dexter  | 2020 | When I Leave  | 03:15  | Asia Pearson  | 2022 | When Will My Turn Come  | 02:59  | The Vibrations  | 1972 | Hold On (To Your Dreams)  | 10:33  | Wee Gee  | 1979

| Good For Us  | 03:30  | Lydia Persaud  | 2022 | I Can See It  | 03:54  | Brandon Beal  | 2008 | Love Uprising  | 02:41  | Mr T.  | 1972 | Love Uprising  | 02:32  | The Chi-Lites  | 1971 | (Until You) Come Back To Me (feat. Andre Cruz)  | 03:57  | Chris Lujan  | 2022 | Yours With Love  | 03:58  | Special Gift  | 1996 | Wish  | 03:52  | Miriam Dance  | 2019 | Let Me Be The One  | 05:09  | Beautiful Bobby Blackmon  | 2011 | I Can Feel The Tears  | 03:26  | Act III  | 1970 | Where Did Peace Go  | 03:18  | Larry Sanders The Prophet Of Soul  | 1971 | Can I Get That  | 04:02  | Teri Tobin  | 2011 | The Greatest Emotion  | 04:13  | TK Soul  | 2011 | Give Me Love  | 02:55  | Terrie Rimson  | 2022 | Take Me Back  | 02:59  | The Three Reasons  | 1971 | Out The Spirit  | 04:44  | Royalty Duo  | 2022 | In Love With You  | 03:30  | John Gary Williams  | 1972 | Please Come Home  | 04:59  | Eddie and the Valiants  | 2022 | Never Stopped Loving You  | 03:52  | Tyrone Davis  | 1980 | Would You Rather  | 02:35  | The Georgettes  | 1970 | You And Me Babe  | 04:17  | Homegrown Syndrome  | 2015 | Love Is What You Make It  | 02:55  | The Sweet Cherries  | 1969 | Come Inside  | 04:49  | Kevin  | 2014 | Prove My Love To You  | 03:19  | The Quadraphonics  | 1974 | When I Hold Your Hand  | 04:14  | Roland Johnson  | 2011 | Love Story  | 03:36  | Joi Starr  | 2022 | Love Brought You Here  | 03:30  | Pat Johnson  | 1972 | Round Two  | 05:12  | Carol Riddick  | 2011 | Why Can't Our Love Be Like It Was Before?  | 05:20  | Oral Caress  | 1977 | Thinkin' 'bout Cha  | 12:21  | The New Lost Generation  | 2001

Valiants are coming to the TCG in June of 2022, to help bring in the new column craze, I'm making a series of videos looking at all the column decks that have existed in the Yugioh game currently. First up: S-Force and Magical Musketeers.

Scoot talks to Valiants frontman Vince Vance about his Cajun Christmas show this weekend in Chalmette See omnystudio.com/listener for privacy information.

Originally released June 3, 2014 Parv, Pete, Johnny and Kelly jump in the Quantum Leaping Lanny machine back to 1975! On the docket tonight: 01-13-75 SAMMARTINO/GORILLA/STRONGBOW vs VALIANTS/DUNCUM BOSTON GARDEN 02-01-75 BRUNO SAMMARTINO vs BOBBY DUNCUM BOSTON GARDEN 02-17-75 TONY GAREA/DEAN HO vs KILLER KOWALSKI/BOBBY DUNCUM MADISON SQUARE GARDEN 02-17-75 BRUNO SAMMARTINO vs SPIROS ARION JIP (+ Arion/Blassie promo) MADISON SQUARE GARDEN 02-17-75 VALIANTS vs GORILLA MONSOON/JAY STRONGBOW MADISON SQUARE GARDEN Also on this show: - Introducing the world's most amazing commentator, Rocky Raymond! From The Boston Garden! - Bios for Dean Ho, the vegetarian Killer Kowolski and Spiros Arion plus random discussion of the career of actor John Astin! - Sammartino vs. Backlund, round 1 - Titans enters the sleazy 70s featuring ... Indian Jay Strongbow, Gorilla Monsoon and "some rat".

Welcome back to another episode of I KNOW YOU HEAR ME! Today's guest is one of the biggest & most influential voices of my childhood. Among other things you know her as the voice of Kid Goku, Kid Gohan & Teen Gohan (in the early 2000's) among various other roles. Stephanie Nadolny is here to talk about her life, struggles and how she wants to help those struggling and be a Super Saiyan beacon of hope & inspiration for those in need. Check below for information on Stephanie's social media & Vince Vance's 50th anniversary shows. Stephanie's IG - instagram.com/stephanienadolny Stehpanie's Facebook for Fans - https://www.facebook.com/StephanieNadolnyFans Vince Vance & the Valiants' 50th Anniversary Show - Friday Sept. 24, 2021 (also starring Stephanie Nadolny) LoneStar Roadhouse 11277 Northwest Hwy Dallas, TX 75238 ALSO, please make sure to check out the GoFundMe and sign the petition for #JusticeForNala in the links below: https://www.change.org/p/mike-butaud-justice-for-nala https://rhondajnelson.weebly.com/articles/justice-for-nala?fbclid=IwAR1BEIW8Uo3ju55vle2Mc1QmyNWbwKHlFnj2A86Wck8id_gDrQAtfcpmKwU https://www.gofundme.com/f/a5qeq-justice-for-nala?utm_campaign=p_cp+share-sheet&utm_medium=social&utm_source=twitter If you like what I'm doing with the podcast and want to support there are a few ways you can: 1. Subscribe on any platform - Anchor, Spotify, iTunes, Google Podcasts, etc. that way you never miss an episode. You can also catch up on all past episodes. 2. Leave a 5 Star review! 3. Share the podcast with your friends, family & anyone that'll listen! 4. Follow the show and myself on all social media platforms! 5. Click this link to do all the above... I KNOW YOU HEAR ME! linktr.ee/theflynnhendrix 6. This one's important, especially if you like saving money, check out my Rakuten link and save yourself some $$$ on everyday purchases! Plus it helps support the podcast! - https://www.rakuten.com/r/CDF630 Make sure you're checking out our sponsors too! elisecoaches.com This episode was edited by Zee. If you need an editor, contact him at chidozieuzochukwu@gmail.com and see what he can do for you! Have you noticed the awesome episode graphics? Do you need something like that done for you? Then check out www.chopwerk.com to see what Michael can do for you!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/flynn-hendrix/support

Originally released September 24, 2013 James can't get a break from work, so Parv is joined by Kelly, Johnny and Pete to take on more WWF from 1979. On the docket tonight: 1979 DISC 5 08 INTERCONTINENTAL CHAMPION PAT PATTERSON PROMO WWF TV 09-24 BOB BACKLUND vs PAT PATTERSON WWF TITLE/CAGE MATCH MADISON SQUARE GARDEN 09-24 JAY STRONGBOW vs NIKOLAI VOLKOFF MADISON SQUARE GARDEN 10-20 BRUNO SAMMARTINO vs NIKOLAI VOLKOFF PHILADELPHIA SPECTRUM 10-22 VALIANTS vs IVAN PUTSKI/TITO SANTANA TAG TITLE MADISON SQUARE GARDEN 10-22 BOB BACKLUND vs SWEDE HANSON WWF TITLE MADISON SQUARE GARDEN 10-22 BRUNO SAMMARTINO vs GREG VALENTINE MADISON SQUARE GARDEN 10-22 DUSTY RHODES vs JIMMY VALIANT MADISON SQUARE GARDEN 10-22 PAT PATTERSON vs TED DIBIASE IC TITLE MADISON SQUARE GARDEN In this week's show: - More from 'the Mailbag' including WWF escape-the-cage rules, should Andre vs. Backlund have been a feud, other territories in 1979, angles on tv at this time, and more - What happened to the North American title post-Pat Patterson? - Johnny adds Nikolai Volkoff singing to his repertoire - Bruno invents ECW and Chief Jay Strongbow wrestles in a shark cage - Andy Kaufman in WWF in 1979!!! - Bio for Swede Hanson - 'Fanny' in the US and in the UK

