Podcasts about vandellas

Duji was pulled over before a Cheap Trick concert, and the cops took their money and alcohol. Martha Reeves, from Martha and the Vandellas, sang the National Anthem at the Women's Pro Baseball League. Rover went to a Guardians baseball game. Does Duji like to point out negative things about B2? People are concerned about Ariana Grande. 

Rover gets snippy with JLR. B2 has never watched Love Actually. A woman was kicked off a plane for preaching about Jesus Christ. Man confessed to abusing his children to a bishop at an LDS church. Charlie has put a 'no solicitors' sign up at his house. Door to door sales. JLR watched Summer Slam. Jumping off the Brooklyn bridge, naked. New law in Florida protects homeowners from solicitors. Shooting at an In-N-Out restaurant in Idaho leaves three dead and seven injured. Duji was pulled over before a Cheap Trick concert, and the cops took their money and alcohol. Martha Reeves, from Martha and the Vandellas, sang the National Anthem at the Women's Pro Baseball League. Rover went to a Guardians baseball game. Does Duji like to point out negative things about B2? People are concerned about Ariana Grande. Investigators have chosen not to charge parents after their toddler drowned in the backyard pool. 

Lead singer of the hit Motown girl group Martha and the Vandellas sang the National Anthem at the first Women's Pro Baseball League. Some are arguing it's one of the worst in in history and Hammer is here to defend! See omnystudio.com/listener for privacy information.

This weeks program features tuneage from Earth Opera, Steely Dan, Tradewinds, Stones, Beatles, Animals, Electric Prunes, Lovin' Spoonful, Grass Roots, Supremes, Martha & The Vandellas, McKendrie Spring, Seatrain, It's A Beautiful DaySimon & Garfunkel and Jethro Tull.

  Hailing, of course, from Detroit, Martha Reeves is best known for fronting Motown group Martha and the Vandellas. When we spoke, she was about to turn 85 years old. In 1957 she joined a group called the Del-Phis, and by the early 60s was singing jazz and blues standards in clubs around Detroit. She ended up working as a secretary at Motown and soon found herself in front of the microphone. “Heat Wave” was the first million seller for the Vandellas, and various hit singles followed, including the fantastic “Nowhere To Run”, and their most famous song, “Dancing In The Street”.   Of course, in the decades since, her career has taken all sorts of twists and turns. She is back with a new single “To Know You Is To Love You”, which has also had a dance remix version recently released. Martha joined me from Detroit alongside her manager and producer Chris Roe, to discuss songs old and new.   Please come and find me on Instagram @sendingsignalspodcast  

Welcome to Travel to Listen, a new Unpacked series hosted by veteran music journalist Tim Chester. Over four episodes, Tim took us into the cities where music is more than entertainment—it's the shortcut to a place's soul. In this season finale, he heads to Detroit to explore the legendary Motown sound—and to find out what's next for the little house on West Grand Boulevard that started it all. Meet this week's guests Adam White is the author of Motown: The Sound of Young America, co-written with former Motown president Barney Ales. A former editor-in-chief at Billboard, Adam has spent 40 years exploring the Motown story and writes a weekly blog about the label at adamwhite.com. Robin Terry is the chairwoman and CEO of the Motown Museum—and Berry Gordy's great-niece. Raised by her grandmother Esther Gordy Edwards, who founded the museum, Robyn is currently leading the $75 million expansion. Guest host Tim Chester is a freelance travel and culture writer who has spent the past 20 years exploring the world through the lens of music. His reporting has appeared in NME, Spin, and Afar, and his travels have taken him from Manhattan to Malawi and Beijing to Berlin in search of the festivals, scenes, and stories that reveal a city's soul. Chapters 00:00:00 Welcome to Detroit 00:02:00 Why Motown Endures 00:04:00 The Detroit Advantage 00:07:00 The Motown Family 00:09:00 Inside Hitsville USA 00:12:00 Psychedelic Soul 00:16:00 Hitsville Next A Music Fan's Travel Guide to Detroit Detroit's Motown story is anchored to one street, but the city's music scene runs much deeper. Here's how to experience it. Start here: the essential stops Hitsville USA / The Motown Museum — Berry Gordy's original house at 2648 West Grand Boulevard, where Stevie Wonder, Marvin Gaye, The Supremes, The Temptations, and Martha and the Vandellas all got their start. Note: the museum is closed during its $75 million expansion, but the plaza in front of Hitsville is open and activated with food trucks and live performances all summer. Esther Gordy Edwards Center for Excellence — the nearby space hosting the museum's first major exhibition, Psychedelic Soul, running through September 2026. A deep dive into Motown's overlooked '70s era, Norman Whitfield, and the Temptations. Michigan Central Station — the newly restored Beaux-Arts landmark that anchors Detroit's broader reinvention. A short drive from Hitsville and worth the detour. Hear live music Smokey's Soul Town on SiriusXM — not a venue, but essential listening before and during your trip. The show is recorded at the museum and hosted by Levi Stubbs III and John Mason. The Current (Twin Cities) — if you're road-tripping from Minneapolis, keep this on. Their gig listings track what's happening across the Midwest music scene. Go deeper Standing in the Shadows of Motown — the book and documentary that finally gave names and faces to the Funk Brothers, the studio musicians behind the sound. Hitsville Next — the Motown Museum's emerging artist community for singers, songwriters, musicians, and engineers. hitsvil​leusa.com The full Travel to Listen series Episode 1: Macon, Georgia — Little Richard, Otis Redding, the Allman Brothers, and the small Southern city that punches far above its weight. Listen now. Episode 2: Minneapolis — Prince, the Minneapolis sound, and a city still making music history a decade after his death. Listen now. Episode 3: Southern California — the spacey, grungy desert rock scene beyond Coachella. Listen now. Episode 4 (this one!): Detroit — Motown, Hitsville USA, and what comes next. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ce 29 juin, Marjorie Hache met à l'honneur les Sex Pistols, James Brown, The Red Hot Chili Peppers, Jimi Hendrix, The Verve, Lana Del Rey, Sum 41, The Troggs, The Hives, Green Day, Alice In Chains, Liam Gallagher, Deep Purple et Stevie Wonder. L'animatrice évoque le 51e anniversaire de la mort tragique de Tim Buckley avec le titre "Move With Me". Jack White donne le coup d'envoi des nouveautés avec "Dollar Bill". Mike D, ex-Beastie Boys, confirme son retour en solo avec "What We Got", tandis que Saint Agnes s'ajoute à la sélection. La primeur de la soirée offre une collaboration détonante : les Américains de The Offspring s'associent aux Allemands d'Electric Callboy sur le survolté "Let The Good Times Roll", mélange inattendu de punk, métalcore et EDM. L'album de la semaine célèbre le retour de Jon Spencer, mythique blues rocker new-yorkais. Son tout nouveau disque, "Songs Of Personal Loss and Protest", se dévoile aujourd'hui à travers l'énergique titre "Knock 'em Out". La reprise du jour convoque deux légendes : David Bowie et Mick Jagger reprennent le tube de la Motown "Dancing In The Street" (Martha and the Vandellas), une relecture bouillonnante enregistrée le 29 juin 1985 au profit du Live Aid. Jack White - Dollar Bill Jimi Hendrix - Fire Tim Buckley - Move With Me James Brown - Living In America Black Strobe - I'm A Man The Verve - The Drugs Don't Work Lana Del Rey - Born To Die Jon Spencer - Knock 'Em Out Sex Pistols - Anarchy In The U.K. Sum 41 - Landmines The Troggs - Wild Thing Mike D - What We Got David Bowie & Mick Jagger - Dancing In The Street Red Hot Chili Peppers - Give It Away Liam Gallagher - Wall Of Glass Social Distortion - Wicked Game Deep Purple - Hush The Hives - Go Right Ahead Saint Agnes - The Ghost Stevie Wonder - Superstition Bloodhound Gang - Mope Electric Callboy - Let The Good Times Roll Feat. The Offspring Green Day - The American Dream Is Killing Me Minor Victories- Scattered Ashes Cream - White Room Alice In Chains - FrogsHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

You'll hear some Motown from the Marvelettes, Marvin Gaye, Martha & the Vandellas, and from a group out of and named for Vancouver, BC. We also have Bettye Lavette covering Neil Young, Ann Sexton, Z.Z. Hill, Jackie Shane, Dolly Parton, plus random assumptions, potentially misremembered facts, and a bunch of real songs by real artists, played from real records selected by a real person. -Originally broadcast June 21, 2026- Willie Mitchell / That Driving BeatThe Marvelettes / You're My RemedyJimmy Hughes / It Ain't What You GotMarvin Gaye / YouThe Sacred Four / Somebody Watching YouDyke And The Blazers / City DumpBetty Lavette / Heart Of GoldGerri Diamond / Give Up On LoveSam Hawkins / Hold On BabyAnn Sexton / You've Been Gone Too LongMartha & The Vandellas / Heat WaveGeorge Torrence & The Naturals / (Mama Come Quick and Bring Your) Lickin' StickZ.Z. Hill / Oh DarlingRay Charles and His Orchestra / I Don't Need No DoctorLittle Willie John / Doll FaceVan & Titus / The VultureCandi Staton / Too Hurt to CryThe T.S.U. Toronadoes / What Good Am I?The Natura'elles / Show Me The WayHenry & His Kasuals / WorkoutThe Mar-Keys / Pop-Eye StrollLes Cooper & The Soul Rockers / Let's Do the Boston MonkeyThe Olympics / Do the Slauson ShuffleBobby Marchan / HookedB.B. King / I'm Gonna Sit in Till You Give InCharlie Rich / Hawg JawThe Fabulous Playboys / NervousMaurice Williams & The Zodiacs / High Blood PressureMartha & The Vandellas / Wild OneFour Tops / The KeyBobby Taylor & The Vancouvers / It's GrowingJackie Shane / Any Other WayJohnny Adams / Who's Gonna Love YouTony Middleton / My Home TownBarbara Acklin / Love Makes a WomanDolly Parton / Don't Drop OutAlvin Cash / Doin' the Ali Shuffle Hosted on Acast. See acast.com/privacy for more information.