Originally released August 17, 2013 On the docket tonight: 03-26 BRUNO SAMMARTINO vs IVAN KOLOFF MADISON SQUARE GARDEN 03-26 ALBANO/VALIANTS vs ZBYSZKO/GAREA/DUSTY RHODES MADISON SQUARE GARDEN 03-26 PETER MAIVIA vs IVAN PUTSKI MADISON SQUARE GARDEN 03-79 VALIANTS/ALBANO, PUTSKI, MAIVIA/BLASSIE PROMOS WWF TV 04-14 GREG VALENTINE vs SD JONES CHAMPIONSHIP WRESTLING 04-79 TED DIBIASE, VALIANTS PROMOS WWF TV 04-14 VALIANTS vs TED DIBIASE/FRED CURRY/STEVE TRAVIS CHAMPIONSHIP WRESTLING 06-02 NIKOLAI VOLKOFF vs JOSE ESTRADA CHAMPIONSHIP WRESTLING 06-04 BOB BACKLUND vs GREAT HUSSEIN ARAB WWF TITLE MADISON SQUARE GARDEN Some other topics include: - Introductions to the 'three wise men' of wrestling podcasting, Johnny Sorrow, Kelly Nelson (aka Ricky Jackson) and Pete Shirmacher (aka shoe) - Celebrating countout wins - Pak Song - More Gentleman Jerry Valiant detail - Fred Blassie awesomeness and fashion plates

We're into the final straight of the regular season and by some miracle, United are still just about clinging onto the chance of a play-off place this season - but it's going to take something very special if they are to finish in the top seven.On the latest episode of The Brunton Bugle, Lee and Dan take a look back at last week's games against Port Vale and Bolton Wanderers - admittedly, there's very little chat about the drab 0-0 with the Valiants but the clash with the Trotters created plenty of chat as United played well against but were wasteful with chances created.There's also a look ahead to two massive games against Harrogate Town and Cheltenham Town, where it's now or never for a play-off push. We also take a gander at who the other five teams above us vying for 6th and 7th place have got in their remaining fixtures.In the news section we discuss the latest contract news (note - we recorded after Hayden and Alessandra's one-year triggers were announced) and there's the usual round-up of what ex-Blues have been up to.Your host Lee Rooney is in Liverpool and is joined from a safe social distance of around 131 miles away by Dan MacLennan in Carlisle. You can find us on Twitter @bruntonbugle and email us with any questions, suggestions and feedback to bruntonbugle@gmail.com.Support this show http://supporter.acast.com/brunton-bugle-cufc. See acast.com/privacy for privacy and opt-out information.

Lafiro A. Gómez is survived a stroke that left him a hemiplegic.  Over time he had to endure an amputation of a foot.Lafiro is a self-published author of 2 books: Parachute Island, a YA novel about children in the afterlife and The Valiants, a high epic fantasy and is currently working on his third book.Lafiro writes all of his books using only his iPhone and his thumb on his right hand.LINKS FROM THE EPISODE·        https://imaginationfactorycreations.comOTHER IMPORTANT INFORMATIONThe producer and host of the #DefineYourself Podcast is an inspirational and motivational author, writer, blogger, speaker and podcaster.Chris, through his business #DefineYourself, mission is to empower YOU to overcome your COALS: challenges, obstacles, adversities, limitations and/setbacks and achieve your GOALS for success in your professional and personal lives.If you are ready to start overcoming your COALS and start achieving your GOALS get Chris' FREE eBook, The 10 Steps to #DefineYourself at http://10stepstodefineyourself.comChris can be contacted at Chris@DefineYourselfpodcast.comFor more information about the #DefineYourself Podcast, visit http://defineyourselfpodcast.com/

The Walsall preview is up!We first pay tribute to a big Vale fan, and then a popular ex-player by talking to people who remember them well (Thanks to Tom and Steve for their contributions). We then head into the weeks news as COVID hits the Vale again, and we talk stats! Then into a Walsall preview, our schoolboy defending was the final straw for some Valiants in the reverse fixture, can we beat these this time around? Rest In Peace Charlie Holland and Jinking Jonny Jeffers Sponsored by Johny’s Micro Pub. Enjoy a socially distanced pint on St John’s Square in Burslem! Inplayman (https://www.inplayman.com/) - Daily Football Betting Tips & Stats Drink & Gamble Responsibly! Follow us on twitter @aleandvalepod - Feedback welcome!

Below The Belt Show (www.belowthebeltshow.com) presents our second of three Christmas shows! Our featured guest this week is actor Grayson Gurnsey who stars in Netflix hit drama/romance series "Virgin River"! Grayson will talks about his role as Ricky in the second season of the series, his thoughts on being promoted from recurring to series regular, auditioning for the series, working with Alexandra Breckinridge and much more! Grayson also talks about working with while fanboying over Milo Ventimiglia, auditioning for Spiderman and his parkour skills! Don't miss this great interview! BTB’s host with the most Al Sotto and co-host Chachi McFly bring to you another entertaining program! On the festive panel welcome back "The Captain" Big Nick, as well as cosplayer extraordinaire Ana B! Later in the program we are welcomed by another cosplayer extraordinaire in Tiffanie Marie Ford! So expect all the late-breaking news on pop culture, entertainment, and more! Listen to our gut busting humor, insightful commentary, and thought provoking opinions on the world of entertainment uncensored only on Below The Belt Show (www.belowthebeltshow.com)! Song Credits Intro: John Williams "Star Wars/Carol of the Bells" Mash-Up Classic Christmas Cut: Vince Vance and the Valiants "All I Want For Christmas Is You" Cool Christmas Cut: Anna Kendrick "This Christmas" from the Noelle Original Soundtrack

We check in and see what's happening with the lads and any further thoughts on the Walsall nightmare. Then it's a quick chat about Barrow, who have several ex-Valiants knocking about. It leads to a 'who was better, Scott Quigley or Richie Bennett?' Barrow look better than their position suggests, and they visit Vale on the back of a big win versus Cheltenham, so why does one of us think we'll batter them?! Sponsored by Johny’s Micro Pub. Enjoy a socially distanced pint on St John’s Square in Burslem! Inplayman (https://www.inplayman.com/) - Daily Football Betting Tips & Stats Drink & Gamble Responsibly! Follow us on twitter @aleandvalepod - Feedback welcome!