brianturnershow.com, eastvillageradio.comJAMES 'BLOOD' ULMER - TV Blues - Are You Glad To Be In America? (Rough Trade, 1980)BRIGITTE FONTAINE & ARESKI - Quand Les Ghettos Brûleront - 7" (BYG, 1974)EXUMA - You Don't Know What's Going On / The Vision - Exuma (Mercury, 1970)THE KINKS - Death of a Clown - Something Else (Pye, 1967)EL HUMANO MARRANO - Himno - V/A: La Contra Ola: Synth Wave & Post Punk from Spain 1980-86 (Bongo Joe, 2018)MY BLOODY VALENTINE - Home Loving Guy - V/A: Berlincassette 1-86 (cs, Jarmusic, 1986)THE GREBES - Into the Cold - The Grebes (BC, 2026)B & B VS. YANNISCOTT KING - Roy Castle & The Vandellas (cs, Industrial Coast, 2020)SUN CITY GIRLS - Ring It 'Round The Rosie - The Palm Leaves of Victory / Audio Letter to Mitch Meyers (Three Lobed, 2026)PAKHOM - I - CRAS (Nazio, 2025)THE FALL - Hey! Luciani - Live in Cambridge 1988 (Cog Sinister, 2000)TENISON STEPHENS - Don't RIp Me Off! - 7" (Aries, 1970)ANDRIA - Flaks - Flaks (Evel, 2026)NVH / CHASNY - ...No Refund (Excerpt)  - Plays the Book of Revelations (Yik Yak, 2007)ECOLOGY: HOMESTONES - Buddycrusher - The Cruel Quick Reverse (BC, 2026)AMON DÜÜL - Mama Düül Und Ihre Sauerkrautband Spielt Auf - Psychedelic Underground (Ohr, 1969)BODIES OF DIVINE INFINITE AND ETERNAL SPIRIT - Disaster I - Disaster I (Program, 2026)PIN GROUP - Hurricane Fighter Plane - Live At The Gladstone Hotel, 4 July 1981 (Flying Nun, 2011) MIN BUL - Strange Beauty - Min Bul (Polydor, 1970)L.$.D FUNDRAISER - Cold Red Warm Violet Two Browns (excerpt) (cs, Burgan Triangle Tapes, 2026)JANDEK - Live on my old WFMU show 3/25/12 (excerpt)AARON RUSSELL & SANDY EWEN - Greenfield - Dissectologists (cs, Sedimental, 2026)

(Celebrating 80yrs of the finest community radio!) The 60's were filled with emotions!! Crying, dreaming and loving all ran hot! Today on WKXL's NH Unscripted we're delivering the heat. Our playlist:1. Summer in the City – The Lovin' Spoonful (1966)2. (Love Is Like a) Heat Wave – Martha and the Vandellas (1963)3. Hot Fun in the Summertime – Sly & the Family Stone (1969)4. Light My Fire – The Doors (1967)5. Fire – Arthur Brown (1968)6. Ring of Fire – Johnny Cash (1963)7. In the Heat of the Night – Ray Charles (1967) 8. Sunny – Bobby Hebb (1966) Bright, warm, sunny-day feel-good hit.9. Big Cold Wind – Pat Boone (1961) A chilly, lonely wind blowing through.10. I Wish It Would Rain – The Temptations (1968) Longing for cooling rain amid emotional heat.11. Sunshine Superman – Donovan (1966) Warm, sunny, psychedelic summer energy.12. Summertime Blues – Blue Cheer (1968) Hard-rocking version of the Eddie Cochran classic about summer frustrations.(NH Unscripted air M/W/F 9am 1450AM/103.9FM/101.9FM)

Detroit, 1963. Mientras las cadenas de montaje de Ford fabrican coches a un ritmo imposible, tres jóvenes están construyendo otra máquina de precisión. Se llaman Brian Holland, Lamont Dozier y Eddie Holland. Entre 1963 y 1967 escriben algunos de los mayores éxitos de las Supremes, los Four Tops, Marvin Gaye o Martha and the Vandellas. Canciones perfectas: panderetas urgentes, bajos melódicos, cuerdas ambiciosas y estribillos que parecen haber existido siempre. Pero detrás de aquellas canciones había una pregunta. ¿Podía la música creada por artistas negros conquistar la radio blanca sin renunciar a su identidad? Berry Gordy creyó que sí. Holland-Dozier-Holland encontraron la fórmula. En este episodio recorremos la historia de Holland-Dozier-Holland, el motor creativo del sonido Motown, y de una música que más de sesenta años después no ha envejecido. Playlist: – (Love Is Like A) Heat Wave, Martha and the Vandellas; – Please Mr. Postman, The Marvelettes; – Where Did Our Love Go, The Supremes; – I Can't Help Myself (Sugar Pie Honey Bunch), Four Tops; – Baby Love, The Supremes; – How Sweet It Is (To Be Loved By You), Marvin Gaye; – Baby I Need Your Loving, Four Tops; – Reach Out I'll Be There, Four Tops; – Stop! In the Name of Love, The Supremes; – A change is gona come, Sam Cooke; – Mississippi Goddam, Nina Simone; – People get ready, The Impressions; – This Old Heart of Mine (Is Weak for You), Isley Brothers; – Nowhere To Run, Martha Reeves & The Vandellas; – Little Darling, Marvin Gaye; – The Happening, The Supremes; – Bernadette, Four Tops. Todas las canciones son de Brian Holland, Lamont Dozier y Eddie Holland excepto A change is gona come (Sam Cooke), Mississippi Goddam (Nina Simone) y People get ready (Curtis Mayfield).

Last Friday, the 5th Circuit Court of Appeals blocked a ruling from the FDA that allowed the medication abortion drug mifepristone to be sent to patients without an in-person visit to a healthcare provider. Shortly after, the Supreme Court issued a temporary stay, allowing the drug to continue to be distributed for a short period of time.Kelcie Moseley-Morris has been covering this story for the Louisiana Illuminator and Stateline. She joins us with the latest.According to new population data released by the U.S. Census Bureau, New Orleans and the surrounding communities are continuing to decline in population. Since 2020, the 7-parish metro area has decreased by more than 36,000 residents. In the meantime, the Baton Rouge area has seen a slight uptick in residents.Allison Plyer, chief demographer at the Data Center and former chair of the U.S. Census Bureau's Scientific Advisory Committee, joins us with more.Martha Reeves, the legendary Motown voice, Rock and Roll Hall of Fame inductee and lead singer of Martha and the Vandellas, is coming to New Orleans. The singer known for the hit songs “Dancing in the Street” and “Heatwave” will headline a one–night event at the New Orleans Jazz and Blues Market tonight (May 6). Dubbed, “Come and Get These Memories,” the event will feature Reeves discussing behind-the-scenes stories about some of the most iconic musicians and songs in Motown history. Martha Reeves joined Louisiana Considered's managing producer — and longtime fan — Alana Schreiber with more. —Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber. We get production support from Garrett Pittman and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, the NPR App and wherever you get your podcasts. Louisiana Considered wants to hear from you!Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Music fan Brian Koppen chats with music critic Christian Kriticos as they discuss Hall of Fame artists: Del Shannon's “Runaway” vs. Paul Simon's “All Around the World or the Myth of Fingerprints”R.E.M.'s “Fall On Me” vs. Bobby Darin's “Splish Splash”Depeche Mode's “Personal Jesus” vs. Queen's “A Kind of Magic”Prince & the Revolution's “Kiss” vs. Martha Reeves and the Vandellas' "Nowhere to Run"Mary J. Blige's “No More Drama” vs. Bob Dylan's “Brownsville Girl” They also discuss Blood Orange's “You're Not Good Enough,” Memory Tapes' “Green Knight,” Public Enemy, and Prince vs. Michael Jackson. Check out Christian Kriticos at https://www.christiankriticos.com/ and https://www.instagram.com/christian.kriticos/, and his book MUSIQUE CONCRÈTE coming soon from Bloomsbury! Intro music is from Jussy's Down Open Roads.  Check out Jussy at https://soundcloud.com/user-214048265/sets/jussy-demos-1!Support the show

In the 1960s, girl groups like The Supremes, The Ronettes, and Martha and the Vandellas helped define the sound of rhythm and blues and shape the course of American popular music. The Avenue was home to many legendary girl groups. This week on Echoes of Indiana Avenue, join guest host Debbie Nelson as we celebrate Women's History Month with a tribute to Naptown's own girl groups. Join us for an hour of words and music featuring the Pearls, the Indys, the Stovall Singers, the Chordelles, Joy Upton, Josephine Cheatham, Ethel McCane, and Pam Tanner.

HERE WE GO MY SHOW FOR 12-MARCH-2026 WITH A MIXED BAG OF OLD CLASSICS INCLUDING ( SWEET THUNDER, THE FATBACK BAND, ARTHUR ADAMS, NATALIE COLE, THE BAND AKA) AND MANY MORE ALSO SOME TOP NEW TRACKS FROM ( GEORGIE B & THE GROOVE ASSOCIATION, DISCO STALLION, PRINCE LDJ )  ALSO HAVE THE CONNOISSEURS CORNER ( THIS WEEK WE HAVE GEORGE BENSON AND BOB JAMES & DAVID SANBORN ) AND WE HAVE THE BACK TO BACK CLASSICS BY A CLASSIC ARTIST (THIS WEEK WE HAVE PHYLLIS HYMAN ) THEN WE HAVE THREE TRACKS DUG OUT FROM THE GARAGE FROM ( MEL AND KIM, MARTHA REEVES & THE VANDELLAS, TOMMY JAMES & THE SHONDELLS)  AND MUCH MUCH MORE SIT BACK WITH A GLASS OF SOMETHING AND ENJOY OR DOWNLOAD FOR LATER.