Lisa Layne sings the Top 5 Christmas Song "All I want for Christmas is You" with Vince Vance and the Valiants. Is that her in the video? She has the answer. Lisa talks about her role as Patsy Cline and traveled the country performing! Lot's of fun!Support the show (http://www.patreon.com/skiphappens)

It's Episode 13 of THE BRUNTON BUGLE and the lads are feeling very positive after another win and clean sheet over one of League Two's most fancied sides, Port Vale, last weekend.Lee and Dan take a look back at the key talking points you wanted them to discuss from that win over the Valiants, whilst also looking ahead to this weekend's "CUFC Derby" against Colchester United at Brunton ParkThere's also an update on the current situation at United's financial backers Edinburgh Woollen Mill, the usual news round-up and look at what ex-Blues are getting up to.Your host Lee Rooney is in Liverpool and is joined from a safe social distance of around 131 miles away by Dan MacLennan in Carlisle. You can find us on Twitter @bruntonbugle and email us with any questions, suggestions and feedback to bruntonbugle@gmail.com.Support this show http://supporter.acast.com/brunton-bugle-cufc. See acast.com/privacy for privacy and opt-out information.

Here to warm all our little coal black hearts is the first episode of a month long spooky special. With things that go bump in the night, ghouls and goblins galore to fill us to our hearts content, but there is something more sinister lurking in the shadows. Listen in to find out what it is and rattle your bones to this weeks playlist.-Jack Turner. Nightmare-Dave Gardener. Mad Witch-Jimmy Fris and the Valiants. Serpents and Spiders-Gary Warren. Werewolf-The Blue Echoes. It's Witchcraft-Jim Burgett. Jeckyll and Hyde-Lord Dent and His Invaders. Wolfcall-Whitey Gallagher. SearchingBackground: Lee Kristofferson. Night of the Werewolf

Alex spent much of the 1960's flying Valiants and Victor bombers for the RAF primarily as refueling tankers for fighters such as the Lightning and Harrier, servicing the middle and far east. This fascinating talk with Tim Morris explores the art of refueling and the planes used for that purpose.

EP65 breaks down Valiants new Bloodshot movie and how it holds up against the comic, Setting the World on Fire.

Hey! We're back with a second dose of Cobblers chat for the week. This time we begin in Derby, literally. We're looking back at our last game in this year's FA Cup and concentrating, once more, back on the league. Who needs a drum, eh?! Charles speaks to Port Vale fan, Joe about the Valiants' season to date, their new owners and Tom Pope. ____________________________________________ Don't forget, there is still a chance to win a pair of tickets to a Cobblers home game. All you have to do is complete the It's All Cobblers To Me Listener Survey 2020. Let us know your thoughts on the podcast and be entered into our prize draw. Go to https://iter.ly/lfuum (https://iter.ly/lfuum) for more details and to complete the survey. Subscribe (for free!) on  Apple Podcasts (https://itunes.apple.com/gb/podcast/its-all-cobblers-to-me/id1436309214?ls=1)  and leave us a 5 star review while you’re there. There is more Cobblers related content as well as all of our previous episodes on our website  https://cobblerstome.com (https://cobblerstome.com/) You can get involved with the podcast by doing the following things: Email us itsallcobblers@gmail.com. Tweet us  https://twitter.com/CobblersToMe (https://twitter.com/CobblersToMe) Facebook  https://www.facebook.com/itsallcobblers (https://www.facebook.com/itsallcobblers) It's All Cobblers To Me is free to listen to but isn't free to produce. You can support the podcast by becoming a patron over on our Patreon (https://www.patreon.com/cobblerstome) site. If you know of a local business who could do with some exposure please let us know as we have plenty of sponsorship options available. It’s All Cobblers To Me is a  Northampton Town Football Club (http://ntfc.co.uk/) . Support this podcast

Dans le Collimateur de cette semaine, après une présentation du numéro 145 de DSI de janvier-février par Joseph Henrotin, c'est Pierre Razoux, chercheur à l'IRSEM et directeur du domaine "Euratlantique, Russie, Moyen-Orient" qui revient dans le Collimateur pour décrypter la montée récente des tensions entre les États-Unis et l'Iran, et ses conséquences stratégiques pour la région. Avec Alexandre Jubelin, il commence par retracer l'histoire tumultueuse de la relation entre les deux pays depuis 1979 (11:00) puis la montée des tensions depuis 2018 et le retrait des États-Unis de l'accord sur le nucléaire iranien. Puis ils évoquent la crise actuelle, ses conséquences, les stratégies sous-jacentes et les perspectives d'avenir à l'échelle régionale et mondiale (38:00). Extrait audio : Vince Vance and the Valiants - "Bomb Iran" sur l'album "I know what it means to miss New Orleans" (1980)

He described Port Vale as being a club he's known for as long as he can remember and being the manager of the Vale means 'a great deal' to him. John Askey is closing in on his first year as Port Vale manager having helped keep the club in the football league in his first few months towards the end of last season. Sat 10th in the league now and with a trip to Manchester City on the horizon, we sat down with the gaffer to look back on his first year in charge of the Valiants as we enter into the new year.

Episode sixty of A History of Rock Music in Five Hundred Songs looks at “You Send Me” by Sam Cooke 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 “Little Darlin'” by The Gladiolas. Also, an announcement — the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  —-more—- Resources The Mixcloud is slightly delayed this week. I’ll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick’s work, it’s an essential book if you’re even slightly interested in the subject. This is the best compilation of Sam Cooke’s music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the “e” from the release of “You Send Me”, so for almost all the time covered in this episode he was Cook. I didn’t feel the need to mention this in the podcast, as the two names are pronounced identically. I’ve spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there’s a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before about how the music that became known as soul had its roots in gospel music, but today we’re going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it’s doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that’s something that will come up more in future episodes, it’s worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we’ve talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam’s formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the “jubilee” style — the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, “Swing Low, Sweet Chariot”] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first — and best — gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, “In That Awful Hour”] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers — five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can — you never do anything by halves, and if a thing’s worth doing it’s worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don’t worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song “If I Didn’t Care” to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor’s recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, “I Dreamed That Heaven Was Like This”] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group’s members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn’t make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time — he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn’t just because he was the most talented of all the quartet singers — though he was, and that was certainly part of it — but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation — in both black gospel, and in the white gospel music euphemistically called “Southern Gospel”, the term “quartet” is used for groups which might have five, six, or even more people in them. I’ll generally refer to all of these as “groups”, because I’m not from the gospel world, but I’ll use the term “quartet” when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I’m not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation’s leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other’s shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn’t know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs’ point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat — and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him “Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you.” And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, “Come, Let Us Go Back to God”] But towards the end of the session, the Soul Stirrers insisted that they should record “Jesus Gave Me Water”, a song that had always been a highlight of the Highway QCs’ set. Rupe thought that this was ridiculous — the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, “Jesus Gave Me Water”] Rupe lost his misgivings, both about the song and about the singer — that was clearly going to be the group’s next single. The group themselves were still not completely sure about Cooke as their singer — he was younger than the rest of them, and he didn’t have Harris’ assurance and professionalism, yet. But they knew they had something with that song, which was released with “Peace in the Valley” on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. “Jesus Gave Me Water” was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when “Lawdy Miss Clawdy” became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn’t living a very godly life. He got married in 1953, but he’d already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they’ve got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn’t have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it’s easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, “Nearer to Thee”] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke’s laziness. They’d gone into the studio, and it turned out that Cooke hadn’t written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said “I got one”. He told the guitarist to play a couple of chords, and he started singing — and the song that came out, improvised off the top of his head, “Touch the Hem of His Garment”, was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, “Touch the Hem of His Garment”] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands — a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There’s an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word “Baby” to “Jesus”. In the mid-fifties things seemed to be the other way — people were having hits by taking Gospel songs and changing the word “Jesus” to “baby”, or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take “This Little Light of Mine”: [Excerpt: The Louvin Brothers, “This Little Light of Mine”] and turn it into “This Little Girl of Mine: [Excerpt: Ray Charles, “This Little Girl of Mine”] But there were a number of other acts doing things that weren’t that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa’s studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name “Dale Cook”, and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam’s brother, because it was fairly well known that Sam came from a singing family, and indeed Sam’s brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam’s. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, “Wonderful”: [Excerpt: Sam Cooke and the Soul Stirrers, “Wonderful”] One quick rewrite later, and that song became, instead, “Lovable”: [Excerpt: Dale Cook, “Lovable”] Around the time of the Dale Cook recording session, Sam’s brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn’t allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam’s brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by “Dale Cook”, the DJs playing it would often introduce it as being by “Dale Sam Cook”, and the Soul Stirrers started to be asked if they were going to sing “Lovable” in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it’s noticeable that songs like “Mean Old World” could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, “Mean Old World”] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he’d written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he’d treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, “You Send Me”, was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe’s criteria in mind. The songs chosen were “Summertime”, “You Send Me”, another song Sam had written called “You Were Made For Me”, and “Things You Do to Me”, which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn’t playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa’s studio, and Ted Brinson, the only LA native, on bass — Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that “Earth Angel” by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they’d recorded “You Send Me”: [Excerpt: Sam Cooke, “You Send Me”] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke’s vocals. They were, in Rupe’s view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of “Stardust” for the Dominoes: [Excerpt: Billy Ward and the Dominoes, “Stardust”] And the new version of “Summertime” had some of the same feel: [Excerpt: Sam Cooke, “Summertime”] If Sam Cooke was going to record for Specialty, he wasn’t going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white — and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over “Rip it Up” by Little Richard. When they’d agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with — one that was based around piano triplets. But then, when he’d been on the plane to the session, Blackwell had hit upon another idea — to base the song around a particular drum pattern: [Excerpt: Little Richard, “Rip it Up”] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn’t like that kind of greed from his artists — why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement — Blackwell would leave Specialty, and take Sam Cooke, and Cooke’s existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take “You Send Me”, “Summertime”, and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that “Summertime” would be the hit, but “You Send Me” quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, “You Send Me”] Several cover versions came out almost immediately. Sam and Bumps didn’t mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, “You Send Me”] Or Cornell Gunter: [Excerpt: Cornell Gunter, “You Send Me”] They were friends and colleagues, and good luck to them if they had a hit with the song — and anyway, they knew that Sam’s version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, “You Send Me”] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them — she was even copying Sam’s “whoa-oh”s. She was nothing more than a thief, Blackwell argued — and her version was charting, and made the top ten. Fortunately for them, Sam’s version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe’s company as a songwriter, and so he’d put “You Send Me” in the name of his brother L.C., so Rupe wouldn’t get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, “I’ll Come Running Back To You”, and got René Hall and the Lee Gotch singers, the very people whose work on “You Send Me” and “Summertime” he’d despised so much, to record overdubs to make it sound as much like “You Send Me” as possible: [Excerpt: Sam Cooke, “I’ll Come Running Back To You”] And in retaliation for *that* being released, Bumps Blackwell took a song that he’d recorded months earlier with Little Richard, but which still hadn’t been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, “Good Golly Miss Molly”] Specialty had to rush-release Little Richard’s version to make sure it became the hit — a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way — people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father’s maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we’ll see him rising to ever greater artistic heights, but we’ll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

Episode sixty of A History of Rock Music in Five Hundred Songs looks at “You Send Me” by Sam Cooke 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 “Little Darlin'” by The Gladiolas. Also, an announcement — the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  —-more—- Resources The Mixcloud is slightly delayed this week. I’ll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick’s work, it’s an essential book if you’re even slightly interested in the subject. This is the best compilation of Sam Cooke’s music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the “e” from the release of “You Send Me”, so for almost all the time covered in this episode he was Cook. I didn’t feel the need to mention this in the podcast, as the two names are pronounced identically. I’ve spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there’s a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before about how the music that became known as soul had its roots in gospel music, but today we’re going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it’s doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that’s something that will come up more in future episodes, it’s worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we’ve talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam’s formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the “jubilee” style — the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, “Swing Low, Sweet Chariot”] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first — and best — gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, “In That Awful Hour”] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers — five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can — you never do anything by halves, and if a thing’s worth doing it’s worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don’t worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song “If I Didn’t Care” to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor’s recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, “I Dreamed That Heaven Was Like This”] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group’s members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn’t make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time — he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn’t just because he was the most talented of all the quartet singers — though he was, and that was certainly part of it — but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation — in both black gospel, and in the white gospel music euphemistically called “Southern Gospel”, the term “quartet” is used for groups which might have five, six, or even more people in them. I’ll generally refer to all of these as “groups”, because I’m not from the gospel world, but I’ll use the term “quartet” when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I’m not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation’s leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other’s shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn’t know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs’ point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat — and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him “Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you.” And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, “Come, Let Us Go Back to God”] But towards the end of the session, the Soul Stirrers insisted that they should record “Jesus Gave Me Water”, a song that had always been a highlight of the Highway QCs’ set. Rupe thought that this was ridiculous — the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, “Jesus Gave Me Water”] Rupe lost his misgivings, both about the song and about the singer — that was clearly going to be the group’s next single. The group themselves were still not completely sure about Cooke as their singer — he was younger than the rest of them, and he didn’t have Harris’ assurance and professionalism, yet. But they knew they had something with that song, which was released with “Peace in the Valley” on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. “Jesus Gave Me Water” was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when “Lawdy Miss Clawdy” became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn’t living a very godly life. He got married in 1953, but he’d already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they’ve got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn’t have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it’s easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, “Nearer to Thee”] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke’s laziness. They’d gone into the studio, and it turned out that Cooke hadn’t written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said “I got one”. He told the guitarist to play a couple of chords, and he started singing — and the song that came out, improvised off the top of his head, “Touch the Hem of His Garment”, was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, “Touch the Hem of His Garment”] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands — a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There’s an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word “Baby” to “Jesus”. In the mid-fifties things seemed to be the other way — people were having hits by taking Gospel songs and changing the word “Jesus” to “baby”, or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take “This Little Light of Mine”: [Excerpt: The Louvin Brothers, “This Little Light of Mine”] and turn it into “This Little Girl of Mine: [Excerpt: Ray Charles, “This Little Girl of Mine”] But there were a number of other acts doing things that weren’t that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa’s studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name “Dale Cook”, and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam’s brother, because it was fairly well known that Sam came from a singing family, and indeed Sam’s brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam’s. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, “Wonderful”: [Excerpt: Sam Cooke and the Soul Stirrers, “Wonderful”] One quick rewrite later, and that song became, instead, “Lovable”: [Excerpt: Dale Cook, “Lovable”] Around the time of the Dale Cook recording session, Sam’s brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn’t allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam’s brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by “Dale Cook”, the DJs playing it would often introduce it as being by “Dale Sam Cook”, and the Soul Stirrers started to be asked if they were going to sing “Lovable” in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it’s noticeable that songs like “Mean Old World” could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, “Mean Old World”] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he’d written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he’d treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, “You Send Me”, was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe’s criteria in mind. The songs chosen were “Summertime”, “You Send Me”, another song Sam had written called “You Were Made For Me”, and “Things You Do to Me”, which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn’t playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa’s studio, and Ted Brinson, the only LA native, on bass — Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that “Earth Angel” by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they’d recorded “You Send Me”: [Excerpt: Sam Cooke, “You Send Me”] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke’s vocals. They were, in Rupe’s view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of “Stardust” for the Dominoes: [Excerpt: Billy Ward and the Dominoes, “Stardust”] And the new version of “Summertime” had some of the same feel: [Excerpt: Sam Cooke, “Summertime”] If Sam Cooke was going to record for Specialty, he wasn’t going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white — and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over “Rip it Up” by Little Richard. When they’d agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with — one that was based around piano triplets. But then, when he’d been on the plane to the session, Blackwell had hit upon another idea — to base the song around a particular drum pattern: [Excerpt: Little Richard, “Rip it Up”] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn’t like that kind of greed from his artists — why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement — Blackwell would leave Specialty, and take Sam Cooke, and Cooke’s existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take “You Send Me”, “Summertime”, and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that “Summertime” would be the hit, but “You Send Me” quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, “You Send Me”] Several cover versions came out almost immediately. Sam and Bumps didn’t mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, “You Send Me”] Or Cornell Gunter: [Excerpt: Cornell Gunter, “You Send Me”] They were friends and colleagues, and good luck to them if they had a hit with the song — and anyway, they knew that Sam’s version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, “You Send Me”] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them — she was even copying Sam’s “whoa-oh”s. She was nothing more than a thief, Blackwell argued — and her version was charting, and made the top ten. Fortunately for them, Sam’s version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe’s company as a songwriter, and so he’d put “You Send Me” in the name of his brother L.C., so Rupe wouldn’t get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, “I’ll Come Running Back To You”, and got René Hall and the Lee Gotch singers, the very people whose work on “You Send Me” and “Summertime” he’d despised so much, to record overdubs to make it sound as much like “You Send Me” as possible: [Excerpt: Sam Cooke, “I’ll Come Running Back To You”] And in retaliation for *that* being released, Bumps Blackwell took a song that he’d recorded months earlier with Little Richard, but which still hadn’t been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, “Good Golly Miss Molly”] Specialty had to rush-release Little Richard’s version to make sure it became the hit — a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way — people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father’s maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we’ll see him rising to ever greater artistic heights, but we’ll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