Send a textOn this Episode Tom and Bert continue  "The Spotlight Series" on entertainment influencers thru the decades!There are Stories to tell and the Guys will cover and discuss the beginnings and the careers of some of the greatest influencers throughout ALL of the entertainment industry.Today's Podcast will cover 3 more Legends of the Music scene from the 1960's that led the way for the "Girl Groups" era. We present ........Mary Wells, The Marvelettes and Martha and The Vandellas!Listen in as we cover and discuss the "History" of this influential Lady and "Girl Groups" and how they all were the early "Stars" of the Motown Sound led by Berry Gordy out of Detroit AKA "The Motor City"  in the early 1960's. Here we go!CHAPTERS:(1:05) Motown "Girls" in The House!(5:45) Here is Mary Wells!(8:10) "My Guy" sets the tone(18:16) Mary's rough personal life(22:46) Here are the Fabulous Marvelettes!(26:24) "Please Mr. Postman", "Don't Mess with Bill" and the Hit Parade continues(34:46) Berry Gordy and his bias toward "The Supremes" while underselling the Marvelettes(41:28) Here is "Martha and The Vandellas"(45:43) "Heatwave", "Dancing in the Streets", "Quicksand" and "Jimmy Mack" are killing it on the Charts!(50:00) The "seedy" Music Labels , Owners, Publishers were still facing lawsuits from the Groups and Bands and then It's a Wrap!!Enjoy the Show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

Descorchamos el año con nuestra entrega mensual de los Hits del Billboard, serie dedicada a recordar singles que alcanzaron su puesto más alto en las listas de pop de EEUU en este mismo mes de hace 60 años. Curiosamente el 1 de enero de 1966 era sábado, que era el día en que se publicaban estas listas semanales. Así que un 1 de enero de hace seis décadas el top 1 de las listas lo alcanzó el primer gran éxito de Simon and Garfunkel.Playlist;(sintonía) KING CURTIS “Spanish Harlem” (top 89 en enero)SIMON and GARFUNKEL “The sound of silence” (top 1)THE BEATLES “We can work it out” (top 1)HERMAN’S HERMITS “A must to avoid” (top 8)THE HOLLIES “Look through any window” (top 32)THE STATLER BROTHERS “Flowers on the wall” (top 4)THE VOGUES “Five o’clock world” (top 4)THE LOVIN’ SPOONFUL “You didn’t have to be so nice” (top 10)RONNY and THE DAYTONAS “Sandy” (top 27)THE ROLLING STONES “As tears go by” (top 6)BOBBY POWELL “C.C. Rider” (top 76)JOE TEX “A sweet woman like you” (top 29)MARTHA and THE VANDELLAS “Love (Makes me do foolish things)” (top 70)FONTELLA BASS “Recovery” (top 37)DIONNE WARWICK “Are you there (with another girl)” (top 39)THE TEMPTATIONS “Don’t look back” (top 83)Escuchar audio

Hoy en la Gran Travesía viajamos hasta el año 1963, con los acontecimientos musicales más destacados desde mayo hasta agosto, y donde podréis escuchar a las Ronettes, Sam Cooke, Beatles, The Searchers, los Rolling Stones, Roy Orbison, Bob Dylan, Elvis Presley, Joan Baez, Del Shannon, Elmore James, Martha and the Vandellas, The Surfaris, The Crystals...y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jose Antonio Moral, Juanito, Octavio Oliva, Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Javito, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, JBSabe, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

In this episode of The Music in Me, I'm diving into the unforgettable world of R&B girl groups, the queens of harmony, style, and attitude. From the groundbreaking elegance of The Supremes to the fierce anthems of Destiny's Child, the edgy swagger of TLC, and the fresh vibes of Chloe x Halle, we're celebrating the voices that defined eras, broke records, and gave us songs we still can't stop singing. I'll share the history, the fashion, the cultural impact, and some fun, little-known facts that might surprise even the biggest fans. Whether you grew up dancing in your bedroom to 90s hits or are discovering these legendary groups for the first time, this episode is all about sisterhood, empowerment, and music that sticks with you for a lifetime.GROUPS AND SONGS MENTIONED...The Shirelles"Will You Still Love Me Tomorrow"The Ronettes"Be My Baby"Martha and the Vandellas"Dancing in the Street"The Supremes"Stop! In the Name of Love""You Can't Hurry Love"En Vogue"Free Your Mind""Don't Let Go (Love)"SVW - Sisters With Voices"Weak"TLC"Waterfalls""No Scrubs"Xscape"Just Kickin' It""Who Can I Run To"Destiny's Child"Say My Name""Survivor""Bootylicious"3LW"Playas Gon' Play""No More (Baby I'ma Do Right"Danity Kane"Show Stopper"Chloe x Halle"Do It"From Lullabies to Giggles: Songs for Little Ears Episode 86What did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

LADIES NIGHT – THE GIRL GROUPS OF THE 70s DANCING IN THE STREET Martha Reeves and the Vandellas 1964 BE MY BABY The Ronettes 1964 YOU KEEP ME HANGIN' ON... LEARN MORE The post TTBA Replay 3OCT2025 Pt. 2 appeared first on Turn the Beat Around.

Nueva entrega de la serie mensual dedicada a recordar singles que alcanzaron su puesto más alto en listas de EEUU en este mismo mes de hace 60 años. EnPlaylist;(sintonía) HORST JANKOWSKI “Simpel Gimpel” (top 91)THE BEATLES “Help” (top 1)BARRY McGUIRE “Eve of destruction” (top 1)BOB DYLAN “Like a rolling stone” (top 2)THE ANIMALS “We gotta get out of this place” (top 13)THE YARDBIRDS “Heart full of soul” (top 9)DAVE CLARK FIVE “Catch us if you can” (top 4)THE KINKS “Who’ll be the next in line” (top 34)WE FIVE “You were on my mind” (top 3)THE TURTLES “It ain’t me baby” (top 8)SONNY (BONO) “Laugh at me” (top 10)MARTHA and THE VANDELLAS “You’ve been in love too long” (top 36)THE SUPREMES “Nothing but heartaches” (top 11)THE CONTOURS “First I look at the purse” (top 57)THE MARVELETTES “Danger heartbreak dead ahead” (top 61)THE MIRACLES “The track of my tears” (top 16)Escuchar audio

HERE WE GO MY SHOW FOR 19-JUNE-2025 WITH A MIXED BAG OF OLD CLASSICS INCLUDING ( POCKETS, THE JONES GIRLS, MISTIC MERLIN, WILSN, THE ISLEY BROTHERS, DELIGATION, SNOWBOY, BT EXPRESS ) AND MANY MORE ALSO SOME TOP NEW TRACKS FROM ( CHANGE, DAVE MASCAL ft HARRY CAMBRIDGE, LUKAS SETTO   ) WE ALSO HAVE THE CONNOISSEURS CORNER ( THIS WEEK WE HAVE KENNY G AND THE URBAN JAZZ COALITION) AND WE HAVE THE BACK TO BACK CLASSICS BY A CLASSIC ARTIST (THIS WEEK WE HAVE THE AVERAGE WHITE BAND ) THEN WE HAVE THREE TRACKS DUG OUT FROM THE GARAGE FROM ( MARTHA REEVES & THE VANDELLAS, EDWIN STAR, SAM COOK )  AND MUCH MUCH MORE SIT BACK WITH A GLASS OF SOMETHING AND ENJOY OR DOWNLOAD FOR LATER.

TVHulk Hogan is not on his deathbed, despite internet rumors that sent fans into a frenzy. Cheers to Kelsey Grammer becoming a dad again! Sarah Jessica Parker has had a tough time with all the negative comments about her appearance. She was once a fairly confident person, but that changed when "Sex and the City" premiered in 1998. · Joel McHale has spent $10,000 on hair transplants.· MUSICThe Country Music Hall of Fame just announced that they're opening a new exhibit. It's called "Lainey Wilson: Tough as Nails", and it will trace Lainey's steps from her family's farm in Baskin, Louisiana . . . all the way to her rise to fame. The exhibit opens on July 18th and runs through next June. MOVING ON INTO MOVIE NEWS:The first trailer from the Bruce Springsteen biopic has been released, giving us a look at 'The Bear' star Jeremy Allen White as The Boss. Hugh Jackman made a quick escape from a massive crowd with the help of a couple of fans who were driving by. Charlie Sheen is releasing a memoir. Whiskey Riff came out with a list of five times country music completely stole the show in a movie. Check out a quick montage of their list.Audio: MUSIC IN MOVIES· 1. "Sweet Home Alabama" by Lynyrd Skynyrd . . . from "Forrest Gump"· 2. "Okie from Muskogee" by Merle Haggard . . . from "Platoon"· 3. "Flowers on the Wall" by The Statler Brothers . . . from "Pulp Fiction"· 4. "Life Is a Highway" by Rascal Flatts . . . from "Cars"· 5. "I Am a Man of Constant Sorrow" by The Soggy Bottom Boys . . . from "O Brother, Where Art Thou?" GAMINGNearly 3,000 Nintendo Switch 2 consoles totaling $1.4 million were stolen from a semi-truck in Colorado earlier this month. AND FINALLYUltimate Classic Rock released the worst Classic Rock Covers: 1. "Dancing in the Street", Mick Jagger and David Bowie (Martha and the Vandellas, 1964)2. "Fortunate Son", U2 (CCR)3. "What's Going On", Cyndi Lauper (Marvin Gaye)4. "American Pie", Madonna (Don McClean)5. ‘Is She Really Going Out With Him' – Sugar Ray (Joe Jackson)6. "Do Ya Think I'm Sexy", Paris Hilton (Rod Stewart)7. “Behind Blue Eyes”, Limp Bizkit (The Who)Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"El Sonido de la Joven America”, slogan de diminuta compañía de Detroit con nombres como las Supremes, Los Four Tops, Martha and The Vandellas o los MIracles. Arrasaron en los 60 pero su camino no fue facil. "El largo y tortuoso camino” que escribiera uno de sus principales valedores, Paul McCartney hizo que llegaran a EEUU despues de gira a la desesperada por Inglaterra.. ¿Cómo fue ? ¿Cómo todavia joven y lozana? ¿Alguna "master class" para el presente?. Dennis Edwards, de los Temptations, recuperado para la ocasión, en primera persona, Disfruta del viaje y de la eternamente joven Motown.. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Acudimos a nuestra cita mensual con el Billboard de hace 60 años. Selección de singles que alcanzaron su puesto más alto en listas de pop estadounidense en abril de 1965.(Foto del podcast; Freddie and The Dreamers)Playlist;(sintonía) MONGO SANTAMARIA “El Pussy Cat” (top 97)FREDDIE and THE DREAMERS “I’m telling you now” (top 1)WAYNE FONTANA and THE MINDBENDERS “Game of love” (top 1)THE KINKS “Tired of waiting for you” (top 6)THE ANIMALS “Don’t let me be misunderstood” (top 15)THE SEARCHERS “Bumble bee” (top 21)THE WHO “I can’t explain” (top 93)JR. WALKER and THE ALL STARS “Shotgun” (top 4)MARTHA and THE VANDELLAS “Nowhere to run” (top 8)BRENDA HOLLOWAY “When I’m gone” (top 25)CANNIBAL and THE HEADHUNTERS “Land of 1000 dances” (top 30)SHIRLEY ELLIS “The Clapping Song (Clap Pat Clap Slap)” (top 8)THE IKETTES “Peaches n’ cream” (top 36)OTIS REDDING “Mr Pitiful” (top 41)JAN and DEAN “(Here they come) From all over the world” (top 56)THEE BEACH BOYS “Do you wanna dance’” (top 12)CHUCK BERRY “Dear dad” (top 95)THE UNIQUES feat JOE STAMPLEY “Not too long ago” (top 66)THE MOODY BLUES “Go now” (top 10)BILLY VAUGHN and HIS ORCHESTRA “Mexican pearls” (top 94)FRANK SINATRA “Anytime at all” (top 46)Escuchar audio