Episode sixty of A History of Rock Music in Five Hundred Songs looks at "You Send Me" by Sam Cooke 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 "Little Darlin'" by The Gladiolas. Also, an announcement -- the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  ----more---- Resources The Mixcloud is slightly delayed this week. I'll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick's work, it's an essential book if you're even slightly interested in the subject. This is the best compilation of Sam Cooke's music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the "e" from the release of "You Send Me", so for almost all the time covered in this episode he was Cook. I didn't feel the need to mention this in the podcast, as the two names are pronounced identically. I've spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there's a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've talked before about how the music that became known as soul had its roots in gospel music, but today we're going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it's doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that's something that will come up more in future episodes, it's worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we've talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam's formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the "jubilee" style -- the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, "Swing Low, Sweet Chariot"] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first -- and best -- gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, "In That Awful Hour"] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers -- five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can -- you never do anything by halves, and if a thing's worth doing it's worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don't worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song "If I Didn't Care" to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor's recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, "I Dreamed That Heaven Was Like This"] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group's members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn't make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time -- he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn't just because he was the most talented of all the quartet singers -- though he was, and that was certainly part of it -- but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation -- in both black gospel, and in the white gospel music euphemistically called "Southern Gospel", the term "quartet" is used for groups which might have five, six, or even more people in them. I'll generally refer to all of these as "groups", because I'm not from the gospel world, but I'll use the term "quartet" when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I'm not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation's leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other's shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn't know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs' point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat -- and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him "Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you." And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, "Come, Let Us Go Back to God"] But towards the end of the session, the Soul Stirrers insisted that they should record "Jesus Gave Me Water", a song that had always been a highlight of the Highway QCs' set. Rupe thought that this was ridiculous -- the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, "Jesus Gave Me Water"] Rupe lost his misgivings, both about the song and about the singer -- that was clearly going to be the group's next single. The group themselves were still not completely sure about Cooke as their singer -- he was younger than the rest of them, and he didn't have Harris' assurance and professionalism, yet. But they knew they had something with that song, which was released with "Peace in the Valley" on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. "Jesus Gave Me Water" was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when "Lawdy Miss Clawdy" became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn't living a very godly life. He got married in 1953, but he'd already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they've got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn't have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it's easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, "Nearer to Thee"] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke's laziness. They'd gone into the studio, and it turned out that Cooke hadn't written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said "I got one". He told the guitarist to play a couple of chords, and he started singing -- and the song that came out, improvised off the top of his head, "Touch the Hem of His Garment", was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, "Touch the Hem of His Garment"] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands -- a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There's an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word "Baby" to "Jesus". In the mid-fifties things seemed to be the other way -- people were having hits by taking Gospel songs and changing the word "Jesus" to "baby", or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take "This Little Light of Mine": [Excerpt: The Louvin Brothers, "This Little Light of Mine"] and turn it into "This Little Girl of Mine: [Excerpt: Ray Charles, "This Little Girl of Mine"] But there were a number of other acts doing things that weren't that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa's studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name "Dale Cook", and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam's brother, because it was fairly well known that Sam came from a singing family, and indeed Sam's brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam's. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, "Wonderful": [Excerpt: Sam Cooke and the Soul Stirrers, "Wonderful"] One quick rewrite later, and that song became, instead, "Lovable": [Excerpt: Dale Cook, "Lovable"] Around the time of the Dale Cook recording session, Sam's brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn't allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam's brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by "Dale Cook", the DJs playing it would often introduce it as being by "Dale Sam Cook", and the Soul Stirrers started to be asked if they were going to sing "Lovable" in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it's noticeable that songs like "Mean Old World" could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, "Mean Old World"] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he'd written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he'd treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, "You Send Me", was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe's criteria in mind. The songs chosen were "Summertime", "You Send Me", another song Sam had written called "You Were Made For Me", and "Things You Do to Me", which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn't playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa's studio, and Ted Brinson, the only LA native, on bass -- Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that "Earth Angel" by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they'd recorded "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke's vocals. They were, in Rupe's view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of "Stardust" for the Dominoes: [Excerpt: Billy Ward and the Dominoes, "Stardust"] And the new version of "Summertime" had some of the same feel: [Excerpt: Sam Cooke, "Summertime"] If Sam Cooke was going to record for Specialty, he wasn't going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white -- and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over "Rip it Up" by Little Richard. When they'd agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with -- one that was based around piano triplets. But then, when he'd been on the plane to the session, Blackwell had hit upon another idea -- to base the song around a particular drum pattern: [Excerpt: Little Richard, "Rip it Up"] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn't like that kind of greed from his artists -- why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement -- Blackwell would leave Specialty, and take Sam Cooke, and Cooke's existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take "You Send Me", "Summertime", and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that "Summertime" would be the hit, but "You Send Me" quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, "You Send Me"] Several cover versions came out almost immediately. Sam and Bumps didn't mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, "You Send Me"] Or Cornell Gunter: [Excerpt: Cornell Gunter, "You Send Me"] They were friends and colleagues, and good luck to them if they had a hit with the song -- and anyway, they knew that Sam's version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, "You Send Me"] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them -- she was even copying Sam's "whoa-oh"s. She was nothing more than a thief, Blackwell argued -- and her version was charting, and made the top ten. Fortunately for them, Sam's version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe's company as a songwriter, and so he'd put "You Send Me" in the name of his brother L.C., so Rupe wouldn't get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, "I'll Come Running Back To You", and got René Hall and the Lee Gotch singers, the very people whose work on "You Send Me" and "Summertime" he'd despised so much, to record overdubs to make it sound as much like "You Send Me" as possible: [Excerpt: Sam Cooke, "I'll Come Running Back To You"] And in retaliation for *that* being released, Bumps Blackwell took a song that he'd recorded months earlier with Little Richard, but which still hadn't been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, "Good Golly Miss Molly"] Specialty had to rush-release Little Richard's version to make sure it became the hit -- a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way -- people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father's maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we'll see him rising to ever greater artistic heights, but we'll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes Peace of Blues (Blues / Rock) to the Show!  www.peaceofblues.comwww.mbmmusicllc.com/the-mbm-musician-network/peace-of-blueswww.facebook.com/peace613 Ever since Kepha attended his first rock concert at the age of 13, Dr. John and the Night Trippers with Paper Steamboat and Vince Vance and the Valiants, rock music became a vital part of his life! Listening to bands such as Jimi Hendrix, Led Zeppelin, Free, Cream, Robin Trower, Lyrnyrd, Skynyrd, The Allman Brothers Band and a host of other great bands on his mom's record player, cemented his love of rock n roll music! The rock guitarist creativity and sound was embedded into his soul! This Episode is officially sponsored by: MBM MUSIC LLC www.mbmmusicllc.com