durée : 00:59:29 - Restez un peu - par : Nathalie Piolé -

A companion piece to Radio Rewind, join Dustin as he spins some 45s of songs from the Billboard Hot 100 this week in 1965 & 1975. One hour of hits from the 60s & 70s to enjoy before the gang returns on Friday with your normal dose of Radio Rewind hits.  This week we enjoy some singles from The Eagles, Martha & the Vandellas, Al Green, Beach Boys, Michael Jackson, and more.

Label: Gordy 7056Year: 1966Condition: MPrice: $32.00This beautiful copy has pristine audio... awesome to hear this classic in its original pounding clarity. This is a first pressing with the "It's in the grooves" Gordy label. There were many label variations on this release. This copy has the title and artist at the bottom of the label, with no quotes. Note: This beautiful copy has Mint labels with a drillhole. The vinyl looks untouched, and the audio is pristine Mint. (This scan is a representative image from our archives.)

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

Viajamos 60 años atrás en el tiempo en busca de singles que alcanzaron su puesto más alto en el Billboard Hot 100 en enero de 1965.(Foto del podcast por R. McPhedran; Petula Clark con el disco de oro por “Downtown”, 1965)Playlist;(sintonía) LEE MORGAN “The sidewinder part 1” (top 81)PETULA CLARK “Downtown” (top 1)SHIRLEY ELLIS “The name game” (top 3)MARTHA and THE VANDELLAS “Wild one” (top 3)THE MARVELETTES “Too many fish in the sea” (top 25)MARVIN GAYE “How sweet it is to be loved by you” (top 6)MARY WELLS “Use your head” (top 34)THE LARKS “The jerk” (top 7)THE CONTOURS “Can you jerk like me” (top 47)JAMES BROWN and THE FAMOUS FLAMES “Have mercy baby” (top 92)BROOK BENTON “Do it right” (top 67)JOE TEX “Hold what you got” (top 5)THE IMPRESSIONS “Amen” (top 7)RAY CHARLES “Makin’ whoope” (top 46)WILLIE MITCHELL “Percolatin’” (top 85)CANDY and THE KISSES “The 81” (top 51)THE EXCITERS “I want you to be my boy” (top 98)CHAD and JEREMY “Willow weep for me” (top 15)Escuchar audio

John Lennon Talks about Canada Connect the Dots Before They Were Famous - Neil Diamond Tribute to Cissy Houston This Week in Music History Andy Kim talks about dreaming of being a musician as a child The Five Second Quiz Ed Sullivan talks about Beatlemania Behind the Hits - Martha and the Vandellas

This week, hosts Jim DeRogatis and Greg Kot celebrate the spooky season by revisiting their favorite songs about witches and ghosts.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Head and the Heart, "Ghosts," The Head and the Heart, Sub Pop, 2011The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Kinks, "Wicked Annabella ," The Kinks Are the Village Green Preservation Society, Pye, 1968Donovan, "Season of the Witch," Sunshine Superman, Epic, 1966Jethro Tull, "The Witch's Promise," The Witch's Promise (Single), Chrysalis, 1970Martha and the Vandellas, "Mobile Lil The Dancing Witch," Dance Party, Motown, 1965Monster Magnet, "19 Witches," Powertrip, A&M, 1998Radiohead, "Burn the Witch," A Moon Shaped Pool, XL, 2016Bettye LaVatte, "Witch Craft in the Air," Witch Craft in the Air (Single), LuPine, 1963Florence + the Machine, "Which Witch (Demo) [Bonus Track]," How Big, How Blue, How Beautiful, Island, 2015Roky Erickson and the Aliens, "If You Have Ghosts," The Evil One, 415, 1981Joy Division, "Dead Souls," Still, Factory, 1981Psychedelic Furs, "The Ghost in You," Mirror Moves, Columbia, 1984Suicide, "Ghost Rider," Suicide, Red Star, 1977Johnny Cash, "(Ghost) Riders in The Sky," Silver, Columbia, 1979Caroline Herring, "Long Black Veil," Golden Apples of the Sun, Signature Sounds, 2009Daniel Johnston, "Casper the Friendly Ghost," Yip/Jump Music, (Self-Released), 1983Robyn Hitchcock & The Egyptians, "My Wife and My Dead Wife," Gotta Let This Hen Out!, Midnight Music, 1985The Raveonettes, "Apparitions," Raven in the Grave, The Raveonettes, 2011Mekons, "Ghosts of American Astronauts," So Good It Hurts, Twin/Tone, 1988Ladytron, "Ghosts," Velocifero, Nettwerk Productions, 2008The Goldstars, "Stroll In Hell," Stroll In Hell (Single), The Goldstars, 2021Black Sabbath, "Black Sabbath," Black Sabbath, Vertigo, 1970Umphrey's McGee, "The Floor," Death By Stereo, ATO, 2011See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Seleccionamos canciones que alcanzaron su puesto más alto en el Billboard Hot 100 en octubre de 1964. En este mes de hace 60 años los ingleses Manfred Mann consiguen un número 1. Pero es la escudería Motown la que saca pecho frente la invasión británica y coloca un buen puñado de bandas en la zona alta de las listas, con mención especial para The Supremes que comenzaban a consolidar su reinado de éxitos.(Foto del podcast; The Temptations)Playlist;(sintonía) BILLY STRANGE “The James Bond heme” (top 58)MANFRED MANN “Do wah diddy diddy” (top 1)THE SUPREMES “Baby love” (top 1)MARTHA and THE VANDELLAS “Dancing in the street” (top 2)FOUR TOPS “Baby I need your lovin” (top 11)THE TEMPTATIONS “Girl (why you wanna make me blue)” (top 26)SANDY NELSON “Teen beat 65” (top 44)THE BEACH BOYS “When I grow up to be a man” (top 9)THE HONDELLS “Little Honda” (top 9)JAN and DEAN “Ride the wild surf” (top 16)WILLIE MITCHELL “20-75” (top 31)THE BLENDELLS “La la la la la” (top 62)CHAD and JEREMY “A summer song” (top 7)THE BEATLES “Matchbox” (top 17)BILLYJ KRAMER and THE DAKOTAS “From a window” (top 23)DON COVAY and THE GOODTIMERS “Mercy mercy” (top 35)THE IMPRESSIONS “You must belive me” (top 15)THE KINGSMEN “Death of an angel” (top 42)DEL SHANNON “Do you want to dance” (top 43)THE JELLY BEANS “Baby be mine” (top 51)Escuchar audio

The sun has finally been shining in France and so Andy kicks off with a few to take on that summer heat with The Isley Brothers, Jackie Wilson, Martha and The Vandellas and The Lovin' Spoonful. The three Northern Soul Stonkers are chosen by fellow Face Radio DJ Brendan Farrell, there's a new one from Thee Sacred Souls and we reach the end of the alphabet of songs with women's names as Andy played you Y and Z.For more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sundays 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soul//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Leo Schumaker's Bluesland music podcast from June 20, 2024. Here is music for your summertime. Rick Estrin and The Nightcats, Martha and The Vandellas, Jeff Beck, B.B. King, Little Feat, Howlin' Wolf and more. Check out the live show Thursday's 7-9 PM. Thanks for listening and supporting KMRE 88.3 FM.