Pops Mohamed (born Ismail Mohamed-Jan) is a South African multi-instrumentalist, jazz musician and producer. Born in Benoni, Gauteng Pops Mohamed's career in music was the logical outcome of an early exposure at Dorkay House to the likes of Abdullah Ibrahim and Kippie Moeketsi. He started his first band The Valiants, at 14. Known by fans as the Minister of Music, he plays a wide variety of instruments: African mouth bow, bird whistle, berimbau, didgeridoo, guitar, keyboard, kora, and the thumb piano. He is also known for his wide range of musical styles which include kwela, pop, and soul. He produced Finding One's Self, the late Moses Taiwa Molelekwa's award-winning album. Pops has also performed regularly with and sits on the board of the Johannesburg Youth Orchestra Company. --- Support this podcast: https://anchor.fm/entrepreneur-connect-africa/support

Pops Mohamed (born Ismail Mohamed-Jan) is a South African multi-instrumentalist, jazz musician and producer. Born in Benoni, Gauteng Pops Mohamed's career in music was the logical outcome of an early exposure at Dorkay House to the likes of Abdullah Ibrahim and Kippie Moeketsi. He started his first band The Valiants, at 14. Known by fans as the Minister of Music, he plays a wide variety of instruments: African mouth bow, bird whistle, berimbau, didgeridoo, guitar, keyboard, kora, and the thumb piano. He is also known for his wide range of musical styles which include kwela, pop, and soul. He produced Finding One's Self, the late Moses Taiwa Molelekwa's award-winning album. Pops has also performed regularly with and sits on the board of the Johannesburg Youth Orchestra Company. --- Support this podcast: https://anchor.fm/entrepreneur-connect-africa/support

More holiday music, stories and songs for you and your family to enjoy. I hope you enjoy the culture and holiday spirit I’m sharing from Louisiana, the Mississippi Delta, and beyond. It’s Christmas – Imagination Movers Joke of the Day – Pizza on Earth Burn Little Candles – Judy Caplan Ginsburgh Blue Christmas – Belton Richard Winter Wonderland – Vince Vance Sleigh Ride – Matt Perrine Santa Claus is Comin’ To Town – narrated by Louis Ray ‘Zat You, Santa Claus? – Louis Armstrong Jingle Bells – Harry Fontenot Deck the Halls – Robert Kingrob Harris The Confetti Park radio show is a weekly 30-minute program that streams online and airs in cities across the United States, made available for free to all community radio stations on the Pacifica Network. We’re going to enjoy the music of the season all this month—Christmas carols, and Hanukkah songs of light,  as well as sweet stories to make you smile. Thanks for joining me, your host, Katy Hobgood Ray! “The holiday season is lots of fun, we celebrate when the year is done,  Come together now everyone—It’s Christmas!  An Hanukkah, too! Well, happy Kwanzaa! Season’s Greetings to you!” —the Imagination Movers All about the music On this episode, “Pizza on Earth,”we start off with the high energy Imagination Movers, with some of their original Christmas music! “It’s Christmas!”—and Hanukkah, and Kwanzaa, and Children’s Day. This is followed by “Burn Little Candles,” a song of Hanukkah by Judy Caplan Ginsburgh of Alexandria, La. Judy is a rabbi, in addition to a prolific children’s musician and educator.  There is lots of Cajun Christmas music in this episode—enjoy Belton Richard, Harry Fontenot, and Robert Kingrob Harris, all with delightful performances of classics.  And you’ll also hear the inimitable Vince Vance and his Valiants, and their unique version of “Winter Wonderland,” sousaphonist Matt Perrine with a rousing “Sleigh Ride,” and the great Louis Armstrong with “‘Zat You, Santa Claus?” Also featured in this episode is Confetti Park Storytime with Justin Wilson, a beloved Cajun chef, comedian, and storyteller. This Louisiana legend, who passed away several years ago, is emerging for a new generation, as his music and stories have been digitized and re-released, and a new food products line of spices, pickles, and more is available in stores and online. Thank you to the estate of Justin Wilson for contributing to Confetti Park. The Confetti Park radio show and podcast is supported by the New Orleans Jazz and Heritage Foundation and Music Rising at Tulane University. Thanks for listening. Remember to look for the magic in every day!

Episodio liberado el 20 de Noviembre 2018En esta ocasión especial, reseñamos el primer volumen de LOS VALIANTS, de Edgar Delgado, Omar Lozano y compañía; una publicación de Fixión Narradores.

JUEL Valiants coach, Nikki Vidakovic, visits the program to talk her playing career, passion for coaching, and how it relates to life. May 17, 2018Support the show (http://gf.me/u/xpk4a5)

Millwall 3-1 Charlton Athletic 21.12.16 Welcome to the pleasuredome of a rip roaring night at The Den dear listeners, one in which the Lions maintained football's most one-sided rivalry with a fine 3-1 win over the Valiants.This special midweek edition, includes full blooded in-match comment by Micky AMS plus yours truly. All followed by post match analysis and opinion on the Charlton situation with past guest of the show and Addick fan Kyle Andrews. Hats off to Kyle for appearing on the show in the aftermath of that result (again).I hope you enjoy the show.Finally may I take this chance to wish ALL of the show's listeners and indeed Millwall fans worldwide a very happy Christmas. As Bowie once asked Bing: 'Peace on Earth, aw can it be?' Depends on how much this piece of Earth is worth really David. Also whether it's leased from Lewisham Council ...NickAchtung! MillwallCBLthemag@hotmail.co.uk Hosted on Acast. See acast.com/privacy for more information.