The Richard Syrett Show, June 19th, 2024 Fact-free debate sees Yonge-Dundas Square renamed https://torontosun.com/opinion/columnists/fact-free-debate-sees-yonge-dundas-square-renamed  Brian Lilley – Columnist with Post Media THE CULT OF CLIMATE CHANGE Climate change and urban violence https://www.sipri.org/commentary/blog/2024/climate-change-and-urban-violence-critical-knowledge-gap   Is Climate Change Driving Home Insurance Higher? https://slate.com/business/2024/06/floods-storms-inflation-florida-texas-home-insurance-climate-change-economy.html  Tony Heller – Geologist, Weather Historian, and the Founder of Real Climate Science dot com Dr. Fauci's new book “On Call” comes out this week, what should we expect? https://apnews.com/article/anthony-fauci-memoir-june-on-call-c1a5ffac822ab31e791a63f69ccfd61d https://www.yahoo.com/news/5-takeaways-from-dr-anthony-faucis-new-memoir-173444297.html RFK Jr. is on track to miss the CNN debate amid race to get on state ballots https://www.nbcnews.com/politics/2024-election/rfk-jr-miss-cnn-debate-race-get-state-ballots-rcna157290 Tony Lyons, Co-Founder of American Values 2024, the RJK Jr., SuperPac, Attorney, and President of Skyhorse Publishing Big win on the pride propaganda front! Molson's Toronto brewery decides NOT to replace its huge Canadian flag with a rainbow flag https://www.rebelnews.com/big_win_on_the_pride_propaganda_front_molson_s_toronto_brewery_decides_not_to_replace_its_huge_canadian_flag_with_a_rainbow_flag   David Menzies – Rebel News Mission Specialist THIS DAY IN ROCK HISTORY Dancing in the Streets – Martha and The Vandellas I Feel the Earth Move – Carole King Frankenstein – Edgar Winter Key West – Bob Dylan   1964 - Martha and the Vandellas Martha and the Vandellas recored one of Motown's signature songs 'Dancing in the Street' at Hitsville U.S.A. in Detroit, Michigan. Written by Marvin Gaye, William "Mickey" Stevenson and Ivy Jo Hunter the song reached No.2 on the Billboard Hot 100 chart and No.4 in the UK. Many artists have covered the song including, the Mamas & the Papas, David Bowie and Mick Jagger, The Kinks, Grateful Dead and Little Richard.   1971 - Carole King Carole King started a five week run at No.1 on the US singles chart with 'It's Too Late / I Feel The Earth Move'. Both songs were from her million selling Tapestry album.   1973 - Edgar Winter Edgar Winter's US No.1 hit 'Frankenstein' was awarded a Gold record. Winter named the song because of how many cuts and patches were contained in the original studio tape.   2020 - Bob Dylan Bob Dylan released his 39th studio album Rough and Rowdy Ways. It became Dylan's highest-charting album on the Billboard 200 in more than a decade and it marked his seventh consecutive decade of charting top 40 albums, making him the only artist to date to accomplish this feat.   Jeremiah Tittle – Co-Host of “The 500 with Josh Adam Myers” Podcast. CEO/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Remembering Bill Walton: Basketball Star and Grateful Dead SuperfanIn this episode of the Deadhead Cannabis Show, Larry Mishkin covers various topics, including a historic Grateful Dead show, personal concert experiences, and music news. Larry starts with a deep dive into the Grateful Dead's June 3, 1976, concert at the Paramount Theater in Portland, Oregon. This show marked the band's return after a year-long hiatus, featuring five new songs and a revived tune from a four-year break. He highlights the opening track, written by Jerry Garcia and Robert Hunter, which nostalgically reflects on the band's Festival Express tour, a legendary 1970 train journey across Canada with prominent rock bands.Larry then discusses the song "Lazy Lightning," introduced at the same 1976 concert. Written by Bobby and John Perry Barlow, it became a fan favorite for its melody and message of living in the moment, though it was retired from the Grateful Dead's repertoire by 1984. He transitions into music news by honoring Doug Ingle of Iron Butterfly, who recently passed away. Larry reminisces about the band's iconic 1968 track "In-A-Gadda-Da-Vida" and its influence on the late 60s music scene.The podcast also pays tribute to Bill Walton, the legendary basketball player and devoted Deadhead who passed away at 71. Larry shares stories of Walton's deep connection with the Grateful Dead, including his record of attending 869 concerts, significantly more than his total basketball games played. Larry recounts Walton's influence on fellow athletes and his unique presence at Dead shows.Finally, Larry describes his recent experience at a Dead & Company concert at the Sphere in Las Vegas. He marvels at the venue's immersive visual technology, which enhanced the concert experience, likening it to a planetarium. Despite the advanced visuals sometimes overshadowing the music, Larry enjoyed the performance and the unique atmosphere. He also mentions a mini-exhibition featuring Dave Lemieux's tape collection and the significance of tape trading in Grateful Dead fandom.In summary, this episode covers a blend of Grateful Dead history, personal concert experiences, tributes to influential music figures, and the latest in concert technology, providing a rich narrative for Deadheads and music enthusiasts alike.  Grateful DeadJune 3, 1976  (48 Years Ago)Paramount TheaterPortland, ORGrateful Dead Live at Paramount Theatre on 1976-06-03 : Free Borrow & Streaming : Internet Archive First show back after 1975 year offPrior show:  Sept. 28, 1975 – last of the four shows in 1975, this show is 9 months later.  Long wait for Deadheads. Dead did not disappoint with five new songs and a breakout after a 4 year hiatus.  INTRO:                                 Might As Well                                                Track #1                                                1:15 – 2:50 “Take that ride again”                 Might as Well” is a song written by Jerry Garcia with lyrics penned by Robert Hunter. Released on Garcia's 3d solo album, Reflections, in February, 1976.  It's one of the tracks from Garcia's solo career, showcasing his musical versatility and unique ability to transform personal experiences into joyful music.  The song takes a nostalgic look back at the Grateful Dead's time on the Festival Express Tour, a memorable rail trip that brought together prominent artists of the '60s for a raucous, whisky-fueled journey across America.                 Festival Express is the 1970 train tour of the same name across Canada taken by some of North America's most popular rock bands, including Grateful Dead, Janis Joplin, The Band, Buddy Guy, Flying Burrito Bros, Ian & Sylvia's Great Speckled Bird, Mountain and Delaney & Bonnie & Friends.  Later made into a movie             Festival Express was staged in three Canadian cities: Toronto, Winnipeg, and Calgary (Montreal and Vancouver were also originally scheduled but both dropped)  during the summer of 1970. Rather than flying into each city, the musicians traveled by chartered Canadian National Railwaystrain, in a total of 14 cars (two engines, one diner, five sleepers, two lounge cars, two flat cars, one baggage car, and one staff car).[5] The train journey between cities ultimately became a combination of non-stop jam sessions and partying fueled by alcohol. One highlight of the documentary is a drunken jam session featuring The Band's Rick Danko, the Grateful Dead's Jerry Garcia and Bob Weir, New Riders of the Purple Sage's John Dawson, as well as Janis Joplin.             Here, it is played as the show opener.  Ultimately, became more of a first set closer, a popular one along with Deal, another Garcia solo tune.                     Played 111 times                First:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW  19 times that year              Last:  March 23, 1994 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USA – only time played that year, 6 times in ‘91                 SHOW No. 1:                    Lazy Lightning                                                Track #6                                                0:00 – 1:46 Written by Bobby and John Perry Barlow, paired with Supplication in concert and released with Supplication as the opening tracks on the album, Kingfish, released in March, 1976. Lazy Lightning is often interpreted as a metaphorical representation of the pursuit of a carefree and leisurely lifestyle amidst the chaos and hardships of reality. The lyrics depict a whimsical scenario where the protagonist encounters a bolt of lightning that transforms into a woman, symbolizing the allure and transitory nature of fleeting pleasures. The song encourages listeners to embrace the present moment and let go of the rigid expectations and responsibilities that burden their lives. It is a celebration of spontaneity, freedom, and the pursuit of personal bliss. Lazy Lightning became a fan favorite due to its infectious melody, poetic lyrics, and the sense of liberation it evoked. Grateful Dead fans often resonated with the song's message of embracing the present moment and shedding societal expectations. It became a rallying cry for those seeking to live life on their own terms, igniting a sense of camaraderie and freedom among concert-goers. Usually, a late first set number.  Unfortunately, dropped from the repertoire in 1984.  I got to hear it three or four times.  A fun number. Played:  also played 111 timesFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW!!Last:  October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA  MUSIC NEWS – Intro music:  In A Gadda Da Vida:  IRON BUTTERFLY - IN A GADDA DA VIDA - 1968 (ORIGINAL FULL VERSION) CD SOUND & 3D VIDEO (youtube.com)Start - :45 is a song recorded by Iron Butterfly, written by band member Doug Ingle and released on their 1968 album of the same name.At slightly over 17 minutes, it occupies the entire second side of the album. The lyrics, a love song from the biblical Adam to his mate Eve, are simple and are heard only at the beginning and the end. The middle of the song features a two-and-a-half-minute Ron Bushy drum solo.  Famously featured on a Simpson's episode when Bart switches the organist's regular music for this tune and hands out the words to the congregation who sing along.  The older organ player plays the entire organ solo (although they only feature a part of it) and then at the end promptly slumps over at the keyboard. Featured today as a tribute to Doug Ingle, songwriter, keyboard player and vocalist for the song, who passed away on May 24th at the age of 78.  He was the last surviving member of the original band lineup.Bill Walton passed away on last Monday, May 27th at the all too young age of 71.  Couldn't miss him at the shows, 7 foot redhead dancing away or else up on stage.Dead & Co. at the Sphere, saw the June 1st show.                SHOW No. 2:                    Supplication                                                Track #7                                                2:00 – 3:30 Written by Bobby and John Perry Barlow, paired with Lazy Lightning in concert and released with Lazy Lightning as the opening tracks on the album, Kingfish, released in March, 1976. The song delves into the universal theme of the human experience, specifically emphasizing the concept of surrender and humility. It explores the idea of surrendering oneself to a higher power, relinquishing control, and embracing the unknown. The lyrics touch upon the vulnerability and humility required to let go and trust in something beyond our comprehension. Supplication encourages listeners to reflect upon their own lives, urging them to question their beliefs, values, and the significance of surrendering to a greater force. Played:  111 times (a good number for the lottery, keeps coming up), always paired with Lazy LightningFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW!!Last:  October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA SHOW No. 3:                    Dancin In the Streets                                                Track #11                                                0:00 – 1:42 "Dancing in the Street" is a song written by Marvin Gaye, William Stevenson, and Ivy Jo Hunter. It first became popular in 1964 when recorded by Martha and the Vandellas whose version was released on July 31, 1964 and reached No. 2 on the Billboard Hot 100 chart for two weeks, behind "Do Wah Diddy Diddy" by Manfred Mann and it also peaked at No. 4 on the UK Singles Chart. It is one of Motown's signature songs and is the group's premier signature song.A 1966 cover by the Mamas & the Papas was a minor hit on the Hot 100 reaching No. 73. In 1982, the rock group Van Halen took their cover of "Dancing in the Street" to No. 38 on the Hot 100 chart and No. 15 in Canada on the RPM chart. A 1985 duet cover by David Bowie and Mick Jagger charted at No. 1 in the UK and reached No. 7 in the US. The song has been covered by many other artists, including The Kinks, Tages, Black Oak Arkansas, Grateful Dead, Little Richard, Myra and Karen Carpenter. I saw it as the first night show opener on June 14, 1985 at the Greek Theater as part of the band's 20 Anniversary celebration.  A really fun concert tune.  The 1970's versions always had strong Donna support backing up Bobby's lead vocals. This show was the first time the band had played the song since Dec. 31, 1971 (203 shows) Played: 131 timesFirst:  July 3, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  April 6, 1987 at Brendan Byrne Arena, East Rutherford, NJ, USA MJ NEWS Blake Schneider passed away May 27th at 69.  Legendary cultivator who created the best strain of marijuana I ever smoked.  We just called it Blake weed and put it up against any other strain, anywhere, any time.  Folks would say they had the best weed until I let them smoke some of the Blake weed.  They never failed to concede.  Eccentric, temperamental, hospitable, mentor and good friend.  And self titled “best joint roller in the worlds.”  Was one of my Bulls season ticket partners during the Jordan era.  Every home game began with a pregame at Blake's loop residences including great wines, gourmet appetizers and snacks, top shelf liquor (on the way out the door we always did our “Go Bulls” shots) and more marijuana than anyone should ever smoke.  With four of us in the room, he would have 3 joints circulating at all times.  With his ever present life partner, Jeanne, an evening at Blakes was as much fun as the actual game itself.  Ran into a problem with the Green County Sheriff, but gave them the finger when the feds took the case over and Blake only had to serve 11 months at a fed minimum risk prison instead of the 20 years that Green County said was a done deal given the number of plants he was growing at his farm house in Argyle, WI.  They were not happy campers when the feds moved in to take over the case due to the value of the property they could sieve and force Blake to buy back from them.  Blake was a true party legend and will be sorely missed by those of us that knew him, loved him and tolerated him. 2.        Marijuana Terpenes Are ‘As Effective As Morphine' For Pain Relief And Have Fewer Side Effects, New Study Finds 3.        CBD Is Effective In Treating Anxiety, Depression And Poor Sleep, Study Finds4.        Marijuana And Hemp Businesses At Odds Over Consumable Cannabinoid Ban In House Farm Bill  SHOW No. 4:                    Samson and Delilah                                                Track #12                                                0:00 – 1:45 "Samson and Delilah" is a traditional song based on the Biblical tale of Samson and his betrayal by Delilah. Its best known performer is perhaps the Grateful Dead, who first performed the song live in 1976, with Bobby singing lead vocals and in the ‘70's with Donna joining in. It was frequently played on Sundays due to the biblical reference. Released by the band in 1977 on their album Terrapin Station. Although Weir learned the song from Reverend Gary Davis, several earlier versions had been recorded under various titles, including "If I Had My Way I'd Tear the Building Down"/"Oh Lord If I Had My Way" by Blind Willie Johnson in 1927.[1] The song has since been performed by a wide variety of artists ranging from Dave van Ronk, Bob Dylan, Charlie Parr, The Staple Singers, Ike and Tina Turner, Clara Ward, Dorothy Love Coates & The Gospel Harmonettes, to Peter, Paul and Mary, The Washington Squares, The Blasters, Willie Watson, Elizabeth Cook, Robert Randolph and the Family Band, and Bruce Springsteen and the Seeger Sessions Band (in Verona, Italy 2006). Guest star Simon Oakland sings the song with the drovers around a campfire in the Rawhide episode "Incident of the Travellin' Man", aired in season six on October 17, 1963. A long time favorite tune with a distinctive drummers intro that tipped off the song and got the crowd fired up. Settled into a set opener, more frequently a second set opener and often played on Sundays due to its biblical reference with Bobby's “This being Sunday . .”  Played:  365 timesFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOWLast:  July 9, 1995 at Soldier Field OUTRO:                               The Wheel                                                Track #22                                                2:48 – 4:30                 One of their most beloved songs, “The Wheel,” holds a special place in the hearts of fans worldwide. Written by Jerry Garcia, Robert Hunter, and Bill Kreutzmann, this folk-rock anthem has captivated listeners with its enigmatic lyrics and catchy melody. The song's meaning has been widely debated among enthusiasts, and its cryptic nature has allowed for multiple interpretations.            “The Wheel” reflects the transient nature of life, offering a philosophical perspective on the cycles we all experience. The lyrics suggest that life is like a wheel, constantly turning and repeating itself. The song evokes a sense of impermanence and reminds us of the cyclical patterns we encounter throughout our existence. This theme resonates strongly with the band's philosophy and their connection to the spiritual and psychedelic culture of the late 1960s and early 1970s.                “The Wheel” was released on the Grateful Dead's album “Garcia” in 1972.             “The Wheel” is characterized by its infectious melody and intricate guitar work. The song showcases the Grateful Dead's ability to seamlessly blend folk, rock, and improvisational elements into a cohesive piece of music.            Normally, a second set tune, into or out of drums/space although it moved around a bit in the second set.  Here it is the encore which is more of a rarity.            Played 259 times           First: June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW            Last:  May 25, 1995 at Memorial Stadium, Seattle, WA                                         .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

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

Como cada comienzo de mes te ofrecemos nuevo capítulo de esta serie dedicada a recordar singles que alcanzaron su puesto más alto en el Billboard Hot 100 hace 60 años. Viajamos a mayo de 1964, el mes en donde, tras tres meses con The Beatles en el top1 de las listas, por fin dos artistas estadounidenses vuelven a alcanzar la cima, Louis Armstrong y Mary Wells. La factoría Motown sigue afianzándose como el gran baluarte de resistencia a los invasores británicos, el soul sigue creciendo como nueva tendencia musical, Chuck Berry reaparece tras su estancia carcelaria y Henry Mancini mantiene en lo alto la música instrumental.Playlist;(sintonía) HENRY MANCINI “The Pink panther theme” (top 31)SAMMY KAYE “Charade” (top 36)LOUIS ARMSTRONG “Hello Dolly!” (top 1)MARY WELLS “My guy” (top 1)THE BEATLES “Love me do” (top 1)THE DAVE CLARK FIVE “Bits and pieces” (top 4)DUSTY SPRINGFIELD “Stay awhile” (top 38)THE REFLECTIONS “(Just like) Romeo and Juliet” (top 6)THE RONETTES “(The best part of) Breakin’ up” (top 39)JAN and DEAN “Dead man’s curve” (top 8)CHUCK BERRY “Nadine (is it you?)” (top 23)THE VIBRATIONS “My girl Sloopy” (top 26)THE KINGSMEN “Money (that’s what I want)” (top 16)THE WAILERS “Tall cool one” (top 38)MARTHA and THE VANDELLAS “In my lonely room” (top 44)IRMA THOMAS “Wish someone would care” (top 17)OTIS REDDING “Come to me” (top 69)THE COASTERS “T’ain’t nothin’ to me” (top 64)KING CURTIS “Soul serenade” (top 51)Escuchar audio

This week, trying (and mostly failing) to have more music and less chat, Glenn joins Matt in the studio for two hours of 60s R&B, soul, garage, ska, and more.Featuring tracks from The Jam, The James Taylor Quartet, Martha & The Vandellas and The Sonics.Tune into new broadcasts of Blow-Up, Sunday from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.For more info visit: https://thefaceradio.com/blow-up///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

This episode was originally released September 27, 2023.Laura Flam is one of the authors of the book "But Will You Still Love Me Tomorrow?"The book serves as an oral history of the girl groups that made up the 1960's music scene. The girl group sound, made famous by acts like The Ronettes, The Shirelles, The Supremes, and The Vandellas, took over the airwaves by capturing the mixture of innocence and rebellion emblematic of America in the Sixties. While many girl group songs rose to the top of the charts and shaped the trajectory of pop music in the process, many of the artists remain all but anonymous to most listeners. In this episode of the podcast, Frank discusses the young women behind some of the country's most popular songs. Flam reveals the challenges many of the artists faced while navigating the music industry at such a young age, and at a time when America was just beginning to reconcile a history fraught with racism. Flam also shares what became of many of the members of girl groups after music tastes changed. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nueva entrega del coleccionable dedicado a recordar las canciones que alcanzaron su máximo puesto en las listas del Billboard Hot 100 de este mes hace 60 años. En marzo de 1964 The Beatles se convierten ya en una fuerza arrolladora y sus numerosos singles copan toda la zona alta de las listas de ventas. Aquel mes el surf da sus últimos coletazos, los “veteranos” del rock’n’roll intentan aguantar el envite y el soul o el sonido Motown resisten fuertes al invasor.Playlist;(sintonía) THE PYRAMIDS “Penetration” (top 18)THE BEATLES “She loves you” (top 1)THE BEATLES “Please please me” (top 3)THE BEATLES “I saw her standing there” (top 14)THE BEATLES with TONY SHERIDAN “My Bonnie” (top 26)DUSTY SPRINGFIELD “I only want to be with you” (top 12)ELVIS PRESLEY and THE JORDANAIRES “Kissin’ cousins” (top 12)FREDDY CANNON “Abigail Beecher” (top 16)THE BEACH BOYS “Fun fun fun” (top 5)THE TRASHMEN “Bird dance beat” (top 30)JAMES BROWN and THE FAMOUS FLAMES “Oh baby don’t you weep” (top 23)SAM COOKE “Good news” (top 11)RAY CHARLES and HIS ORCHESTRA “Baby don’t you cry (The new swingova rhythm)” (top 39)TOMMY TUCKER “Hi heel sneakers” (top 11)RUFUS THOMAS “Can your monkey do the dog” (top 48)MARTHA and THE VANDELLAS “Live wire” (top 42)NINO TEMPO and APRIL STEVENS “Stardust” (top 32)THE SAPPHIRES “Who do you love” (top 25)DALE and GRACE “Stop and think it over” (top 8)Escuchar audio