Millwall 3-1 Charlton Athletic 21.12.16 Welcome to the pleasuredome of a rip roaring night at The Den dear listeners, one in which the Lions maintained football's most one-sided rivalry with a fine 3-1 win over the Valiants. This special midweek edition, includes full blooded in-match comment by Micky AMS plus yours truly. All followed by post match analysis and opinion on the Charlton situation with past guest of the show and Addick fan Kyle Andrews. Hats off to Kyle for appearing on the show in the aftermath of that result (again). I hope you enjoy the show. Finally may I take this chance to wish ALL of the show's listeners and indeed Millwall fans worldwide a very happy Christmas. As Bowie once asked Bing: 'Peace on Earth, aw can it be?' Depends on how much this piece of Earth is worth really David. Also whether it's leased from Lewisham Council ... Nick Achtung! Millwall CBLthemag@hotmail.co.uk See acast.com/privacy for privacy and opt-out information.

Manager's thoughts on the 1-1 draw with the Valiants

Jimmy was first to enter the sports-entertainment world, debuting in 1964 after training with fellow Hall of Famer Verne Gagne. Johnny followed soon after in 1967, and together they won several regional tag team championships. The Valiants entered WWE in the early 1970s, and at times they seemed unbeatable. Together, the pair captured the World Tag Team Championship in 1974 and held them for just over a year. Later, a third brother, "Gentleman" Jerry, joined them, teaming with Johnny to once again win the World Tag Team Championship in 1979. The Valiants were just one of the dozen tag teams that fellow 1996 Hall of Fame inductee Captain Lou Albano guided to the World Tag Team Championship in his career. Jimmy is also an accomplished author of his own Autobiography entitled, "WOO....MERCY DADDY! Welcome to my world the Jimmy Valiant story. We talk about his storied career in wrestling and what he is up to today

In today's episode, Val delves into some of the recent goings-on in her life.  She talks about everything from amazing chance occurrences that only happened because of the randomness of meeting strangers on social media, dogs and other distractions, and discusses an upcoming meet-up for Valiants.

Parv, Pete, Johnny and Kelly jump in the Quantum Leaping Lanny machine back to 1975! On the docket tonight: 01-13-75 SAMMARTINO/GORILLA/STRONGBOW vs VALIANTS/DUNCUM BOSTON GARDEN 02-01-75 BRUNO SAMMARTINO vs BOBBY DUNCUM BOSTON GARDEN 02-17-75 TONY GAREA/DEAN HO vs KILLER KOWALSKI/BOBBY DUNCUM MADISON SQUARE GARDEN 02-17-75 BRUNO SAMMARTINO vs SPIROS ARION JIP (+ Arion/Blassie promo) MADISON SQUARE GARDEN 02-17-75 VALIANTS vs GORILLA MONSOON/JAY STRONGBOW MADISON SQUARE GARDEN Also on this show: - Introducing the world's most amazing commentator, Rocky Raymond! From The Boston Garden! - Bios for Dean Ho, the vegetarian Killer Kowolski and Spiros Arion plus random discussion of the career of actor John Astin! - Sammartino vs. Backlund, round 1 - Titans enters the sleazy 70s featuring ... Indian Jay Strongbow, Gorilla Monsoon and "some rat".

James can't get a break from work, so Parv is joined by Kelly, Johnny and Pete to take on more WWF from 1979. On the docket tonight: 1979 DISC 5 08 INTERCONTINENTAL CHAMPION PAT PATTERSON PROMO WWF TV 09-24 BOB BACKLUND vs PAT PATTERSON WWF TITLE/CAGE MATCH MADISON SQUARE GARDEN 09-24 JAY STRONGBOW vs NIKOLAI VOLKOFF MADISON SQUARE GARDEN 10-20 BRUNO SAMMARTINO vs NIKOLAI VOLKOFF PHILADELPHIA SPECTRUM 10-22 VALIANTS vs IVAN PUTSKI/TITO SANTANA TAG TITLE MADISON SQUARE GARDEN 10-22 BOB BACKLUND vs SWEDE HANSON WWF TITLE MADISON SQUARE GARDEN 10-22 BRUNO SAMMARTINO vs GREG VALENTINE MADISON SQUARE GARDEN 10-22 DUSTY RHODES vs JIMMY VALIANT MADISON SQUARE GARDEN 10-22 PAT PATTERSON vs TED DIBIASE IC TITLE MADISON SQUARE GARDEN In this week's show: - More from 'the Mailbag' including WWF escape-the-cage rules, should Andre vs. Backlund have been a feud, other territories in 1979, angles on tv at this time, and more - What happened to the North American title post-Pat Patterson? - Johnny adds Nikolai Volkoff singing to his repertoire - Bruno invents ECW and Chief Jay Strongbow wrestles in a shark cage - Andy Kaufman in WWF in 1979!!! - Bio for Swede Hanson - 'Fanny' in the US and in the UK

On the docket tonight: 03-26 BRUNO SAMMARTINO vs IVAN KOLOFF MADISON SQUARE GARDEN 03-26 ALBANO/VALIANTS vs ZBYSZKO/GAREA/DUSTY RHODES MADISON SQUARE GARDEN 03-26 PETER MAIVIA vs IVAN PUTSKI MADISON SQUARE GARDEN 03-79 VALIANTS/ALBANO, PUTSKI, MAIVIA/BLASSIE PROMOS WWF TV 04-14 GREG VALENTINE vs SD JONES CHAMPIONSHIP WRESTLING 04-79 TED DIBIASE, VALIANTS PROMOS WWF TV 04-14 VALIANTS vs TED DIBIASE/FRED CURRY/STEVE TRAVIS CHAMPIONSHIP WRESTLING 06-02 NIKOLAI VOLKOFF vs JOSE ESTRADA CHAMPIONSHIP WRESTLING 06-04 BOB BACKLUND vs GREAT HUSSEIN ARAB WWF TITLE MADISON SQUARE GARDEN Some other topics include: - Introductions to the 'three wise men' of wrestling podcasting, Johnny Sorrow, Kelly Nelson (aka Ricky Jackson) and Pete Shirmacher (aka shoe) - Celebrating countout wins - Pak Song - More Gentleman Jerry Valiant detail - Fred Blassie awesomeness and fashion plates

El del miércoles pasado fue un programa bastante inusual, pues Joey estaba fuera del DF, por lo que la transmisión en cabina fue realizada por Paco, quien tuvo como invitado a Gustavo. Joey tuvo una breve participación a través de un enlace remoto durante los primeros minutos de la transmisión, pero la calidad de la conexión no permitió que tuviese una participación más activa durante el programa.Imagino que no tendremos un audio "oficial" disponible hasta dentro de unos días, cuando Joey regrese y pueda recibirlo de manos de Lorna para subirlo y compartirlo con el resto de nosotros. Por lo pronto los dejo con los enlaces de descarga que nuestros buenos amigos de ComiCorp y Mr. Mxyzptlk nos hacen el favor de grabar y compartir.Enlace de Mr. Mxyzptlk (16kbps - 18.8 MB)Enlace de ComiCorp (64 kbps - 75.5 MB)Lo prometido es deuda, y aquí está el audio grabado en cabina, tanto en el reproductor como el enlace de descarga.ComiConexión - 29 de febrero de 2012Aprovecho para recordarles que las grabaciones arriba enlazadas son realizadas con la bendición y agradecimiento del programa y todos sus colaboradores, por lo cual no hay forma de que se les pueda considerar como piratas, pues en ese caso serían tan piratas como cualquier playera, juguete o parafernalia que ustedes tengan de cualquier propiedad de Marvel o DC, pues aún cuando éstas se producen bajo una licencia, no son originadas directamente por ninguna de esas dos editoriales.En vez de reclamarles, debieramos estar agradecidos de que estas personas decidan dedicar parte de su valioso tiempo a subir sus grabaciones a un servidor y compartirlas con nosotros para no tener que esperar a que esté disponible la grabación de Lorna.Ya entrando en tema, Paco y Gus comenzaron con los agradecimientos de costumbre, los saludos y anuncios pertinentes acerca del blog, y para entrar en materia comentaron algunas de las entradas recientes del blog, lo que llevó al inevitable reclamo a Gustavo acerca de la colaboración que se comprometió a realizar hace varios meses con la historia de las tiendas de comics en México. Gus explicó que no es que no quiera hacer el texto en cuestión, pero que la cantidad de información que ha estado sacando para escribirlo es muy grande y lo ha llevado a buscar referencias adicionales.Esto llevó la plática a recordar aquel periodo oscuro para los comiqueros mexicanos en que nos vimos privados de acceso al comic norteamericano, y los años en que había que recorrer la ciudad en busca de opciones de lectura tanto en puestos de revistas como en locales cerrados, o incluso en puestos de revistas atrasadas. Esto puede sonar aburrido para aquellos que no tengan la edad suficiente para haber vivido aquellas experiencias, pero les garantizo que se trata de un tema de conversación fascinante para cualquiera interesado en el arte de la narrativa gráfica secuencial.Entre las preguntas atendidas durante el programa hubo una que Paco y Gus no pudieron responder, que fue acerca de la muerte de Hellboy. La historia de Mike Mignola con su peculiar personaje debe entenderse como una gran saga compuesta de miniseries y especiales, y los hechos ocurridos en la miniserie The Fury son simplemente el siguiente capítulo en la historia. Cabe señalar que Hellboy es un ser sobrenatural nacido en el infierno, así que muerte puede tener un significado diferente en su caso, sobre todo considerando que Mignola ha explicado que la próxima historia será Hellboy in Hell.Un cuestionamiento acerca de la más reciente película de DC Animated, JLA Doom, basada en la historia Torre de Babel que Mark Waid escribiera para la serie de JLA hace varios años llevó a comentar acerca de diferentes proyectos animados de esa sub-división de Warner y a hablar un poco de Nathan Fillion, un actor favorito de quienes aquí colaboramos, ya sea en proyectos live action o prestando su voz a personajes de animación. Paco mencionó un video del Daly Show, donde Tim y Sam Daly tienen como invitados a Fillion y a Michael Rosenbaum, y ese lo pueden encontrar en YouTube siguiendo este enlace. Si son fans de Nathan Fillion -¿y quién no lo es?- no se lo pueden perder.Más adelante se tocó un poco el tema de las barras animadas que tanto Marvel como DC tienen preparado para más adelante este año, donde aparecerán muchas cosas bastante interesantes, como la segunda temporada de Avengers: Earth's Mightiest Heroes y la nueva serie Ultimate Spiderman en el caso de Marvel -probablemente ambas llegarán acá eventualmente a través de Disney XD-; o la serie de cortos animados de Super Best Friends Forever, diseñada por Lauren Faust (My Little Pony, Foster's Home for Imaginary Friends).La barra de cortos animados de DC pinta bastante interesante y ambiciosa, pues incluirá series dedicadas a Plastic Man, Batman, LEGO Batman, Doom Patrol, y varios títulos más.Se habló también del anuncio de invitados de comic para la próxima edición de La Mole y se especuló un poco acerca de las razones para que este evento, caracterizado desde hace muchos años por ignorar al medio para concentrarse en atender a los aficionados al anime y manga, Gustavo consideró que se debe a la reciente aparición de eventos como Expo Comic y Comic Con México como competencia en la escena, y me parece que se trata de una evaluación bastante acertada.Las reminiscencias de gente, lugares, títulos y publicaciones que se dieron son un auténtico pedazo de historia del comic que debiera ser de interés para todo aficionado al comic. Algunos de los títulos mencionados -de hecho, la gran mayoría- son completamente inconseguibles, y el solo hecho de poder comentarlos a base de recuerdos ya es algo impresionante, y si se llega a concretar la idea de Gus de conseguir que quien los tenga los escanee a fin de crear algún depositorio donde compartirlos sería simplemente fabuloso.La iniciativa se ha producido antes y hay algunos sitios dedicados a preservar algunos títulos antiguos. Marc mencionó en los comentarios un blog que solía ser restringido, el cual pueden hallar en n-o-v-a-r-o pero ese no es el único. Al menos yo conozco un par más que son un poco más especializados, con Comics de la Prensa dedicándose al material de Ediciones La Prensa, y Mundo Fantomas enfocado de lleno en las aventuras de La Amenaza Elegante. Imagino que debe haber más, pero no los conozco. También hay un blog que tiene índices del material publicado por diversas editoriales de México y otros países de Hispanoamérica, las cuales pueden consultar en KingdomComics.orgAcerca de comic mexicano de las últimas décadas que se pueda recomendar, los mencionados fueron Operación Bolivar, de Edgar Clement; A Fuego Lento, de Ricardo Pélaez; El Gallito Inglés, de varios autores, Tinieblas, con historias de Paco y arte de Jorge Mercado y Tony Sandoval; Justicia Divina, de Paco Haghenbeck; Ultrapato y Valiants, producidos por Editorial Cygnus en Monterrey y con historias y arte de Edgar Delgado, Carlos García Campillo, y varios otros; Micro, de Micro (duh!); Cristobal El Brujo, de Ensamble Comics. Frik, Clement y José Quintero tenían un blog donde compartían enlaces para descargar los números de El Gallito Inglés en formato PDF. Antes de abandonarlo llegaron hasta el número 10, pero no sé si todavía funcionen todos los enlaces.El regalo de La Quinta Dimensión para este programa fue el número 2 de History of the DC Universe, excelente recuento de Marv Wolfman de la historia del Universo DC post-Crisis en las Tierras Infinitas exquisitamente ilustrado por George Perez. La participación en la trivia fue nuevamente muy baja, lo que me hace pensar que la audiencia en vivo para el programa es muy baja o que nadie conocía la clase de joya que se estaba regalando.Al final, el ganador, después de una breve discusión para calificar respuestas parcialmente correctas, fue Draco, uno de los escuchas más fieles del programa y quien ya ha ganado en ocasiones anteriores tanto en el programa con las trivias de La Quinta Dimensión como en las pláticas en Fantástico, donde se llevó también una de las preciosas figuras de Chicken Master.Ojalá que la participación en futuras trivias mejore, pues sería una verdadera lástima que Mr. Mxyzptlk y La Quinta Dimensión decidiesen poner punto final a su patrocinio de este programa a causa de la falta de interés de la audiencia que la poca participación semanal parece indicar. Por favor visiten la tienda online y el blog de La Quinta Dimensión, díganle que los mandamos de ComiConexión, y demuestren que existe el interés de que sigan las trivias y regalos.El regalo anunciado para el próximo programa es Marvel Comics Presents #72, que contiene el prólogo de la maravillosa historia Weapon X, de Barry Windsor-Smith que, para aquellos despistados que no lo sepan, fue durante mucho tiempo considerada como el origen de Wolverine.Ojalá puedan escuchar el programa y se animen a participar por la posibilidad de agregar este comic a su colección personal.Hasta la próxima.

Comic Conventions! How to excel at attending your favorite comic book convention.  How to find Valiants!  How to find fun!  Part 2 of our series.