"Birthdays, Breakouts, and Psychedelic Jams: The Legendary Grateful Dead Concert of '77"Today's show comes from February 26, 1977 at the Swing Auditorium. The show not only opens the fabulous '77 campaign and contains the first live versions of two of the truly great Dead tunes – Terrapin Station and Estimated Prophet – but it throws smoke and spits flames. The concert marked the debut of songs like "Terrapin Station" and "Estimated Prophet." Larry Mishkin delves into the significance of these songs in the Dead's repertoire, their musical and lyrical qualities, and the overall atmosphere of the concert. They also provide insights into the venue's history and its importance in rock and roll culture.Additionally, the conversation touches on other topics, such as the Fish concert series in Cancun, Mexico, and the significance of certain Grateful Dead songs like "The Wheel" and "Slipknot." Larry share personal anecdotes related to the music, including experiences at concerts and the culture surrounding marijuana use, inspired by a Commander Cody song. INTRO:               Terrapin Station                           Track # 1                           5:51 – 7:27 Garcia and Hunter Probably that point right where Deadheads think they've seen it all.  The psychedelic rock, Pig's blues, Americana, Wake of the Flood, Mars Hotel and Blues For Allah.  So if you had tickets for this show, you had no idea what you were in for, where the Dead were about to take you, a completely different direction, as close as the Dead would ever come to a rock-opera number.  And there was no waiting, lights went out and . . . . . .  . . . . . . . TURTLE MUSIC!!  Clocking in just shy of 11 minutes, it's not quite the masterpiece it would become, but pretty amazing none the less.  Nothing else existed at that time quite like it.  But from the opening notes you know it is a winner, destined for greatness in the pantheon of great Dead tunes.  One that you could hear every show and never grow tired of or bored with it. The title track from the album released on July 27, 1977, five months after this show.  First studio album since they had returned to touring.  Terrapin Station is the ninth studio album (fourteenth overall) by the Grateful Dead, It was the first Grateful Dead album on Arista Records The cover artwork was produced by Kelley/Mouse Studios, who had created several previous works for the band. Though a terrapin appears in the lyrics only as a place name, dancing terrapins feature prominently in the artwork and afterward became part of the large iconography associated with the Grateful Dead. The front cover image takes the idea of a "terrapin station" literally. The back cover features a stylized, one-eyed skull with a crossed bone, feathers and roses, in keeping with the imagery that had evolved around the Dead. This clip is the famous and beloved transition form Lady With A Fan into Terrapin Station, the first two parts of the seven part suite clocking in at 16:23. The other five parts are:  Terrapin; Terrapin Transit; At A Siding; Terrapin Flyer and Refrain.The Grateful Dead only performed the Lady With A Fan and Terrapin Station.  Dead and Co. have played the entire suite.  Fun to hear, but not the same as if Jerry was playing it.  Too bad he never did.               Played 303 times              First:  This version right here that we just played for you              Last: July 8, 1995  SHOW No. 1:     Estimated Prophet                           Track #4                           1:54 – 3;26  Bob and John Barlow "Estimated Prophet" was written in septuple time. Bobby's lyrics for the song (finished with writing partner John Barlow) examine a character's delusions of grandeur and California's propensity for false prophets. The song also quotes "Ezekiel Saw the Wheel".[13][14] Drummer Bill Kreutzmann said "It's a great song but when [Weir] brought it to us, something was off. It needed a groove. It was in quick4 but it didn't swing. Yet. For my homework that night, I combined two fast sevens and played half-time over it. The two sevens brought the time around to an even number – the phrasing is in two bars of seven, so technically the time signature is in. But that's getting technical. In layman's terms, 'Estimated Prophet' suddenly grooved." Released on Terrapin Station, this was its debut performance and it was well received.  A fan favorite and regular part of the Band's playlist for the rest of their careers.             390 times total           First:  This is it right here.           Last:  June 28, 1995 at the Palace of Auburn Hills outside of Detroit  SWING AUDITORIUM Built in 1949, the Swing Auditorium had a maximum capacity of around 10,000, but it probably sold out at only around 6000 for this Dead show. The venue's ascent into rock and roll fame began in 1962 when a man named Bob Lewis started promoting concerts there. In the ensuing decades, Lewis brought all the legends into the Swing, including Jimi Hendrix, Elvis Presley, Michael Jackson, and, of course, the Grateful Dead. But what really solidified the Swing's place amongst the hallowed venues was the American debut of the Rolling Stones there in 1964. With a mere ten-song set, the Stones stoked the hall into a fervor. The band had to drop their instruments and run for the exits before the crowd rushed the stage. For their part, the Dead played the Swing only four times before it was razed after a small plane crashed into the building on September 11, 1981. SHOW No. 2:     The Wheel                           Track #9                           :30 – 2:09               Released on January 20, 1972 as the final track on side 2 of Jerry's firs solo album, “Garcia”.  The psychedelic closer it exhibits Garcia's short-lived infatuation with pedal steel guitar.  great to hear in concert, although relatively short in length.  Almost always a second set song and, it is high energy and always a great way for the band to transition out of Space.                Played 259 times              First:     June 3, 1976 at the Paramount Theater in Portland Oregon              Last:     May 25, 1995 at Memorial Stadium in Seattle SHOW No. 3:     Slipknot                           Track #14                           11:30 – 13:10 Released on Blues For Allah in 1975 Plays a key role in a key suite and is often overlooked.  The bridge between Help On The Way and Franklin's Tower it often gets lost in the jam out of Help and then into Franklin's.  But it is almost always there and always a great piece of improvisational music that rarely sounds exactly the same, except for the distinctive intro/outro.  Similar to I Am Hydrogen in Phish's Mike's Groove run of songs          Played 114 times (Help = 111 times; Franklin's = 222 times)              First:   October 20, 1974 at Winterland in San Francisco              Last:  June 22, 1995 at the Knickerbocker Arena in Albany, NY SHOW No. 4:     Eyes Of The World                           Track #17                           5:35 – 7:07 Released on Wake of the Flood on October 15, 1973 Many a Deadheads “secret” favorite tune.  It's that good.  Played fast, played slow, almost always in the second set and often times as a companion piece with Estimated Prophet, the coveted “Estimated Eyes” jam.  In the first part of the 1980's second sets often opened with Scarlet>Fire Estimated>Eyes OR Help>Slip>Frank Estimated>Eyes Played 382 timesFirst:  February 9, 1973 at Maples Pavilion at Stanford in Palo AltoLast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO, just outside of St. Louis  OUTRO:              Dancin' In The Streets                           Track #18                           7:40 – 9:13 “Dancin' in the Streets" is a cover of Martha & the Vandellas' "Dancing in the Street" from the early days of the band, given a new arrangement that prominently features singer Donna Godchaux. For the studio version, a funk-influenced guitar figure was added to a four-on-the-floor disco beat and polished with a commercial production contemporary to the era. Released by the Dead as the second song on Terrapin Station.  Played 131 timesFirst:  July 3, 1966 at the Fillmore in San FranciscoLast:  April 6, 1987 at Brendan Byrne Arena in New Jersey Dead would play this tune in spurts:            28 times in 1970            27 times in 1976            14 times in 1977 and 1978            A bit of a comeback in 1984 and 1985 – 6 times each year, b            Once in 1987            Gone  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law .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

Peace Funk Soul Let's Go I look out my window and what do I see ? Neil Armstrong waving to me! All funk all soul on two turntables - Matt steps in Pete and celebrates the Soul Jazz Records series Space Funk - plus classic soul from Martha Reeves & The Vandellas and Smokey Robinson & the Miracles. The hot new Chicano Soul from teenagers Thee Heart Tones. Also features Boiling Point, Fat Larry's Band, The Voice Of Q, Tim Maia, Primal Scream, The Free Association, Mexican Institute Of Sound and loads more. This show was first broadcast on the 16th of February, 2024For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Diplo & HUGEL - Stay High - Tall Boys Acap Intro  Shawn Mendes - Señorita - Jablonski Pala Pala Edit  Fragma - Toca Me - Kide Remix  Flo Rida - Right Round - DJ Serg Sniper About You Edit  Kylie Minogue - Can't Get You Out Of My Head - Discodena Remix  Dua Lipa - Houdini - Ligotti Remix  Pitbull - Better On Me (Intro - Clean)  Dev - In The Dark - Freejak Remix  Far East Movement - Like a G6 - J Bruus Remix  Pirates Of The Carribbean - Rumba - J Rythm & Big Syphe Puro Pari VIP Hype Edit  Enur - Calabria - J Medina Hype Edit  Major Lazer vs Enur - Que Calor vs Calabria - 2DEEP Festival Edit  Baby Got Backed Up (Transition) (128-96) (1 Verse) (  Juvenile feat Mannie Fresh and Lil Wayne - Back That Azz Up (Clean)  Snoop Dogg ft Pharrell - Drop It Like It's Hot (Clean)  Snoop & Ginuwine Are So Anxious  Megan Thee Stallion - Body (DJcity Intro - Clean)  Travis Porter ft Tyga - Ayy Ladies (Eyecon Epic Intro - Clean - Acapella  Out)  Bad Bunny & Tainy - Callaita - iRony Club Edit (Clean)  Jhay Cortez, J Balvin & Bad Bunny - No Me Conoce Remix - J Medina  Club Edit  Celia Cruz (Set It Off Fiesta PartyBreak) Clean  Las Ketchup - The Ketchup Song (Aserejé) - Shubham, Rahul & Boh Mzk  Remix  Pitbull - Guantanamera (She's Hot) - Eddie Boy 100-120 Transition  N.O.R.E. - Oye Mi Canto - J Rythm Remix (Clean)  Daddy Yankee - Rompe (MORVN Remix) (Spanish - Clean)(1) 2  Tyla x Marshmello - Water (Remix)  Rema & Selena Gomez - Calm Down - MUKA Remix  Kevin Lyttle - Turn Me On - Spryte Mambo Edit  Jack Harlow - Lovin On Me (J Bruus & James Jay Remix - Clean)  Drake - Rich Baby Daddy - Lincoln Baio Higher Life Edit (Clean)  My Boo (Quick Edit) - ghost town djs  Lloyd - Get It Shawty  Marvin Gaye & Tammi Terrell - Ain't No Mountain High Enough (Birthdayy The Four Tops - I Can't Help Myself (Sugar Pie, Honey Bunch)  Smokey Robinson & The Miracles - The Tears Of A Clown 36. Dancing In The Street - Martha Reeves & The Vandellas 

The year 1985 would find the band R.E.M. in transition between college band success and the mainstream powerhouse they were to become in future years.  The quartet of Michael Stipe on vocals, Mike Mills on bass and vocals, Peter Buck on guitar, and Bill Berry on percussion and backing vocals were moving towards a greater variety of instrumentation and a bit more experimentation with their third studio album, Fables of the Reconstruction.The album actually has two names, as "Fables of the Reconstruction" was the name if you held the cassette or album with one side up, and if you flipped it over the name appeared as "Reconstruction of the Fables."  The suggestion of the name "Reconstruction" came from Michael Stipes' father who was a carpenter.  It is also a loaded term in the American South from which the Athens, Georgia band hails —  “Reconstruction” is the period of time immediately following the American Civil War when the South was being brought back into the Union.  The songs on the album have a darker sound than earlier works, and the lyrics draw from Southern Gothic works.  This was the first album recorded outside the U.S., as the band traveled to London to work at Livingston Studios with producer Joe Boyd.While the singles from the album would not be considered hits in the United States, the album reached number 28 on the US Billboard 200 chart, and number 35 on the UK Albums Chart.  It would feature two singles, “Driver 8' and“Can't Get There from Here,” which would become well known over time.Rob brings us this transitional album for today's podcastDriver 8The second single released from the album refers to the Southern Crescent train line.  It ran under the Southern Railway until 1979 when Amtrak bought them out, and continues as the Amtrak Crescent today.  “And the train conductor says take a break, Driver 8.”Green Grow the RushesThis deeper cut  was written as a pact between Michael Stipe and Natalie Merchant of 10,000 Maniacs, relating to the poor treatment of indigenous peoples and migrant workers.  “Green grow the rushes, go.  The compass points the workers home.”Maps and LegendsInspired by preacher and Southern folk artist Howard Finster, this song uses the reading of a map as a metaphor for reading a person.  Like the map reveals stories in little symbols on it, people are the accumulation of their experiences and stories.Can't Get There from HereThis song was the lead single from the album and peaked at number 10 on the Bubbling Under Hot 100 Singles chart - meaning it peaked at about 110 in US popularity.  It is the first R.E.M. song to have a horn section.  You can sense the Soul inspiration in it.  The lyrics about “Philomath” refer to an unincorporated community just outside of Athens, Georgia. ENTERTAINMENT TRACK:Weird Science by Oingo Boingo (from the motion picture “Weird Science”)Two geeky high school students create the perfect woman in this sci-fi comedy partly based on Frankenstein, and largely based on the 1951 comic “Made of the Future” by Al Feldstein. STAFF PICKS:Drive by The Cars  Lynch brings us a version of the Cars single from the 1985 Live Aid concert.  Bassist Benjamin Orr takes on the lead vocal duties for this ballad which was written by frequent front man Ric Ocasek.  The studio version appeared on their 1984 album Heartbeat City,  and became one of the bands biggest hits.Take On Me by a-haBruce features the first US hit by a Norwegian band.  While a-ha released the song twice before without it becoming a hit, the third release with its video combining pencil sketch animation and live performance would propel it to the number 1 slot in the U.S.  Its 2 1/2 octave-spanning chorus makes it one of the hardest songs to sing.Summertime Girls by Y & T Wayne's staff pick is a hair band rocker, the first and only hit by Y&T.  It went to number 55 on the Billboard Hot 100, but was played frequently on the television series “Baywatch.”  The Band Y&T was originally known as "Yesterday & Today," and although they don't have many hits they have sold over 4 million albums worldwide, and were an inspiration for Lars Ulrich of Metallica to become a musician.Dancing in the Street by David Bowie and Mick Jagger Rob closes out the staff picks with a cover originally recorded by Martha and the Vandellas in 1964 (but we all agreed that the Van Halen cover is the best there is).Jagger and Bowie's version made it to number 7 on the US chart and number 1 on the UK chart.  This collaboration was their contribution to the Live Aid charity movement. NOVELTY TRACK:Tequila by The ChampsWe close out this week's podcast with the tune that helped Pee Wee Herman avoid catastrophe at the hands of a biker gang in “Pee Wee's Big Adventure.” Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

You can't talk about Motown sound without giving respect to the girl groups of the 60s. Hits from Martha and the Vandellas, and The Supremes have resonance, even now. But we might not have hits like “Can't Hurry Love” without some of the earlier acts that ushered in the sound of the girl group — ensembles of very young women, like the Chantels and The Shirelles. "But Will You Love Me Tomorrow?: An Oral History of the '60s Girl Groups" chronicles stories of these early, iconic groups. GUESTS: Emily Sieu Liebowitz, co-author of "But Will You Love Me Tomorrow?: An Oral History of the '60s Girl Groups" Laura Flam, co-author of "But Will You Love Me Tomorrow?: An Oral History of the '60s Girl Groups" ___ Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music from Blue Dot Sessions and Audio Network.See omnystudio.com/listener for privacy information.

A concert was held at the Santa Monica Civic Auditorium on October 28th and 29th, 1964 which would be released as a concert film called the T.A.M.I. Show.  Free tickets were provided for local high school students to provide the audience.  T.A.M.I. stands for either “Teenage Awards Music International” or “Teen Age Music International,” as both were used by the show's publicity team.  The show included many of the top rock and roll and R&B musicians of the time, including the Beach Boys, the Rolling Stones, James Brown, Chuck Berry, and The Miracles.  Jan and Dean were the emcees for the event.  Motown Records was represented by three of its biggest acts in the Miracles, Marvin Gay, and the Supremes.  The Rolling Stones were featured as the grand finale.  However, the performance by James Brown and the Famous Flames is perhaps the highlight of the show, as it features his dance moves at the height of his career.  Steve Binder and his personnel from The Steve Allen Show shot the film, and the legendary session musicians of The Wrecking Crew provided most of the instrumentation.  The go-go dancers in the background were choreographed by David Winters and his assistant, a young Toni Basil.This is a difficult film to locate due to copyright disputes on the show over the years.  You'll need to go to YouTube to find the performances.Wayne takes us through this concert footage of the early days of rock and roll. (Here They Come) from All Over the World by Jan and DeanThe film starts with a song from Jan and Dean which is played over the credits.  Jan and Dean co-hosted the concert and contributed this anthem written for the show.  It has a surfing vibe and is easily confused for The Beach Boys who also participated in the concert.Hey Little Bird by The BarbariansThe Barbarians were a precursor to the Punk movement, and their style was called garage rock in the day.  The Barbarians had a one-handed drummer who utilized a drum stick in his left arm with a hook prosthetic.  The group sported a pirate look with leather sandals, open necked shirts, and bloused sleeves.Out of Sight by James Brown and the Famous FlamesMany consider the highlight of the show to be James Brown's performance, as it showcases his dance moves.  The energy shown by Brown and his backing singers clearly influenced future acts like Michael Jackson and Prince.Around and Around by The Rolling StonesWhile the Rolling Stones were the final act, Keith Richards claims that choosing to follow James Brown on stages was the worst decision of their careers, because no matter how well they performed, they couldn't top him.  They performed a cover of Chuck Berry's song - an interesting choice since Berry was also a performer for the concert. ENTERTAINMENT TRACK:Do the Clam by Elvis Presley (from the motion picture “Girl Happy”)Elvis was making movies at the time, and would almost always be expected to sing songs in the picture. STAFF PICKS:Nowhere to Run by Martha & the VandellasBruce leads off the staff picks with a group which would see a name change to Martha Reeves & the Vandellas later on.  This Motown hit written by the legendary team called Holland-Dozier-Holland went to number 8 on the US charts.  The song is about a woman trapped in a downward spiraling love affair that she just can't give up.Land of 1000 Dances by Cannibal and the HeadhuntersRob features an iteration of a frequently covered song.  Chris Kenner originally recorded it in 1962, but it was more successful as a cover by Cannibal & the Headhunters, going to number 30 on the Billboard chart.  They also added the "na na na na na" hook to the original when front man Frankie Garcia forgot the lyrics.  Sixteen dances are mentioned in the lyrics of the song.Eight Days a Week by The Beatles Lynch brings us an early hit penned by John Lennon and Paul McCartney.  It would be the seventh number one single for the Fab Four in the United States, despite Lennon's feeling that it was a failed attempt at writing a single.  The title is attributed to a statement Ringo Starr made regarding how busy the Beatles were at the time.Satisfied by Lulu and the LuvversWayne wraps up the staff picks with a high energy party song from a Scottish band.  Lulu would go on to a successful solo career that included film songs like "To Sir With Love," and the title song for "The Man with the Golden Gun."  Lulu was 17 at the time this song came out.  She would go on to marry Maurice Gibb of the Bee Gees.   INSTRUMENTAL TRACK:Cast Your Fate to the Wind by Sounds OrchestralThis week's podcast ends with an instrumental song

Laura Flam is one of the authors of the book "But Will You Still Love Me Tomorrow?"The book serves as an oral history of the girl groups that made up the 1960's music scene. The girl group sound, made famous by acts like The Ronettes, The Shirelles, The Supremes, and The Vandellas, took over the airwaves by capturing the mixture of innocence and rebellion emblematic of America in the Sixties. While many girl group songs rose to the top of the charts and shaped the trajectory of pop music in the process, many of the artists remain all but anonymous to most listeners. In this episode of the podcast, Frank discusses the young women behind some of the country's most popular songs. Flam reveals the challenges many of the artists faced while navigating the music industry at such a young age, and at a time when America was just beginning to reconcile a history fraught with racism. Flam also shares what became of many of the members of girl groups after music tastes changed.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lamont Dozier was one third of the Motown songwriting team Holland Dozier Holland. He died Monday at the age of 81. Along with brothers Brian and Eddie Holland, he helped define the Motown sound, writing 10 Number One top hits for The Supremes, The Four Tops, Martha and the Vandellas, and Marvin Gaye — songs like "You Can't Hurry Love," "Baby Love," "Reach Out I'll Be There," "Can't Help Myself," "Heatwave," and "Sugar Pie, Honey Bunch." They spoke with Terry Gross in 2003.Justin Chang reviews The British romantic drama Ali & Ava.